171 Best Character-driven Movies On Itunes Canada (Page 3)

In Things to Come, life tests a philosophy professor on the very same subject she teaches. For Nathalie (Isabelle Huppert) — who has two grown-up children, a husband of 25 years, and a recurring publishing contract — the future isn’t something she gives much thought, because she assumes it’ll be more of the same. When her students protest against a law to raise the pension age, this middle-aged ex-anarchist can’t bring herself to engage with their apparently far-sighted cause; unlike them, all she can think about is the present. But then a series of events overturn her life as she knew it and she finds herself, at middle age, staring at a blank slate.

This is a movie about our surprising ability to deal with disaster — the instincts that emerge when we least expect them to. What’s more, it’s about the insistence of life to keep going no matter how difficult a period you’re experiencing — something that might initially seem cruel but that is, actually, your salvation. The film’s academic characters and philosophical preoccupations never feel esoteric, because Hansen-Løve’s gentle, intelligent filmmaking puts people at its center as it explores human resilience — not through stuffy theory, but an intimate study of someone coming to terms with a freedom she never asked for.

Genre: Drama

Actor: André Marcon, Charline Bourgeois-Tacquet, Edith Scob, Edward Chapman, Elie Wajeman, Élise Lhomeau, Grégoire Montana-Haroche, Guy-Patrick Sainderichin, Isabelle Huppert, Jean-Charles Clichet, Julianne Binard, Lina Benzerti, Lionel Dray, Margaretta Scott, Olivier Goinard, Rachel Arditi, Ralph Richardson, Raymond Massey, Roman Kolinka, Sarah Le Picard, Solal Forte, Yves Heck

Director: Mia Hansen-Løve, Mia Hansen-Løve, William Cameron Menzies

Rating: Not Rated, PG-13

The Kid With A Bike is a deceptively simple title for a film this stirring. At 12 years old, Cyril (Thomas Doret) has been abandoned to social care by his father (Jérémie Renier) — but what’s really heart-wrenching is that he’s in denial about the finality of their separation. Cyril’s muscles are seemingly always coiled, ready to spring him away from his carers and onto the next bus that’ll take him to his disinterested dad, who has secretly moved away to “start anew.” It’s only through the random force of Cyril’s few words — like the moment he asks the first stranger to show him some kindness (Samantha, played by Cécile de France) if she’ll foster him on the weekends — that we get to sense the depth of his desperation, because neither the film nor Doret is showy in that regard.

The film pulls off transcendency because of these restrained performances and its unfussy realism. In the quietness of the storytelling, emotion hits unexpectedly — and deeply. The everyday tragedy and miraculous hope of Cyril’s life are set off by some enormously moving orchestral Beethoven, the very grandeur of which underscores the effect of the humanist filmmaking: affirming the inherent preciousness of his troubled, oft-rejected child.

Genre: Drama

Actor: Baptiste Sornin, Cécile de France, Fabrizio Rongione, Jérémie Renier, Myriem Akheddiou, Olivier Gourmet, Samuel De Rijk, Thomas Doret

Director: Jean-Pierre Dardenne, Luc Dardenne

Stand By Me follows four young friends as they journey around their small town searching for a rumored dead body. On the surface, it moves like an adventure story. The boys narrowly avoid guard dogs and leeches, speeding trains and tough teen gangs. But along the way, they also learn much about each other, in particular about the stark reality of their home lives and the growing depths of their inner struggles, so that beneath all the small-time thrill is a beating coming-of-age story. 

Based on a novella by horror master Stephen King, Stand By Me is terrifying in its ability to evoke the unique thorniness of passing through the gates of adulthood, but also warm and comforting in its reminder of the universality of this feeling.

