FAIR PLAY – Review by Susan Granger

In Fair Play, first-time feature filmmaker Chloe Domont introduces a workplace/erotic melodrama that exemplifies a contemporary dilemma facing many ambitious, highly competitive couples. The first scene introduces Emily and Luke, who are into carnal lust, if not love. And when an engagement ring drops out of Luke’s pocket, Emily realizes that he’s serious about marriage. When a coveted PM (portfolio manager) promotion opens up, there are rumors that Luke is next-in-line, but Emily gets the post, along with an impressive office.

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FAIR PLAY – Review by T.J. Callahan

Fair Play is anything but fair. The new Netflix romantic thriller slices and dices its hard core players mentally and physically and then kicks them to the Wall Street curb showing us that despite our society’s attempt at progressiveness, the male-female power dynamic still exists. First time feature film writer and director, Chloe Domont has a sharp and sassy career ahead of her if she continues to bring this slick and steamy style to her very human stories.

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FAIR PLAY (TIFF 2023) – Review by Karen Gordon

Chloe Domont makes a fantastic feature film debut with Fair Play, a taut film that moves from drama to comedy to horror and back to drama as in it’s depiction of gender power dynamics both in relationships, and in the workplace. The film is set in the pressure cooker of a hedge fund company, Anyone who has found themselves on the losing side of a work situation will relate to what’s going on. While the gender issue is central here, the film doesn’t tip into something too simplistic.

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VESPER – Review by Valerie Kalfrin

With a story as immersive as its lived-in world, the sci-fi adventure Vesper grabs the heart and the imagination. It unfurls ideas about ecology and social responsibility as gently and unobtrusively as those tendrils, with images and ideas that linger. It also features an engaging 13-year-old protagonist, curious about her world and wanting to make a better one.

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THE VIRTUOSO – Review by Susan Granger

What a shame that – after winning the 2021 Best Actor Academy Award for The Father – Anthony Hopkins’ new neo-noir thriller is such a dud! The titular character (Anson Mount) is a nameless contract killer, a methodical mercenary, who shows no remorse about the way he earns a living…until a woman, an innocent bystander, is burned to death in front of her young child. He knows it’s “collateral damage,” but the horror awakens his conscience.

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THE GENTLEMEN – Review by Susan Granger

Writer/director Guy Ritchie concocts a complicated, contrived, often confusing plot that’s filled with bloody bickering and betrayal, augmented by clever twists, along with a total disregard for political correctness, since one character is offensively referred to as “the Chinaman” while another is “the Jew.”

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