For It’s Nice That, I spoke with the graphic designers behind the title design and posters for some of the year’s biggest films, exploring the process and changing landscape for these creatives setting the tone of films
For Letterboxd Journal, I wrote about the connection between viewer, art and history when movies reference each other. How does it work, what's being referenced, and why is it often so damn funny?
Featuring insight from Matt Johnson (director of BlackBerry), Penelope Spheeris (director of Wayne's World), Chandler Levack (director of I Like Movies), and Adam Nayman (author of Paul Thomas Anderson: Masterworks)
For Sharp Magazine, I chatted with The Bear star about work, life, and the sheer joy of cooking
From Dr. Strangelove to Beetlejuice and Men in Black, Ferro’s exciting work spawned a generation of bold experimenters
For Designlines Magazine, I spoke with artist Kenneth Lavallee about creating art for Dr. Lillian McGregor Park and how this vital green space came to be
“With his debut feature Dim the Fluorescents, Toronto filmmaker Daniel Warth has created an astonishing calling card – an earnest and entertaining celebration of process and performance, not to mention a tremendous showcase for two homegrown actors on the cusp of greatness.”
→ Read more on The Globe and Mail
“While Sally Cruikshank is not yet a household name, she is responsible for some of the most innovative animated works in American history. In embracing psychedelia, the infinite, and the possibilities of line, shape, and sound, she lays bare the bones of the medium. Her work shines in the obvious joy it takes in itself, in the sheer exuberance of animating.”
“As the sepia-toned newsreel acts out the story of real-life bank robbers Butch Cassidy and the Sundance Kid, we already feel the nostalgic hush of a legend long gone.”
“The film’s title sequence is a cacophony of consonance, all shrieks and screams, flutters and flaps; a rush of mechanical bird noises scraping roughly through sheer space. […] The credits, executed in the blue of a perfect clear sky, are torn to pieces as if pecked apart.”
“The Star, like Bo, is clumsy, derivative, mildly amusing and ultimately forgettable. Due to its targeted messaging and lacklustre execution, it's a far cry from recent animated stunners such as Frozen, Moana, Zootopia or Kubo and the Two Strings. The animation by Montreal-based Cinesite Animation Studios is solid but unimaginative, the shapes doughy and polished, like stones worn soft by sand, lending everything an overly sanitized appearance.”