Genre: Adventure, Crime, Drama

Actor: Bradley Gregg, Bruce Kirby, Casey Siemaszko, Chance Quinn, Corey Feldman, Dick Durock, Frances Lee McCain, Gary Riley, Jason Naylor, Jason Oliver, Jerry O'Connell, Jerry O'Connell, John Cusack, Kent W. Luttrell, Kiefer Sutherland, Korey Scott Pollard, Madeleine Swift, Marshall Bell, Matt Williams, O.B. Babbs, Richard Dreyfuss, River Phoenix, Scott Beach, Wil Wheaton, William Bronder

Director: Rob Reiner

Rating: R

There’s much to despair at in Mahamat-Saleh Haroun's drama set in Chad, where abortion is illegal, female genital mutilation isn't, and single mothers are ostracised. Amina's (Achouackh Abakar) 15-year-old daughter Maria (Rihane Khalil Alio) has just been expelled from school because she’s pregnant. Like Amina, Maria has been abandoned by the child’s father — but, having witnessed first-hand the stigma that comes with being an unmarried mother, she refuses to let history continue repeating itself, and declares she wants an abortion.

But underground abortions are expensive, and the duo are barely scraping by as it is, in spite of Amina’s backbreaking manual work. Their situation is dire — and there are more disturbing revelations to be had — but, despite the bleakness of Lingui’s plot on paper, the film isn’t miserabilist. As Amina searches desperately for a safe abortion provider, she takes us with her into a furtive underground network of solidarity, one that offers the mother and daughter all the compassion and aid that the government and their imam should be providing. This is a film in which acts of kindness are quietly delivered on the understanding that that’s what we owe each other, and one where sisterhood is alive — making this, paradoxically, a simultaneously enraging and heartening watch.

Genre: Drama

Actor: Achouackh Abakar Souleymane, Briya Gomdigue, Rihane Khalil Alio, Saleh Sambo, Youssouf Djaoro

Director: Mahamat-Saleh Haroun

Understandably, Mimmi, Rönkkö, and Emma, the teenage girls who lead this Finnish coming-of-age drama, are bursting with emotional urgency. On the cusp of adulthood, they plunge into house parties and romantic affairs in the hope that exploring love, sex, and adventure leads them closer to being self-aware adults. 

Of course, that’s a lifelong process, but they don’t need to know that just yet. For now, they’re explosive and ecstatic and awkward and angry. They’re at a point in their lives where falling head over heels is still an endearingly fresh experience and not a frustratingly repeated mistake. 

The film is intense in this way, but it’s leavened by a beautiful naturalism that’s seen in the young cast’s performances, the setting’s soft lighting, and the camera’s boxy ratio and grainy finish, the latter of which recall a disposable camera capturing the indiscriminate moments shared between teens. Girl Picture is an intimate and authentic portrait of girlhood—see it if you can.

Genre: Drama, Romance

Actor: Aamu Milonoff, Amos Brotherus, Bruno Baer, Cécile Orblin, Elias Westerberg, Fathi Ahmed, Henrikki Haavisto, Linnea Leino, Mikko Kauppila, Oksana Lommi, Oona Airola, Pietu Wikström, Rebekka Kuukka, Sonya Lindfors, Yasmin Najjar

Director: Alli Haapasalo

Martin Scorsese — plus screenwriter Paul Schrader, editor Thelma Schoonmaker, and cinematographer Robert Richardson — reimagine nocturnal New York City as an eternally flaming circle of hell in this darkly funny fever dream. Frank Pierce (Nicolas Cage) is an insomniac paramedic who’s haunted by the ghosts of all the lives he couldn’t save and is on a nightmarish run of losing every patient he tries to help. There’s no respite for him anywhere; he’s so burnt out he begs to be fired, but the city is so desperate they won’t let him leave their tired ranks of medics, who are mostly jaded, sometimes sadistic, and yet still addicted to the euphoric high of saving a life.

As Frank is pushed ever closer to breaking point, the film takes on the hallucinatory qualities of his perspective, the cinematography growing feverish and the editing powered by a wild, manic energy. What stops the movie from feeling like a spiral into actual hell is the strange light that keeps Frank returning to work — the perpetual need for redemption and grace that prevents him from becoming cold to his job but makes his sanity fragile. In typical Scorsese-Schrader style, this is a raw, visceral, and very human search for grace in an unsparing urban hellscape.

