As impressively exhaustive as it is as a work of history, Dawson City: Frozen Time plays even more affectingly as Morrison’s most direct love letter to cinema: as a tool not only for recording history, but also for capturing between-the-lines truths that history books can only graze.

As keenly observed by Korem and cinematographer Jacob Hamilton, Dealt achieves the neat trick of giving its main subject a rewarding character arc.

…lively, tuneful and colorful, although the pace doesn’t really pick up until the midpoint in the film.

Kenny Ortega once again directs the production, which is lively, tuneful and colorful, although the pace doesn’t really pick up until the midpoint in the film. The production numbers are brilliant, in their way: You have to really look closely to figure out that the choreography is largely people skipping in unison, with an occasional synchronized twirl, and the use of quick cuts makes it appear as though every member of the main cast can dance as well as the professional dancers surrounding them.

What better way to take on the ludicrous hoop-jumping of celebrity and political narcissism than through the lens of two narcissists for whom celebrity and pop culture are their lifeblood?

Finding the drama and humor in everyday situations like these isn’t easy, but Avedisian makes it look as natural as swinging on a vine.