The Permanent Rain Press

LOCAL SINCE 2012

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'Masters of the Universe' Movie Review: A goofy, fun and ambitious adventure for He-Man and company (2026)

As a young millennial, He-Man is from before my time. I mostly know him from the famed 'What’s Going On?' meme video. His arch enemy is a shrieking skeleton. He’s got a talking tiger, who is in the movie, but much less than I expected. Him and his friends have silly costumes. I wasn’t sure what to expect, but ultimately, Masters of the Universe was harmless, predictable fun.

Visually, it looks great. The shots of the fantasy (and He-Man's home) planet, Eternia, and of course, the iconic Castle Grayskull, immerse the viewer right away. There was a lot of money spent and it shows. The character design feels timeless and otherworldly. Unlike many blockbusters, the movie featured colour and wide angle shots, which I found to be a major selling point. 

The film opens with an extended childhood flashback on the magical land of Eternia. We see how He-Man or “Prince Adam” (Nicholas Galitzine) is sent to Earth 15 years prior, spurned by an attack led by the ruthless Skeletor. Now working in human resources, Adam searches for his lost sword. One of the best scenes early on pays tribute to the 'What's Up?' meme, following a pursuit by Beast Man. Eventually, Adam and his now grown childhood friend Teela (Camila Mendes) return home to avenge his family and fulfill his destiny.  

Ultimately, the story beats are familiar. There are some corny jokes, vapid emotional arcs, and extended battles. It drags in the middle. An 80s-inspired soundtrack featuring Brian May (of Queen) booms. The occasional cameo and tease. Themes of staying true to yourself are peppered in. We’ve seen all of this before under a different skin.

It is the cast in Galitzine, Mendes, Idris Elba (Duncan/Man-At-Arms), and Alison Brie (sorceress Evil-Lyn) who carry this movie. Everyone is committed and not just phoning it in. They manage to find a balance between “literal kids cartoon” and “serious, allegedly realistic” portrayals. Many franchises are too goofy or too gritty for their own good, but this struck the balance. There’s definitely quips and boring emotional moments, but they’re played off well.

Skeletor is an iconic villain, and Jared Leto was an odd choice. I was quite surprised that he had a posh English accent, a weak impression of Tim Curry. Neither the character nor actor are British. I wish they had just stuck to the original 'NYAAAAAH!' style. That being said, visually he looks perfect. Skeletor’s dialogue is silly yet menacing. There’s a particularly fun sequence towards the end that’s a highlight. 

When it’s fun, it’s a lot of fun. The fight scenes, CGI, direction, and even character design are much better than a lot of more established franchises. This is an adaptation of a jacked warrior toy commercial and it works. However, I’m still not certain on who the target audience is. Middle-aged men chasing childhood cartoons? Their curious giggling young sons? I was sat next to both of them and they seemed to have a blast. Most of the audience in the theatre did. Perhaps this will capture crowds and we’ll all be seated for Masters of the Universe sequels and spin-offs in due time. And if not, it still has the power. Even if that feeling fizzles out, for two hours, it’s enough.

Written by: Cazzy Lewchuk

Masters of the Universe is in theatres on June 5.

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'Backrooms' Movie Review: An uneasy and technical tour de force (2026)

Kane Parson’s feature directorial debut, Backrooms, is an impressive triumph in what feels like a recent horror renaissance. Built upon the fundamentals of Parson’s own web series of the same name and heavily inspired by 'creepypasta' lore, Backrooms is complimented by thrilling performances from Oscar-nominated Chiwetel Ejiofor (12 Years a Slave) and Renate Reinsve (Sentimental Value).

The aesthetics of the film are truly unmatched - with Parson’s attention to detail in creating a low-fidelity, analog horror-aesthetic focused on the seemingly infinite extra-dimensional complex of rooms - in a way that is surreal to our objective reality. This, combined with the internet phenomenon and fascination of liminal spaces, creates an unsettling atmosphere throughout the film - making the viewer feel uneasy, but unsure as to why. As quoted in the film, it’s as if one were to describe a dog to someone who has never seen one, and then ask them to draw one based solely on verbal description.  

