Therapy vs self-medicating. Films reviewed: Canadian Strain, Transfert, Freud

Posted in 1800s, Austria, Canada, comedy, Crime, drugs, Italy, Mental Illness, Mysticism, Psychological Thriller, Sex, Suspense, Suspicion, Toronto, TV by CulturalMining.com on March 27, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM. 

It’s a tough time for movie critics.

All the cinemas are closed, spring film festivals cancelled, and many new movies originally scheduled for release are postponed. Indefinitely. Meanwhile, like many of you, I’m in isolation, cooped up at home. This will be my first attempt at home recording – please bear with me for the poor sound quality. But when faced with a crisis, you look for alternative ways of dealing with your problems. Some people self-medicate while others turn to therapy. So this week I’m looking at three new movies (all online), two about psychiatry, and one about marijuana. There’s a psychoanalyst in fin-de-siècle Vienna; a psychotherapist in modern Sicily; and an out-of-work cannabis dealer in contemporary Toronto.

Canadian Strain

Dir: Geordie Sabbagh

Anne (Jess Salgueiro) is a Toronto entrepreneur, who runs a successful business out of her own home. She has long curly hair and a determined look. Anne is kind, reliable and always there for her longtime clients. She likes her work and is good at it. Her social life revolves around her job. And when she needs advice, she turns to her father (Colin Mochrie). She also has an agreement with her mustached boyfriend: they keep there jobs separate. Why? Because she’s a pot dealer and he’s a cop. But when Canada suddenly legalizes cannabis, everything changes.

Suddenly Anne’s longtime clients, people she considers family, all defect to the public option. She’s forced to rethink her entire life. Should she work for The Man? Or try something new?

Canadian Strain is a gentle comedy set in Toronto just a short while ago, when the province shifted to legal cannabis. It’s more interesting than hilarious. It’s also totally Toronto. It combines bland government bureaucrats, flakes, hippies, grandmas, aggressive men on the prowl, and organized criminals. It’s told through Anne’s point of view, but there are many fascinating side characters, both and good bad, mainly played by women. Definitely a niche movie, but I enjoyed Canadian Strain.

Transfert

Wri/Dir: Massimiliano Russo

Stefano (Alberto Mica) is a young psychiatrist in Catania, Sicily. Kind, good-looking and empathetic, he has been fascinated by psychiatry since he was a child. Educated in Bologna, he is back in Sicily looking for new clients to establish his practice. He works out of his home, a modernist flat that he shares with his wife.

Among his first patients are two sisters who live together. Chiara (Clio Scira Saccà) is pretty and vivacious but accident-prone. She’s had three car crashes in the past month… are these accidents intentional? Letizia (Paola Roccuzzo) is mousy and withdrawn but intellectually curious. The two are fiercely competitive and constantly bickering. Stefano treats them equally and separately. He gets along well with all his patients.

But when new client enters the scene – a man who shares his name – things start to go wrong. This other Stefano (played by the film’s director) though devious and cruel, quickly wins the therapist’s trust. Using sophisticated equipment, bad Stefano spies on his fellow patients. He uses this information to plant the seeds of suspicion in the doctor’s mind, which could lead to terrible consequences. Can a psychiatrist be gaslit by one of his patient? Or will he discover the truth?

Transfert is an indie, psychological thriller about an innocent, young psychotherapist trapped in a patient’s schemes. This is a low budget film so much of it takes place indoors, with some drone views of the city from above. But it still manages to thrill and surprise. There are visual references to Truffaut, among  others. It’s shot in beautiful Catania, a baroque city beside Mt Etna, a volcano ready to erupt (like many of the characters). I like the way Transfert tells the story through a sympathetic therapist’s eyes – something you rarely see. And while I thought the twisted ending was implausible, it still managed to surprise me. I liked this one, too.