Genre: Drama, Horror, Thriller

Actor: Afemo Omilami, Aida Turturro, Aleks Shaklin, Andy Davoli, Antone Pagán, Arthur J. Nascarella, Bernie Friedman, Betty Miller, Brian Smyj, Bronson Dudley, Catrina Ganey, Charis Michelsen, Cliff Curtis, Craig muMs Grant, Cullen O. Johnson, David Zayas, Ed Jupp Jr., Floyd Resnick, Frank Ciornei, Fuschia!, Graciela Lecube, Jack O'Connell, James Hanlon, Jesse Malin, John Goodman, John Heffernan, Jon Abrahams, Joseph P. Reidy, Judy Reyes, Julyana Soelistyo, Larry Fessenden, Leonid Citer, Lia Yang, Marc Anthony, Mark Giordano, Martin Scorsese, Mary Beth Hurt, Mary Diveny, Marylouise Burke, Matthew Maher, Melissa Marsala, Michael Carbonaro, Michael Kenneth Williams, Michael Mulheren, Mtume Gant, Nestor Serrano, Nicolas Cage, Omar Scroggins, Patricia Arquette, Phyllis Somerville, Queen Latifah, Raymond Cassar, Richard Spore, Sonja Sohn, Sylva Kelegian, Terry Serpico, Theo Kogan, Tom Cappadona, Tom Riis Farrell, Tom Sizemore, Ving Rhames

Director: Martin Scorsese

Rating: R

Martin Scorsese had just spent a year prepping for The Last Temptation of Christ when Paramount Pictures unceremoniously pulled the plug on the movie just one month before production was due to start. After Hours was Scorsese’s way of exorcising all that disappointment and frustration, and you can feel it: this black comedy vibrates with manic intensity as it charts a night from hell in the life of Paul (Griffin Dunne), a somewhat scuzzy yuppie living in ‘80s New York City.

In keeping with its title — which suggests the movie is suspended in temporal limbo — After Hours feels like it takes place in some mythological hellscape, a demonic underworld in which everyone Paul meets has been sent forth with the express mission to make his life more miserable. Surreal coincidences pile up, deepening his paranoia and turning his simple goal of returning home into a labyrinthine quest for survival on the deserted, rain-soaked streets of SoHo. It’s the kind of celluloid nightmare that terrorizes and thrills you at the same time (a la the Safdie brothers’ best works, which draw inspiration from After Hours). Only a director of Scorsese’s caliber could turn profound professional disappointment into such a win as this.

Genre: Comedy, Drama, Thriller

Actor: Bronson Pinchot, Catherine O'Hara, Charles Scorsese, Cheech Marin, Clarence Felder, Dick Miller, Frank Aquilino, Griffin Dunne, Henry Judd Baker, John Heard, Larry Block, Linda Fiorentino, Margo Winkler, Martin Scorsese, Murray Moston, Paula Raflo, Robin Johnson, Rocco Sisto, Rockets Redglare, Rosanna Arquette, Teri Garr, Tommy Chong, Verna Bloom, Victor Argo, Victor Bumbalo, Victor Magnotta, Will Patton

Director: Martin Scorsese

Rating: R

Here’s a biopic that focuses on capturing the feel of the era it depicts, rather than all the facts — and is all the better for it. 24 Hour Party People takes the same punk approach to storytelling as its subjects did to music, playfully throwing off the dull constraints that often make based-on-a-true-story movies feel like uninspired celluloid translations of a Wikipedia page. 

In the film’s opening scene, Steve Coogan’s Tony Wilson breaks the fourth wall to address us directly and semi-spoil the movie’s ending. But it doesn’t matter, because the ride is so fun: we’re taken on an immersive trip through the heyday of the Manchester music scene: the births of Joy Division, New Order, the Happy Mondays, and Wilson’s Factory Records label and legendary Hacienda nightclub, an incubator for acid house and rave culture. The era’s hedonism is brought to life by the movie’s frenetic editing, documentary-style cinematography, and strobe-heavy visuals. For all its onscreen anarchy, though, the movie remarkably never feels loose or self-indulgent. Its irreverence is grounded by the ironic filter of the meta filmmaking, which frequently breaks the fourth wall to draw attention to its own conceits. A refreshing rejection of biopic tropes, but also a thrilling transportation into and evocation of the Madchester era.