Taking place in the early 90s, Ejiofor plays Clark - a man suffering from a failing marriage, a failed career and alcoholism. He meets Mary (Reinsve), a therapist frequented by thoughts of her own abusive past at the hands of her mother. Both give remarkable performances that delve well into their trauma as their paths intertwine in both their objective reality, and even more so as it devolves into the alternate reality of the Backrooms. Despite a heavy focus on characterization, the plot feels a bit disconnected and thin - which felt at odds with the almost dreamlike pacing of the movie, which adheres fine given the subject matter. In the end, it feels like perhaps a setup to a sequel or a franchise - a transitionary piece, much like the definition of a liminal space itself.

From a technical perspective, Backrooms is truly a tour de force - between the acting, production design, cinematography and the music (composed by Parsons and Edo Van Breemen). It is incredible at age 20 to have created such a distinct debut piece which stands apart on its own - it feels like a mix of Severance, the SCP universe & J-horror and found-footage, but much too unique to draw direct comparisons to each of the aforementioned. Definitely worth a watch as a horror fan - or for those wanting to experience something a bit different. A deep dive through the YouTube shorts isn’t necessary, but will perhaps give a sense of what you’re about to walk into.

Written by: Timothy Nguyen

Backrooms (A24 in the United States and Elevation Pictures in Canada) is in theatres on May 29.

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The Permanent Rain Press Interview with Julia Sarah Stone | Off Campus Season 1. (Watch in HD)

Julia Sarah Stone discusses her role as Jules Logan in season 1 of Prime Video's Off Campus, including shaping them as a new character, their sibling relationship with John Logan, and interests in social commentary and hockey play-by-play commentating. She also chats about an emotional Thanksgiving for Jules and what she hopes fans see in their role in the narrative, and how she's grown as an artist in her 15 year film career.

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The Permanent Rain Press Interview with Khobe Clarke | Off Campus Season 1. (Watch in HD)

Khobe Clarke discusses his role as Beau Maxwell in season 1 of Prime Video's Off Campus, including his artistic and athletic traits, notable scenes, and friendship with Dean Di Laurentis. He also chats about the future of his character and connecting with fans of the series, his love of travel, filmmaking, and time as Scott in Cruel Intentions.

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'Hokum' Movie Review: A strong emotional core behind the supernatural elements (2026)

A natural progression from Damian McCarthy’s previous releases Oddity and Caveat, Hokum feels far more confident in both its storytelling and atmosphere, even if the narrative occasionally borders on being overstuffed. McCarthy leans heavily into mood here, crafting a horror film that feels less reliant on constant shocks and more invested in building an oppressive, lingering sense of unease.

What surprised me most was how well the film balances its tonal shifts. There are several genuinely effective jump scares that never come across as cheap or manipulative, alongside moments of unexpected humor that help break the tension without undermining it. The interplay between Irish folklore, trauma, and grief is woven naturally into the protagonist’s psychological unraveling, giving the horror a more emotional core beneath the supernatural elements.

Adam Scott, as struggling author Ohm Bauman, does a great job grounding the film emotionally, selling both the quieter dramatic moments and the escalating dread - playing an unlikeable protagonist you can’t help but root for.

The atmosphere is ultimately where the film excels most. McCarthy has a strong grasp on tension and pacing, consistently keeping the viewer unsettled through ambiguity, restraint, and several sequences that keep you on edge. Unlike some elevated horror films that overextend themselves trying to appear profound, this knows exactly what it wants to be and executes it without forcing unnecessary complexity onto the material. At under two hours, it moves at a solid pace while still giving its themes enough room to breathe.

That said, I do think some trimming would have elevated it further. Certain story beats and lingering moments contribute to a sense of narrative bloat that occasionally slows the momentum. Even so, the film’s atmosphere, performances, and confidence in tone more than make up for those shortcomings. This easily stands as one of the stronger horror films I’ve seen recently and a noticeable step up from McCarthy’s earlier work.