Freud

Co-Wri/Dir: Marvin Kren

It’s the 1880s. Fin-de-siècle Vienna is a cauldron of new ideas in art, music, architecture and politics – think Mahler, and Berg, Klimt and Loos and many others, all in one city, the hub of the vast Austro-Hungarian empire.

Inspector Kiss (Georg Friedrich) is there, a former soldier with a shaved head and curled mustache. He’s a cop who solves crimes. So is Fleur (Ella Rumpf) a beautiful and dark, sultry young woman part of the Hungarian nobility. She serves as a medium for the countess at séances where she falls into a trance leading to strange voices and ending with a pseudo-epileptic seizure, complete with foaming at the mouth. And then there’s Sigmund Freud (Robert Finster), famous as the father of psychiatry and psychoanalysis. But here he’s an unknown young neurologist and a recent grad from medical school. He’s trying to establish himself. He has yet to write his first book and lives in an apartment where he is threatened with eviction for not paying rent. He’s just starting to explore the unconscious, but he’s still at the stage of parlour tricks, where he uses his pocketwatch to hypnotize patients. He’s also addicted to cocaine.

These three people are thrown together after a terrible attack on a young woman. Inspector Kiss runs to Freud’s apartment (he’s a physician) with the victim, saying “save her!”. And Fleur has a vision of who the killer might be, but it’s buried somewhere deep inside her mind. She can’t remember what happens during her trances. It’s up to Freud to hypnotize Fleur to discover the truth. But will that reveal the real killer?

Freud is a new TV show, a detective mystery/thriller, with a cop, a psychiatrist, and a psychic trying to catch a serial killer in late 19th century Vienna. But that’s just the frame. It’s also a sexual romance, and an historical drama. Throw in decadent royalty, avaricious artistocracy, angry nationalists, rising right-wing politics, mysticism, misogynyand anti-semitism, duels, and opera… and you’ve got a rich and engrossing drama that’s not your average mystery. And if I’m not mistaken, this is the world’s first sexy Freud, two words I never thought I’d hear in the same sentence. I’m binging this series and am only half through but, so far, it seems well-worth watching.

Transfert and Canadian Strain are both available online; and you can watch Freud on Netflix.

This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.

Friday the 13th movies. Films reviewed: Extra Ordinary, I Still Believe, The Hunt

Posted in Action, Christianity, College, comedy, Ghosts, Horror, Ireland, Music, Romance, Thriller by CulturalMining.com on March 13, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

If it feels like the world is going crazy, well it is. And it’s Friday the 13th, too. This week I’m looking at two movies with a sinister theme, and one more for believers. There’s a car rental clerk fighting the “liberal elites”, a  driving instructor fighting Satan, and a Christian rock devotee using prayer to cure cancer.

Extra Ordinary

Dir: Mike Ahern, Enda Loughman

Rose (Maeve Higgins) is a middle-aged psychic driving instructor in Eastern Ireland. She believes ghosts are everywhere. As The world is gong crazya little girl, she used her paranormal abilities on her Dad’s TV show. But when he died she blamed herself and stopped listening to ghosts. Nearby lives Martin (Barry Ward) a highschool shop teacher whose house is haunted by a poltergeist. He’s used to it burning his toast or throwing away unhealthy food like donuts. But when he finds his daughter Sarah in a trance and floating above her bed, he senses something has changed. So he goes to Rose for help. She thinks he’s cute – but does he like her that way?

What neither of them realize is Sarah’s possession is the work of Christian Winter (Will Forte) a sinister pop star who lives in a nearby castle. Winter is a one-hit wonder trying to regain his fame with a little help from Satan. But to do so he needs to sacrifice a virgin – that’s Sarah, Martin’s daughter. Can two psychic talents overcome powerful forces? And are Rose and Martin just friends? Or is there something more?

