I knew the name Denys Arcand as a famous Canadian director. I remember the title JESUS OF MONTREAL as a movie that was advertised when I was a teenager, and later THE BARBARIAN INVASIONS won the Oscar for Best Foreign Language Film. I have not seen or really paid attention to these, but I did perk up a little when some of his early films were released on blu-ray by Canadian International Pictures, a Vinegar-Syndrome-affiliated label “devoted to resurrecting vital, distinctive, and overlooked triumphs of Canadian and Québécois cinema.” And I remembered that when Miguel Hombre recommended them (and Arcand in general) in a discussion of Canadian cinema in the comments to my COSMOPOLIS / MAPS TO THE STARS double feature review. Thank you Miguel.
CIP says their releases range “from arthouse to Canuxploitation,” and what makes GINA interesting is how it’s kind of both. By the end it’s fair to say it’s a rape-revenge movie, but before that it’s a socially conscious drama about labor, class and sexism. The titular Gina (Celine Lomez, THE SILENT PARTNER) is a stripper hired to dance at a cabaret in a small town. But much of the movie follows a group of nameless documentarians staying at the same hotel-motel while in town to interview workers at a textile factory that’s about to have massive layoffs. So there’s alot of screen time spent on just characters (and real people I think?) talking about strikes and unions and how workers are exploited and mistreated. (read the rest of this shit…)
COMPANION, which played in theaters a couple months ago and is now on disc and streaming, features certain genre elements that are strategically withheld for a while. For almost a third of its 97 minutes we can tell there’s something we’re missing about the main character because of some of the weird things people say to her, so we’re very intrigued. I don’t include myself in “we” though because I knew the premise of the movie, controversially (but understandably, I think) included in the second trailer and other promotions. There is good reason to go in blind, but I can confirm that the movie is still fun without being surprised by that part. And I’m not gonna write a review on eggshells, so I’m gonna get into it a couple paragraphs from now.
I’ve enjoyed David Cronenberg’s movies for most of my life, and he’s been highly respected for as long as I can remember, especially in horror circles, but also elsewhere. I was still a kid when 
THE LEGEND OF OCHI is a beautiful and imaginative PG-rated fantasy from A24. Since the number of friends I recommended it to this week that had never heard of it is higher than the number of people at the Saturday matinee I went to, I’m thinking there are limits to that company’s marketing powers. But future adults who remember seeing it in a theater will know they had cool parents. This one is special.
HAVOC is the long-anticipated, straight-to-Netflix fifth film of Gareth Evans, director of the 21st century classic 
In THE ACCOUNTANT2 – yes, that’s the onscreen title – Ben Affleck (
SINNERS is the first original story from writer/director Ryan Coogler. Not that it matters. After the true story of FRUITVALE STATION he added to fictional worlds and characters created by other people – 
O’DESSA is a pretty cool dystopian musical that Searchlight Pictures released straight to Hulu last month. The story involves love and music in the face of fascism – probly not anything anybody would be interested in these days. It’s pretty slick mainstream entertainment, but kind of a cousin to 
Recently I rewatched 
URBAN VENGEANCE, not be confused with Seagal’s 
