Victoria is an intense, gut-wrenching experience filled with suspense. Director Sebastian Schipper makes the intelligent choice to use one shot for the entire film, forcing us to be right beside the characters as they undertake a dangerous journey. What we don’t see is just as thrilling as what we do.

Unlike most bank heist movies, which value a fast pace from beginning to end, Victoria is patient and methodical. The movie takes its time in establishing its characters and making us care for them. We are intrigued by a troublesome group of four guys with their cheekiness and affinity for trouble; we laugh along with them as they joke and tease each other. Much like the lead character Victoria (Laia Costa) is, we are introduced to them and become friends with them over the course of the night.

The chemistry of the five main characters is what makes this movie as good as it is. We don’t feel apprehension as Victoria meets these four loud guys for the first time. The flirtation between her and Sonne (Frederick Lau) seems easy and natural. As they break small laws, we don’t feel that they are bad people; this is why the level of danger these characters end up in is so jolting.

Viewers empathize with all the characters involved and never feel the need to judge them, because ultimately an unfortunate combination of elements forced otherwise good people into a terrible situation. As ridiculous as it seems, it is never completely implausible that all the characters are involved in a robbery. Schnipper is brilliant at increasing pace and suspense at the right moments; from the moment a night of fun and mischief turns bad, for instance, the pace increases and the energy of the movie spikes. We run through a series of emotions ranging from discomfort to horror.

Although the shaky camera moved at a dizzying speed at times, we get to fully appreciate the brilliance of using one shot at the climax of the film. This wild thriller ends with a messy, heartbreaking scene, where Costa’s acting talent shines.

The Last Witch Hunter is exactly what viewers have come to expect from superstar Vin Diesel and Sahara director Breck Eisner: a passable action flick bearing low expectations and all the buzz of a half-pitcher of red wine sangria.

The story follows Kaulder (Vin Diesel), a witch hunter cursed with immortality as he continues to live his life in the 21 century. The story focuses primarily on the eternal warrior as he sets out to solve the murder of his friend and confidant, played by Sir Michael Caine. Joining Kaulder on his journey is his young handler (Elijah Wood) and a feisty dream walker (Rose Leslie).

Let’s start with the positives in this movie: the action sequences are by far some of the most glorious highlights of the fantastical caper. Kaulder is a confident warrior who brings a level of gravitas and badassdom to every magic incantation and sword stroke.

It is utterly baffling and frustrating that Kaulder justifies having an overstocked armory when he only uses three of his weapons throughout the entire movie. After all, what is the point of having a collection of formidable weaponry, when he only ends up bringing a pistol and sword to the final battle in the film? It just seems like a waste of good equipment.

Another thing the film gets right is the cinematography. Every shot in the film is artistically crafted and looks like a stunning portrait. The set designs are good enough to stand on their own and provide a serviceable amount of world building.

Vin Diesel, who stars as the lead in this supernatural action film gives a performance on par with his previous films. Although one could make the argument that his performance is yet another carbon copy of itself, it’s hard to really criticize Diesel’s acting as he suits the character he plays. The only problem is that Kaulder himself isn’t all that interesting to root for.

Kaulder is an extremely boring protagonist for one main reason: he cannot die. We never feel worried or concerned for his well-being; the character even often mirrors the audience’s boredom. The character is most interesting in the film’s introduction as a grieving father and widower out for revenge against an evil witch. However, we hardly see this side of the character in this film, instead only a wise cracking and distant hero who seems nauseated by his redundant role as a protector of humanity.

As for the supporting cast in the film, they unfortunately bring very little to the witch-hunt at hand, and at times seem like throwaway characters that could have been removed entirely. The lack of their presence would not have made any significant difference in the long run of this story.

In the end, The Last Witch Hunter is an entertaining silver screen feature which unfortunately peaks in the first 10 minutes. While not a superb film, it will provide some wholesome entertainment, but nothing overly memorable. The Last Witch Hunter would have been better suited as Fox TV series cancelled after one season.

Borealis, at its heart, tells the story of a father’s attempt to reconnect with his daughter, who is on the verge of becoming completely blind. The film is a horse charging across steep hills and stunning valleys, determined even in the face of unresolved anger and exhaustion, saddled with past burdens, tense relationships and heartbreak, and trailed by men who will stop at nothing to claim the debts owed to them.

A powerful film directed by Sean Garrity, Borealis will bring you on a physical and emotional journey to Churchill, Manitoba, and leave you tearing up at the end at the injustice and tragedy of it all.

Primarily a drama, this film is infused with a good balance of humour to keep things lively and real until the very end. While I’m not sure the tension of Tubby, a dubious bookie, chasing Jonah and Aurora to the world’s end was wholly necessary to bring out the fine notes of forgiveness and redemption already evident in the moving father-daughter journey, it definitely succeeded in making the plot more high-stakes, intense, and complicated.

What makes the story real and genuine is that the two main characters are not perfect, and therefore are very human. Borealis represents real family struggles that most people can relate to.

Jonah, the father, is not without his faults. While his ambition to bring his daughter to see the Northern Lights before she can’t see anymore is noble and inspiring, it’s rooted in lies and his own fear of ever having to break the horrible truth to his daughter. The extent of his lies and how they stack on top of each other make you want to smack him in the head from time to time.

The mobsters’ pursuit of Jonah and his daughter further heightens the tension and clouds Jonah’s well-meaning intentions in a shroud of immaturity and irresponsibility, which makes him an agonizing character to appreciate. Yet, you’re still rooting for him until the end, even if only so that Aurora, his daughter, can receive the good parental figure she needs and deserves in her life.

It’s hard not to sympathise with Aurora. A young girl dealt an unfair hand, Aurora finds herself isolated from her peers (especially her insensitive ex-best friend) and living with a painful family loss and a gambling-addicted father. With a life as difficult as hers, Aurora can hardly be blamed for being brusque and angry, but her character also commands respect for her determination and fierce independence. These are simply characters that make you care for them as if they were real people. Borealis is a solid film built on a solid base of strong writing, impressive protagonists, and capable acting.

Aurora Borealis. Ribbons of elusive, beautiful lights across the Northern night skies; wandering spirits of nature traipsing across the world’s dark canvas. People spend their whole lives chasing these colourful wonders. I went to see Borealis because of its name, but I stayed for the story, and I loved it for the tender lullaby of humanity it sung.