Extra Ordinary is a very cute paranormal comedy. Much of its humour comes from the “ordinary” — average, middle-aged people with normal lives – set against a bizarre world of magic and ghosts. And it’s presented within a retro world full of Swiss Balls and VHS videos.  Higgins is hilariously deadpan as Rose, while Ward shows his stuff when his body is occupied by a series of spirits. If you’re looking for a nice light break from the ordinary, this is a fun one to watch.

I Still Believe

Dir: Andrew Erwin, Jon Erwin

It’s 1999 in Indiana. Jeremy Camp (KJ Apa: Riverdale) says good bye to his parents (Gary Sinise, Shania Twain) and his two little brothers and heads off to college in California. He carries his prize possession: an acoustic guitar. At college he meets Jean-Luc (Nathan Parsons) a popular musician who lets him work as a roadie at a show. And almost immediately he falls in love with a young woman he sees in the audience. Melissa (Britt Robertson) is smart, pretty, and is into astronomy.. Jeremy’s career takes off with help from Jean Luc, even as his love — or infatuation – with Melissa grows. Problem is she’s dating Jean Luc… or is she? Later she comes down with a terrible illness. Can Jeremy cure her using prayer?

If you haven’t noticed yet, I Still Believe is a music biopic (apparently Jeremy Camp is a wildly popular musician, though I’ve never heard of him) and a faith-based movie. Faith-based means capital “C” Christian. It means no nudity – even male characters can’t take their T- shirts off – no violence, no alcohol, no cussing, no cigarettes, no gambling. It’s like Sunday School.

But there’s also no conflict, no tension, no suspense, no villain.

When characters talk to each other, they’re also talking to Jesus. And when Melissa looks up at the stars she says “They’re God’s paintbrush!” Now don’t get me wrong; the acting was actually good, and the script wasn’t corny or cringeworthy, but the movie itself was just really boring. And for a faith-based movie you’d think it would make you cry a bit. But this movie is so whitewashed, so denuded, that it has no soul. Unless you’re a true believer, stay away from I Still Believe.

The Hunt

Dir: Craig Zobel

What if the culture wars were actual wars, not just twitter spats? This might be what’s going through the minds of 12 random people who wake up in a field somewhere in Vermont (or so they think). They are being attacked by unknown others with crossbows, hand grenades, and assault weapons. And all around them are trip wires and booby traps set to kill. But who is doing this to whom, and why? Turns out the hunted are all Hillary Clinton’s “deplorables”: conspiracy theorists, MAGA loyalists and xenophobes. Their hunters? Politically-correct liberals who use gender-appropriate pronouns and keep farm animals as pets. Who will win this culture war?

The Hunt is the latest version of the classic The Most Dangerous Game done as a very dark comedy. It’s an extremely violent thriller, with occasional bouts of gruesome gore. Some characters are introduced and them immediately killed off. The story focuses on Crystal (Betty Gilpin) an Afghan war vet who works at a car rental service. She is neither a deplorable nor a liberal, just a tough woman with a survival instinct, a suspicious mind, and special op training. She questions everything she sees, even after she escapes from the so-called hunting ground. Are the people she meets friends, foes or actors playing roles? And can anyone be trusted?

The Hunt deals with obvious stereotypes and cliches but in very funny ways. It’s violent, scary and more than a bit gory. And it’s not for everyone… but I enjoyed this flick.  And it’s the perfect movie to watch during a pandemic.

Extra Ordinary, I Still Believe, and The Hunt all open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Far from home. Movies reviewed: Greed, Wendy, Blame Game

Posted in comedy, Corruption, Espionage, Germany, Greece, Kids, Satire, UK, US by CulturalMining.com on March 6, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s International Women’s Day, and you can see films directed by Women all weekend long at FEFF, the Female Eye Film Festival at the TIFF Bell Lightbox.

This week I’m looking at three new movies – one from England, one from Germany, one from the United States — about people who willingly travel far from home. There’s a German agent meddling in Central Asia, little kids running rampant on a volcanic paradise, and a filthy-rich tycoon planning a birthday party in a coliseum he’s building on a Greek island.