Horror is one of the few genres where the theatrical experience amplifies the film itself—the tension becomes contagious, every moment of silence feels heavier, and hearing an entire audience react in unison makes the scares land far more effectively than they ever could at home. Go see this one in theatres!

Written by: Timothy Nguyen

HOKUM is in theatres on May 1.

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'Exit 8' Movie Review: For fans of slow-burn and mood driven horror (2026)

Exit 8 is Genki Kawamura’s second full-length release, which he co-wrote with Kentaro Hirase based on the 2023 video game, The Exit 8. I never played the game this is based on, but coming in fresh almost worked in its favour. It feels like a distinctly Japanese take on the kind of liminal horror popularized by A24 and the analog dread of The Backrooms, with clear DNA from P.T. and Hideo Kojima’s cancelled Silent Hills project. Even without that context, it stands on its own stylistically.

What really stuck with me are the ideas simmering beneath the surface. There’s an undercurrent about how childhood experiences linger and reshape us, paired with a more societal reflection on Japan’s rapidly aging and declining population. The use of M. C. Escher-like spatial design feels intentional—looping, disorienting, and almost suffocating—mirroring both psychological entrapment and perhaps even Japan’s rigid, repetitive work culture. It’s the kind of film that invites interpretation rather than spelling things out, which I appreciated more the longer I sat with it.

Atmosphere is easily its strongest asset, and where it truly excels. The film commits fully to its mood: quiet, oppressive, and constantly uncanny. There are several genuinely creepy moments that rely more on tension and framing than cheap scares, and the sound design in particular does a lot of heavy lifting in creating that lingering unease.

While I do think the narrative could have been more cohesive—there’s a sense that it’s reaching for something just slightly out of grasp—it never feels empty. Instead, it plays more like an experiential piece than a traditional story, which might not land for everyone but works if you’re willing to meet it halfway.

Despite its narrative structure, I can’t deny how memorable the journey was and how the ending landed. It’s a film that prioritizes feeling over clarity, and even if it doesn’t fully resolve its ideas, it leaves behind a strong impression through its visuals, themes, and atmosphere. Definitely more than just “average” when you take it all in—especially for fans of slow-burn, mood-driven horror.

Written by: Timothy Nguyen

Exit 8 is in theatres on April 10.

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The Permanent Rain Press Interview with Richard Gau | One Piece Season 2. (Watch in HD)

Richard Gau discusses his role as Rumbar Pirates captain Calico Yorki in season 2 of Netflix's One Piece, including his leadership style, defining blonde hair and smile, fan support, and the emotional impact of Laboon's story. He also chats about key moments opposite Clive Russell (Crocus) and Martial T. Batchamen (Brook), making music, his stage experience, and upcoming series Martyrs.

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The Permanent Rain Press Interview with Yonda Thomas | One Piece Season 2. (Watch in HD)

Yonda Thomas discusses his role as Igaram (Mr. 8) in season 2 of Netflix's One Piece, including his guiding, familial relationship with Nefertari Vivi, filming in Whisky Peak, trust in the Straw Hats, and how his wig shaped his performance. He also chats about working opposite Charithra Chandran, refining his saxophone playing, growing love for filmmaking, and co-founding the South African storytelling centered, New Vessels Productions.

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Tamara Black on refining her filmmaking and creating "The After School Club"

Italian-Canadian filmmaker Tamara Black is on the rise. Pursuing film after studying criminology and a prospective law career, her pivot now allows her the creative freedom for her imagination to run wild—within the boundaries of budgets and logistics of course. Black has been growing her skillset alongside her directing, writing and producing credits, which range from music videos for Vancouver artists, short films and commercials, to podcast series and an HBO Adam Pally comedy special.

Her vision is refined and sharp, and she wants to bring a new perspective to cinema while advocating for space in a still male-dominated industry behind the lens. Her newest short film, The After School Club, premiered to positive reception at Whistler Film Festival last December, and with more projects in development, it won't be long before we see Black's name again.

