Finally, after the many Maclean's articles, bad word of mouth, and even rejection by its own director, Picture Claire was finally released to the public in June 2003, via DVD and Video.
I'm puzzled to see how Alliance Atlantis considered "Texas Rangers" to be worthy of a wide release, while they chose to write off their $11 million investment in the first decently-budgeted Canadian film.
With a pair such as Semi Chellas, who writes "The Eleventh Hour" series on CTV, and Bruce McDonald, one of Canada's most satanic directors with "Roadkill" and "Highway 61" under his belt, how could you go wrong?
They did not. This was a stylish, original movie, which was a treat to watch. Adding to the glamour was seeing some of those little things we take for granted in Ontario, such as passports, drivers' licences, and the Maple Leaf plastered up there on the screen, likely on film for the first time. Paul Haslinger's music score was certainly something new and eclectic, along the same lines as Nash The Slash brought in McDonald's earlier films.
There were a few rough edges - Camilla Rutherford's pointless role, Peter Stebbings' over-the-top dorkiness, Gina Gershon's seeming ineptitude with a garretting wire, Juliette Lewis' slow drawl. But what the heck, I liked it and enjoyed it.
This may be Canadian film's ultimate swan song. Check it out before our country's cultural apathy forces the video store to get rid of it.
I'm puzzled to see how Alliance Atlantis considered "Texas Rangers" to be worthy of a wide release, while they chose to write off their $11 million investment in the first decently-budgeted Canadian film.
With a pair such as Semi Chellas, who writes "The Eleventh Hour" series on CTV, and Bruce McDonald, one of Canada's most satanic directors with "Roadkill" and "Highway 61" under his belt, how could you go wrong?
They did not. This was a stylish, original movie, which was a treat to watch. Adding to the glamour was seeing some of those little things we take for granted in Ontario, such as passports, drivers' licences, and the Maple Leaf plastered up there on the screen, likely on film for the first time. Paul Haslinger's music score was certainly something new and eclectic, along the same lines as Nash The Slash brought in McDonald's earlier films.
There were a few rough edges - Camilla Rutherford's pointless role, Peter Stebbings' over-the-top dorkiness, Gina Gershon's seeming ineptitude with a garretting wire, Juliette Lewis' slow drawl. But what the heck, I liked it and enjoyed it.
This may be Canadian film's ultimate swan song. Check it out before our country's cultural apathy forces the video store to get rid of it.