Greed

Dir: Michael Winterbottom

Sir Richard McCreadie (Steve Coogan) is a vulture capitalist and a tycoon in the rag trade. His M.O. is to take over successful clothing stores, selling all its real estate, moving factories to Sri Lanka and hiding all the profits in a European tax haven. McCready is filthy rich — Fleet Street calls him McGreedy – catering to the endless demand for ready-made, disposable fashion. He’s also insufferable. His pearly whites look factory- made and his tan is as fake as Donald Trump’s.

For his 60th birthday he plans a mammoth celebration on a Greek island, complete with a newly-built colliseum, gladiators, and a lion. He also wants to rescue his reputation and his brand from scandal. But things aren’t going the way they’re supposed to. Members of his family and his ex-wife keep getting into trouble. There’s a reality show being shot there, Syrian refugees living on the public beach “spoil his view”, and his various servants and employees find him impossible to work with. But when he foces his employees to dress as Roman slaves, the tide turns.

Can money buy happiness? Or are the peasants revolting?

Greed is a political satire about the immense wealth and greed of the richest few, and the suffering of everyone else. It’s a complex story chronicled by his  official biographer’s eyes (David Mitchell). It jumps back and forth from his days at an elite boarding school, his rise to fame, and the people he trampled on on the way to the top. It also includes scenes in his Sri Lankan factory, with allusions to the the horrors of similar places in Bangladesh. I will see anything directed by Winterbottam and anything starring Steve Coogan, so I had great expectations. Which also meant  I automatically enjoyed this movie. But I was mildly disappointed that it wasn’t as funny nor as outrageous as I’d hoped. They could have done so much more — it felt almost like Coogan and Winterbottom were holding back.

Greed is a fun movie but not a great one.

Wendy

Dir: Benh Zeitlin

Wendy (Devin France) lives above a whistle-stop diner in Louisiana, with her mom and her twin brothers . It’s always Egg O’Clock at the Darling’s restaurant. Wendy draws pictures while Dougo and James (Gage and Gavin Naquin) do elaborate dances and poses by the jukebox. Kids have hope while the Olds are all miserable. Who would want to grow up? So the three of them jump aboard a freight train for a chugga-chugga, choo-choo, down by the bayous.

Their tour guide is a mischevious boy named Peter Pan (Yeshua Mack), who takes them to a secret island inhabited only by kids known as the Lost Boys. There’s a volcano, steep cliffs, spouting geysers, and hidden caves — a great place for exploring, playing, and having a kickass good time. It’s a place where you never have to grow up. They are ruled by an ancient deity, deep in the ocean, called Mother. As long as they believe in her nothing bad can happen. But when Doug disappears his twin loses faith… and as soon as you lose faith, you start to age, and are forced join the old codgers on the other side of the island. Things in Never Neverland might not be the paradise she expected. Does Wendy have faith in the ocean mother?  Can she find her twin brothers and take them home? Or is she stranded forever on this island?

Wendy is a new spin on the classic Peter Pan story told through Wendy’s eyes, and transferred from Victorian London to the Gulf Coast with a multiracial cast. It uses experimental, handheld camera work and first-time actors to give the film spontaneity and authenticity. Problem is the movie isn’t fun. The characters don’t seem that interested in where they are, and the storytelling is too slow. But the biggest problem is the musical score: it’s orchestral and lush and traditional but totally at odds with the film’s experimental look.

It just doesn’t work.

