Media

SELECTED MEDIA QUOTES

 

“Peter Lynch may just be Canadian cinema’s missing link… Lynch’s films with their aesthetic of backyard primeval, connect the quixotic heroes of the 70’s with their media saturated 90’s counterpart…Lynch is hip to all his story’s rich echoes, and conjures up hints of Hemingway, Werner Herzog, Cervantes. What elevates this movie above the quirks of its subject is Lynch’s feel for the mythic dimension. The donut shop is Hurtubise’s Camelot. The helicopter hauling the massive suit across the Rockies looks like the airlifted crucifix in La Dolce Vita, which in turn connects Hurtubise both to Christian sacrifice and the modern irony about martyrdom. With each succeeding film, Lynch is developing into a sharp, uncondescending chronicler of the white Canadian male psyche. This not a small thing.”

-Cameron Bailey NOW Magazine

 

“With The Herd, Peter Lynch’s continuing cinematic exploration of the secret, or at least buried, history of Canada acquires still more depth and mythological resonance. Beyond the genuinely inspired imagined and real histories of Arrowhead’s Ray Bud and the compulsive self-mythologizing of Project Grizzly’s Troy Hurtubise, Lynch has delivered a mediation on nothing less than the very epistemological underpinnings of how we create history in the infinite time and space of the North.”

-Tom McSorley, Take One  

 

“With 1996’s Project Grizzly, Lynch produced one of the most provocatively entertaining and loopily Canadian documentaries of the decade. A portrait of a real-life, freelance “close-quarter bear researcher” – the bizarrely charismatic Troy Hurtubise – the movie was at once a vivid portrait in eccentricity, a meditation on anglo-Canuck masculinity and a bold rethinking of the Canadian  “documentary tradition” in richly mythic terms.”

-Geoff Pevere The Toronto Star  

 

“In earlier films, Lynch focused on obsessive crazies as if he were a Canadian Errol Morris, but here he breaches the territory Werner Herzog in charting a personal journey across an unforgiving wilderness. Each of his films is another province on a growing cultural map. In hindsight, Arrowhead and Project Grizzly are less about individual quirks than they are about Canada’s collective unconscious.”

-Mark Peranson  NOW magazine    

“A filmmaker must work extra hard to make a distinctly Canadian movie. Striking out into the hinterlands helps. No Canadian director in Toronto struck out further than Peter Lynch, who traveled into the Rockies to track a man’s obsession with the grizzly in the fascinating Project Grizzly.”

-Geoff Brown London Times

 

“Canadian ‘Grizzly’ strikes a Northern nerve…One of the most popular movies in this year’s Toronto International Film Festival is Peter Lynch’s Project Grizzly.”

-Dave Kehr Daily News  

 

“When you think National Film Board documentary, you might think “patriotic duty.” But Project Grizzly has more laughs than any Hollywood comedy out there, and more surreal moments than Twin Peaks.”

-Alison Gilmor Winnipeg Free Press  

 

“Forget Godzilla and Jurassic Park. When it comes to making movies about the vast battles of man and beast, Canadian director Peter Lynch, director of Project Grizzly, has no rivals. His newest film, The Herd, one of the highlights of this year’s Perspective Canada at the Toronto Film Festival…

-Liam Lacey The Globe and Mail  

 

“You’ll trudge a long way before finding a better metaphor for contemporary national experience than Troy Hurtubise, the obviously quixotic subject of Canadian director Peter Lynch’s fascinating, hilarious and slightly unsettling feature documentary.”

-Geoff Pevere The Globe and Mail  

 

“Project Grizzly is one of the funniest features length Canadian movies ever made…19th century Russia had Oblomov, who slept his way through life; frontier Americans had Billy the Kid who shot his way through life. Now, turn of the century Canadians have Troy Hurtubise, whose quest involves creating an armor so thick that he can endure incredible attacks, all of them self-inflicted, without feeling a thing.”

-Carole Corbeil The Toronto Star