Saturday, February 17, 2018
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Chelsea Phillips-Carr

Chelsea Phillips-Carr is a writer and film critic from Toronto.

‘Black Creek’ is a Supernatural Slasher That is as Racist as it is Poorly...

Deadly serious in execution, one can’t excuse the slight plot as B-schlock meant to be laughed at.

50 Years Later: What We Can Take From ‘Valley of the Dolls’

'Valley of the Dolls' may be reduced to “trashiness,” but we’d be denying its skill and sensitivity - and perhaps the value of trash.

‘Bombshell: The Hedy Lamarr Story’ Presents Us With the Actress and Inventor’s Unreal Life

Overall, 'Bombshell' is a conventional doc with a misguided thesis, saved by Lamarr’s exceptional life.

Processing Trauma in ‘Gerald’s Game’

The ending to 'Gerald's Game' undercuts its original perspective, diminishing its potential for a deepened look at trauma.

‘Indivisibili’ Replaces Complexity with Easy Melodramatics

A self-indulgent work, seemingly more about the director's own conflict over what turns him on than anything else, 'Indivisibili' has very little to offer.

TIFF 2017: ‘Vampire Clay’ Is Fun But Forgettable

'Vampire Clay' is an enjoyable B-level horror film, but somewhat lacking in originality.

TIFF 2017: ‘Let The Corpses Tan’ Is Exhaustingly Stylish

'Let the Corpses Tan' is perhaps too high-powered, running its perfected aesthetics into the ground.

TIFF 2017: ‘Caniba’ Loses Its Way

'Caniba' has little to offer beyond shock value.

TIFF 2017: ‘The Crescent’ is a Slow-Burn Horror Film that Misses the Mark

Spot-on aesthetics and atmosphere lack the strength to save 'The Crescent' from its meager plot and weak characters.