We spoke with Black about her path to filmmaking, the social commentary within The After School Club and the team effort and stylistic choices made, and the development and approach she takes for new projects.

What can you share about your background in the arts and what sparked that passion in you to pursue this field as a career?

Like most filmmakers, my path to this career was not linear. After taking a film class in high school and falling in love with it as a form of expression - I didn’t formally pursue it as a career path until a decade later. The leap of faith from a comfortable 9-5 to freelancing was certainly scary (and still is sometimes) but ultimately fulfilling. This career has introduced me to people and taken me to places I’d never thought I’d see and I learn something about myself from every project.

What training do you have in filmmaking and how have you gained experience and grown your skillset?

I’m a bit of an outlier in that I didn’t go to film school. I had a scholarship to the Capilano [University] film program but ultimately went the safe route out of high school and got a Criminology degree with aspirations of being a lawyer. I met some of my best friends during that program and for that - I am very thankful - but I also realized the legal path was not for me.

Since making the jump into film, I’ve tried to keep my education current and topical to what I do. I’ve taken introductory filmmaking classes, acting and writing classes to improve my skills as a director, and I’ve also started intimacy coordinator classes, as I believe this skillset is an asset to everyone. Thankfully, producing has a lot of hard skills that cross-over with project management, which is what I was doing in a corporate sense prior to filmmaking.

Who and what are you inspired by as a writer and filmmaker?

Stillness. We are constantly bombarded by information in this age of technology. Not only that, but we can be reached at any time. My best ideas or epiphanies come to me when there aren’t a million tabs open in my brain. I’m trying to implement a new rule; I don’t look at my phone or my laptop for half a day each month. We’ll see how this goes… but I truly believe mental space is necessary for creativity.

You studied criminology in university. Did your studies inform or shape your perspective as a filmmaker in any way?

So much! I think having an academic lens is a form of storytelling in a lot of ways. Forming a good essay or argument is similar structurally to a good script - you have your first act - your hypothesis - middle acts that support your point or your character’s journey - and a final act or thesis that ties it all together. This is obviously a major oversimplification but I had to reframe a lot of things for myself as a protective mechanism - to show myself that I didn’t waste time “figuring out” what I wanted to do but simply took the scenic route and ended up in a cool place.

As a female filmmaker, what challenges have you faced and how have you overcome any stigma or lack of opportunities? How proud are you to be taking up space behind the camera?

I think women are made to feel - or told - that we need to show up in a certain way. That we can only take up space if it fits within the guidelines of how we are perceived. In my opinion, men do not experience this as much and often feel they don’t need to be granted the agency or authority to lead. Women in any male-dominated industry often have to work twice as hard to be afforded the same opportunities and pay. I read a statistic that films directed by women dropped to a 7-year low in 2025 and women directors only made up 8% of this year’s top grossing films. Any time I can direct or support a female led team I jump at the chance - creating opportunities and platforming each other in an industry where we are often overlooked is so, so important.

For me, I know on various occasions that I’ve been offered less pay than my male counterparts for the same role. I’ve been told I need to adjust my tone on set as an AD for both being “too nice” or “not firm enough” although I feel my conduct was similar in both scenarios. I think tone is something women have to tread lightly with when men can often just show up and be themselves without constant adjustment or question.

How would you describe your style as a filmmaker? Are there any signature elements you gravitate toward using in each new project?

I love colour and a strong visual language as the backdrop for the stories I tell. Making moodboards is probably one of my favorite exercises - how are the characters in your story coming to life tangibly and what do certain aspects say about who they are? Developing the aesthetic feels like adding colour to the outline of an image - the main components of story and action are there but how are you elevating them with the other elements?

Aside from commercial projects, you’ve also directed music videos for local Vancouver artists. Tell me about this different kind of collaboration and how the process is guided by the song itself?

