A housing hero gets her due

Not much of a race when most of the field can’t find their running shoes

In Winnipeg's mayoral race, there are few truly bad ideas, but hardly any really good ones.

Austen adaptation a handsome, delicate cinematic dance

Marianne (Esmé Creed-Miles) can look rather bedraggled in this new version of Jane Austen’s first published novel, which has once again ignited the “loose hair” controversy that has raged among Janeites since the casually coiffed 2005 reimagining of Pride & Prejudice.

Purists might be vexed, possibly even discomfited or discomposed by some of the details in this take on Sense and Sensibility, part of a wave of Austen adaptations and Austen-adjacent material released to mark the 250th anniversary of the writer’s birth.

Would prudent Elinor (Daisy Edgar-Jones) be penning letters to a man to whom she is not engaged? Would even spirited Marianne be running barefoot through the woods?

Possibly not. But if director Georgia Oakley (Blue Jean) and rookie screenwriter Diana Reid don’t adhere to the strict letter of Austen’s work, they catch much of its spirit. This is a vivid and deeply felt examination of the enduring power of sisterhood, which is at the core of not just the 1811 novel, but of Austen’s own life in the profound importance of her relationship with her sister Cassandra.

Author Emily St. John Mandel’s Exit Party a story of hope in dark times

If Emily St. John Mandel’s new novel Exit Party is in any way prophetic, Americans should be worried.

The B.C.-born, New York-based author’s bestselling fourth novel, 2014’s Station Eleven, chronicled a performing troupe in a post-pandemic world. The novel experienced a second wave of popularity when the COVID-19 pandemic took hold, and when HBO’s Station Eleven miniseries premièred in late 2021.

Mandel launches Exit Party, her seventh novel, at McNally Robinson Booksellers’ Grant Park location tonight, where she’ll be joined in conversation by Winnipeg novelist Joan Thomas.

Published in September by HarperCollins, Exit Party sees Mandel once again working in the near future, in this case in a novel that features two timelines — one (dubbed the A-side in the novel) where the U.S. has fractured into a number of small countries following a civil war, and another (the B-side) where a singular, autocratic surveillance state has tightened its grip over its citizens.

Playoff hopes dwindle for Bombers after loss to Edmonton

EDMONTON — It’s a script the Winnipeg Blue Bombers should’ve shredded, burned, and buried.

Go to Edmonton, dominate the first half, crumble in the final two quarters and lose.

That’s what happened in Week 12, when the Bombers blew an early 16-point lead in a 22-19 loss. And in their return to Commonwealth Stadium on Friday night, the Bombers went down a nearly identical path in a 35-27 defeat to the Edmonton Elks.

In their latest disappearing act, the Blue and Gold led 21-10 with less than a minute remaining in the first half before seemingly vanishing into thin air.

Get to know your Jet: Neal Pionk

“Give it 110 per cent.” “Get pucks in deep.” “One shift at a time.” “Play our game.” “Keep it simple.”

Hockey has a language all its own. Unfortunately, after hearing the same phrases repeated often enough, that language can start to sound a lot like white noise.

So we’re going to try something different.

The Free Press will occasionally sit down with a Winnipeg Jets player at his locker-room stall for a wide-ranging conversation about the stuff you don’t always hear in a media scrum.

Misused ensemble, underconfident script keep Street Fighter game adaptation from landing its blows clean

Adaptations of fighting games come built-in with a major problem: how does one tell a coherent story about a game with no true protagonist?

Sadly, Street Fighter doesn’t know.

When it debuted in 1991, Street Fighter II (upon which most of this film is based) featured 12 “world warriors,” eight of them playable and with their own motives.

Managing such a cast requires a script capable of efficiently introducing them and then giving everyone decent reasons to interact — or homing in on a few and letting the rest be set dressing. Director Kitao Sakurai opts for the latter, focusing on Japanese warrior Ryu (Andrew Koji), American Ken Masters (Noah Centineo) and Interpol agent Chun Li (Callina Liang).