Genre: Comedy, Drama, Music

Actor: Andy Serkis, Chris Coghill, Christopher Eccleston, Daniel Lestuzzi, Danny Cunningham, Darren Tighe, Elizabeth Kelly, Enzo Cilenti, Fiona Allen, Helen Schlesinger, John Simm, John Thomson, Kate Magowan, Keith Allen, Kenny Baker, Kieran O'Brien, Lennie James, Margi Clarke, Mark E. Smith, Martin Hancock, Naomi Radcliffe, Neil Bell, Paddy Considine, Paul Popplewell, Peter Gunn, Peter Kay, Ralf Little, Raymond Waring, Rob Brydon, Ron Cook, Sean Cernow, Sean Harris, Shirley Henderson, Simon Pegg, Smug Roberts, Steve Coogan, Toby Salaman, Tony Wilson

Director: Michael Winterbottom

Rating: R

The Sweet Hereafter is the kind of movie that feels very different from the one you might imagine when reading the plot synopsis. The tragic accident at its center doesn’t form a dramatic crescendo as you might be primed to expect — and, despite revolving around a lawsuit, this is no courtroom drama. Instead, the ironically titled The Sweet Hereafter deals with the messy, difficult emotions that come with grief, survival, and blame in the aftermath of a bus crash, with the film largely taking place in a snowy Canadian town rent apart by the loss of nearly all its children in the accident. Ian Holm plays the out-of-town lawyer battling to unite the bereft parents behind a class action lawsuit, all while struggling to deal with the quasi-loss of his own drug-dependent daughter. Non-linear chronology means the before-the-crash and the after intermingle, scene after scene; it’s an unorthodox remix of the way we’re used to seeing this kind of story unfold, but it allows the movie to home in on the complexity of the community’s pain. Unsparing performances, haunting music, and meditative cinematography plunge us into it all, recreating the terrible iciness of grief in a way that is difficult to shake off.

Genre: Drama

Actor: Alberta Watson, Allegra Denton, Arsinée Khanjian, Brooke Johnson, Bruce Greenwood, David Hemblen, Devon Finn, Earl Pastko, Gabrielle Rose, Ian Holm, Kirsten Kieferle, Marc Donato, Maury Chaykin, Mychael Danna, Peter Donaldson, Sarah Polley, Sarah Rosen Fruitman, Simon Baker, Stephanie Morgenstern, Tom McCamus

Director: Atom Egoyan

Rating: R

A slow-burning US political drama, The Ides of March is a character-driven film with great performances from Ryan Gosling, Philip Seymour Hoffman and George Clooney (who is also the director and in part the writer) among many others. Taking place during the last days of the primaries, Stephen Meyers (Gosling) is an aspiring campaign staffer who uncovers a dirty truth about his candidate (Clooney). When Meyers confronts his boss (Hoffman), moral issues arise that collide with the political profession but which are not only limited to it. A smart film, The Ides of March is less of a political thriller and more of a really well made drama that delivers.

Genre: Drama

Actor: Alvin Chea, Amy Keys, Carmen Carter, Charlie Rose, Chris Matthews, Danny Mooney, David McConnell, Evan Rachel Wood, George Clooney, Gregory Itzin, Jeffrey Wright, Jennifer Ehle, Josef Powell, Loretta Higgins, Lori Perry, Marisa Tomei, Max Minghella, Maya Sayre, Michael Ellison, Michael Mantell, Neal Anthony Rubin, Nita Whitaker, Paul Giamatti, Philip Seymour Hoffman, Rachel Maddow, Robert Mervak, Rohn Thomas, Ryan Gosling, Tiffany Sander McKenzie, Yuriy Sardarov

Director: George Clooney

Rating: R