My journey into filmmaking definitely happened through music. I was very introverted and in my head growing up - my favorite pastime was either reading or sitting in my room listening to music, which both opened the door to imagination and creativity in different ways. There are so many ways you can approach a music video but I like to be song forward. First things first - is there a performance element? Will the artist be in the video? What other criteria needs to be incorporated to let the piece shine? Sitting down as creatives and answering these key questions are really what kicks off the process for me.

You are also a producer. When you’re solely a producer for a podcast series or comedy special, for example, how does your creative process differ as you take on a different role?

It's interesting because I feel most people view producing as a left-brained endeavour when it involves as much creativity as it does logic. You are the one presented with obstacles that can prevent a production from happening - and you have to find a way around them that is sustainable enough to move forward. This can involve looking for resources or information in places you did not expect, or reaching out to people in your network who can help. Outside of the box thinking is the biggest asset as a producer.

You directed the young adult short, The After School Club, written by Alex Love Kink. How did you become collaborators and align on what you wanted to say in theme and story? What questions did you ask that helped build the story?

I’m really proud of how Alex and I began our collaborative relationship and the work we did to ensure approaching these themes was the right choice. I was familiar with Alex’s work as an actor and writer, and had always admired them from afar, but it wasn’t until a Run & Gun event where my sister started chatting to them that we officially met. From there - we had many Zoom talks about the type of art we wanted to make. We made decks for each other and one overlapping theme we wanted to explore was “social commentary on gender perception.” We decided to do this through the lens of political satire with The After School Club.

Were there any young adult films or series you looked toward for tone? How did you approach being behind the camera as your primary focus?

We drew on films like Heathers, Election, Cruel Intentions and the Netflix series The Politician to form the world of The After School Club. I worked on my script breakdowns leading up to pre-production so I could be as available to my HODs as possible when it was crunch time. I cannot emphasize this enough - hire a good 1st AD - Carl Figueiredo really deserves many flowers on this one. The 1st AD’s ability to run the set allows you to focus on the creative aspects and less on the logistical ones. That and a phenomenal producer team and HODs you trust! Filmmaking is truly a team endeavor, I cannot stress this enough!

I loved the lighting choices you made which created a moody and dramatic air to the school and the students’ dialogue and politics. Tell us about the stylistic choices you made.

Thank you! The stylistic choices in this film are a culmination of efforts from all the wonderful creatives on our team. Belen Garcia, our cinematographer, and I sat down first and built our visual language. We wanted the film to feel “painterly” in its aesthetic. This really sets the tone for the drama to unfold and brings us into how the characters are feeling. They’re high school kids but their moods and problems feel very adult and larger-than-life to them.

Our Production Designer, Isobel Baker-Smith understood the assignment from our initial call. She was already coming to me with ideas after our first meeting, which were just so spot on to this high-brow private school world. Last but not least, a moment for THE COSTUMES. When I engaged Jason Pillay I had it in my head that we couldn’t afford school uniforms. Jason pretty much said “oh, this concept needs uniforms” and I don’t know how the hell he pulled off what he did on such a tight budget, but WOW. I had chills at our wardrobe fitting seeing the looks come to life.

Which was your favourite scene to direct?

Definitely the party scene, and I think this is where my directorial skills shine the most in this film. Because of my background in music videos, big BG scenes with a lot going on feel more familiar and less daunting to me. This scene was very much that, with an important piece of intimate dialogue taking place in the middle of a party. Belen and I wanted this moment to feel intimate, without taking away from the chaos surrounding these two characters. With time running out we could only cover this from one angle so we decided to shoot the conversation from behind the couch, with the party as the backdrop.

The film premiered at Whistler Film Festival in December. How was the reception and also getting to participate in a panel with fellow women artists?

It's always surreal watching something you’ve made with an audience. I’m over the moon hearing people react to certain lines or moments. I was really grateful to speak at the screening and also at a ‘Femme Fatale’ panel with other women directors and artists. The best part is people coming up to you after and sharing their thoughts - this type of engagement with the material is something that is rarely felt, especially as an indie artist. A lot of people told me they wished The After School Club was episodic and this was really affirming for me as someone who wants to branch into television directing.

