Movies
Ever been watching a movie or flipping through the channels on your TV and come across an actor or actress you know you've seen before -- and maybe even know from where -- but can't remember the name? If you live in the UK, one of those actresses just may be Sarah-Jane Potts, who has been a fixture on UK TV, and to a lesser extent film, over the past 10 years.
If you live in British Columbia or throughout Canada, you may not know the name Michael French, but you should know the name Rick Hansen and his Man in Motion tour, which captured international media attention in the 1980s when the paraplegic athelete wheeled around the world to gain awareness for spinal cord research.
For Vancouverites, the name Jim Byrnes is synonymous with two things: television and music.
It's a docu–drama about computer programming. It's a morality play, a coming of age story, and a courtroom drama. All of which plays out like a suspenseful psychological thriller.
Is it the best movie of the year? Could be. But it is definitely the most important movie of the year.
Why? Because it is us. It is now.
Davis Guggenheim didn't start out intending to make documentaries, even though his father Charles had directed many during his career.
During the final days of this year's Toronto International Film Festival, I had the opportunity to speak to three Canadian women, all at the festival promoting their feature directorial debuts: Deborah Chow (winner of the Skyy Vodka Award for Best First Feature by a Canadian Director), Katrin Bowen, and Ingrid Veninger.
The first thing I noticed upon arriving at the Gala screening of Janie Jones at this year's Toronto International Film Festival was the inordinate number of beautiful and svelte six-foot-tall women towering over me -- enough to make anyone of normal proportions (i.e. myself) a trifle self-conscious.
Canadian actor Victor Webster has been quite busy in the dozen years or so he's been in the business.
The big screen releases of The A Team and The Karate Kid has everyone all giddy for 1980s nostalgia. Critics always get upset over studios' unapologetic insistence of remaking classic films, and with good reason. Nothing screams cash grab more than a remake. Aside from dating myself, remaking the 1984 film The Karate Kid has other personal effects on me.
If you're a regular viewer of Saturday Night Live, you're likely well aware of the recurring MacGruber sketches, which feature Will Forte as a ridiculous MacGyver-esque hero who always ends up getting blown up.
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