How do you find the right team for a project and keep the energy and motivation at the right level to match your own? How has networking played a role in your career thus far and how have you built connections within the Canadian film and media industry and beyond?

Filmmaking is certainly an industry of big personalities. I was having coffee with our The After School Club producer Jessica To the other day and we were discussing exactly this. “Networking” can feel weird and disingenuous in this industry sometimes - everyone always has an underlying ask and it can easily become very awkward when people aren’t up front about those things. My rule is always - work with people you like spending time with, because you are going to be spending A LOT of time together. Production often involves long hours, lack of sleep, travel and challenging conversations - who are the people you want to surround yourself with and how can you better understand each other in moments where you might not be at your best?

That’s a bit deep to go for a first coffee chat, but I like to inquire about what types of collaborations people are looking for when we meet. Even if we don’t end up working together, this helps me gauge someone’s temperament and what type of team they’d thrive with. The next time someone reaches out saying “hey, I’m looking for someone for this project who is good at this,” I can hopefully draw on these conversations and give them a recommendation. A lot of this business is simply long term relationship building and forming strong teams.

What are you working on next?

Currently, I’m developing an original drama-thriller Pilled and producing three upcoming comedy specials with the wonderful Brent Hodge directing. I’m also working on a short form series with Alex Kink called Hate Cute - it's Tell Me Lies meets One Day about an anonymous gossip blogger that clashes with a fame-hungry scenester as they fall into a toxic situationship.

If you could be any ice cream flavour, which would you be and why?

Chocolate gelato - no dairy, all sugar! I have a huge sweet tooth that I’m always trying to get under control, unsuccessfully. I’m half Italian and also lactose intolerant so naturally, gelato is my go-to. I do enjoy trying wild flavours sometimes but chocolate is classic!

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For more information on Tamara Black and her work, including The After School Club, visit her official website and follow her on Instagram.

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The Permanent Rain Press Interview with Jazzara Jaslyn | One Piece Season 2. (Watch in HD)

Jazzara Jaslyn discusses finding her voice, harness work, and filming key scenes with her fellow Baroque Works agents as Miss Valentine in season 2 of Netflix's One Piece. She also chats about her joy in joining the One Piece community, performance background, self-empowerment, and creating original content through poetry and filmmaking.

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The Permanent Rain Press Interview with Sophia Anne Caruso | One Piece Season 2. (Watch in HD)

Sophia Anne Caruso discusses her role as Miss Goldenweek in season 2 of Netflix's One Piece, including stylistic choices in character, the audition process, using her Colours Trap, and power dynamics with her Baroque Works partner, Mr. 3. She also chats about her appreciation for the One Piece fandom, keeping David Bowie's spirit close to heart, and personal creative outlets in writing and music.

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‘In Cold Light’ Movie Review: Stubbornly compelling and focused on feeling (2026)

In Cold Light isn’t interested in being slick. It wants to feel like grit under your nails - the kind of film where dust and neon share the same palette. From the moment Ava, played by scream queen Maika Monroe, steps out of a busted hotel room with blood on her jacket, the movie unfurls less like a story and more like a long, grinding breath you’re invited to hold.

Re-emerging from prison with the hope of a new start, Ava’s world is textured with the dust and toll of hard labour on her estranged father’s ranch. There is genuine pathos in their uneasy coexistence — Academy Award winner Troy Kotsur, who plays Ava’s deaf father Will, adds weight with his grounded performance to this fractured bond — yet the narrative often shakes off its potential, tethered instead to familiar crime-thriller beats that blunt its emotional edge.

The world around Ava is equally as raw. Maxime Giroux’s direction bathes this ride in colours that smudge into each other — twilight greys, rodeo dust orange, and the sharp blue of trailer-park lights — giving each frame a hint of dread and beauty all at once. Alberta’s landscapes are magnified by striking cinematography, haunting in their vast desolation - echoing the isolation that Ava carries within, a form of visual poetry in itself.

Still, there’s something stubbornly compelling about In Cold Light. It is less about what it shows than what it feels like — a long night, half-seen through rain-spattered glass, where you keep waiting for the sun even as you know it might never come.

Written by: Timothy Nguyen

In Cold Light is in theatres in Canada on February 27.

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The Permanent Rain Press Interview with Harmon Walsh | Finding Her Edge Season 1. (Watch in HD)

Harmon Walsh discusses his role as Will Russo in Netflix's Finding Her Edge, including his drive to succeed, managing financial pressures, and moving forward after the loss of his wife and business partner. He chats about Will's emotional scenes with his daughters, potential for romance, and a clean slate in season 2.

In addition, he talks about his background in and love for theatre, and acting in beloved holiday movies.

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The Permanent Rain Press Interview with Millie Davis | Finding Her Edge Season 1. (Watch in HD)

Millie Davis discusses her role as Riley Monroe in Netflix's Finding Her Edge, including her dedication to and ambitions in the sport, off-screen family, and evolving relationships with Adriana and Freddie.

She also chats about the pivotal end to season 1 and working closely opposite Madelyn Keys and Olly Atkins, growing up in the entertainment industry, and her defining role in the children's comedy series Odd Squad.

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‘Honey Bunch’ Movie Review: Character-driven drama allowing audiences to draw their own conclusions (2026)

Frequent Canadian collaborators Madeleine Sims-Fewer and Dusty Mancinelli have come together for an indie thriller debut in Honey Bunch, which enjoyed its world premiere at the 75th Berlin International Film Festival. Following came an extensive festival run with screenings at the Toronto International Film Festival, Stockholm International Festival and the BFI London Film Festival, among others.

The film itself follows Diana, played by Grace Glowicki, as she wakes up from a coma and tries to navigate the events and fragmented memories that led her there. Accompanied by her husband Homer, played by Ben Petrie, she soon realizes that things aren’t quite what they seem.

Set in a retro-futuristic sanatorium in the woods and filmed with vintage lenses and a sepia-esque colour grade - Honey Bunch excels in atmosphere. The film has a quiet, almost hypnotic tone, using restrained dialogue and leaning into mood and character over plot - rewarding patience more than passive viewing. Thematically, one could draw comparisons to One Flew Over the Cuckoo’s Nest or Shutter Island in regards to mental health, or quiet, unsettling relationship dramas like Saint Maud or Blue Valentine. Honey Bunch stands apart on its own in regards to how and what our protagonist discovers (no spoilers!). Also refreshing is that the film doesn’t spoon-feed answers - allowing audiences to draw their own conclusions about the characters’ motivations and moral boundaries.

Overall, Honey Bunch, is a thoughtful film that values emotional truth over narrative clarity. It won’t be for everyone, especially viewers looking for something a bit quicker paced or with a definitive resolution, but potentially a match for those drawn to introspective, character-driven dramas.

Written by: Timothy Nguyen

Honey Bunch is in theatres on January 23.

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The Permanent Rain Press Interview with Olly Atkins | Finding Her Edge Season 1. (Watch in HD)

Olly Atkins discusses his role as Freddie O'Connell in Netflix's Finding Her Edge, including the emotional weight he carries from his childhood and skating career, feelings for Adriana Russo, and his process of embodying an ice dancer.

He also chats about the dynamics with competitor Brayden Elliot and working with the creative team, joining Percy Jackson and the Olympians, and developing and performing in a stage production of This Is Our Youth.

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The Permanent Rain Press Interview with Alexandra Beaton | The Next Step, Finding Her Edge Season 1. (Watch in HD)

Alexandra Beaton discusses her role as Elise Russo in Netflix's Finding Her Edge, including managing the expectations of herself and others, dynamic relationships with the Russo family, key emotional scenes, and overcoming adversity.

She also chats about her memorable role as Emily in The Next Step, returning for the series finale, growing with the character, and their dedicated fans.