Blame Game (Das Ende der Wahrheit)

Wri/Dir: Philipp Leinemann

Martin Behrins (Ronald Zehrfeld) is a spy. He poses as a translator for the German refugee board, and uses his position to recruit assets from the middle east and central asia by blackmailing them into compliance. In the fight against terrorism’ he arranges for the assassination of an anti-western figure. Martin is divorced — his ex wife and son couldn’t handle the constant  threat of death and danger.  So he spends his off hours at a beautiful lakeside cottage with his girlfriend Aurice (Antje Traue). She’s an investigative journalist focussing on government corruption. They’re at odds but agree to keep their work separate from their home lives. But when she uncovers a story about the assassination that Martin planned, things go south. The “simple” drone killing turns out be not simple at all. And then a terror attack kills someone Martin knows very well.

A new bureaucrat named Lemke (Alexander Fehling) – a pencil pusher from another department – is brought in to take over. He knows nothing about the world of espionage, but he lords his authority over Martin. Martin, meanwhile is trying to figure out what’s really going on. Is there a private corporation involved? Was this all a set up with him as the patsy? Who is corrupt and who can be trusted?

Blame Game is a fascinating look at international espionage, the “war on Terror”, the international politics, shady arms deals and the CIA. It has a juicy conspiracy at its core, and enough twists and turns to the plot to keep you guessing. While I found the camerawork and editing pedestrian, the acting and the gripping suspenseful story more than made up for it. If you’re into German film you’ll recognize Zehrfeld from Phoenix and Babylon Berlin, with Traue and Fehling also everywhere. Blame Game is a great political thriller reminiscent of Three Days of the Condor, Homeland, or 24. And the upcoming screening will be its North American debut. I liked this spy thriller a lot.

Wendy and Greed both open today in Toronto; check your local listings. Blame Game is playing on March 17 at the TIFF Bell Lightbox as part of a Goethe Film series called The End of Truth.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with Ken Loach about Sorry We Missed You

Posted in Family, Movies, Newcastle, UK by CulturalMining.com on March 6, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

The Turners are a happy family in Newcastle, in Northern England. Ricky is a labourer and Abby a caregiver, while their schoolkids, Seb and Liza Jane, are into graffiti art and selfies. They dream of owning a home and sending the kids to University. Problem is Ricky and Abby can’t make enough money to pull the family out of perpetual debt.

So, to change their fortunes, Ricky buys a white van and signs on as a contractor for a package delivery service. The new job promises independence, freedom of choice and untold riches. But he soon discovers its real nature – brutal hours, hardass rules, no time off, and huge hidden deductions, fees, and fines. Will this new job tear the family apart? Can they ever escape the gig economy? Or have they traded freedom and happiness for a white van and a stack of delivery cards saying “Sorry We Missed You”…?

Sorry We Missed You is a new movie about the unforseen effects of the gig economy on a Newcastle family. It’s directed by prize winning filmmaker Ken Loach known for his hard-hitting, poignant movies that don’t shy away from topics ignored by Hollywood. Films like I Daniel Blake, The Wind that Shakes the Barley, Land of Freedom, Riff-Raff and many others.

Sorry We Missed You opens on March 6, 2020 in Toronto.

I spoke with Ken Loach in London by telephone from CIUT 89.5 FM in Toronto.

Serious and sexual. Films reviewed: Seberg, The Jesus Rolls, Beanpole

Posted in 1940s, 1960s, comedy, Crime, Drama, Espionage, France, Friendship, Hollywood, Russia, Sex, USSR, WWII by CulturalMining.com on February 28, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Want to watch some grown up movies? This week I’m looking at three unusual films dealing with serious topics — crime, war and surveilance — in a sexualized context. There are best friends in post-war Leningrad, movie stars and activists in 1960s Hollywood, and sex-starved ex-cons in present day New York.

Seberg

Dir: Benedict Andrews

It’s Paris the 1960s, a time of antiwar demonstrations and sexual revolution. Jean Seberg (Kristen Stewart), is a movie star of the French New Wave. She is beautiful a striking face framed with short blonde hair. She lives in Paris with her husband, the writer Romain Gary (Yvan Attal) and their young son. And now she’s making her triumphant return to Hollywood. But in the first class airplane cabin, she noticed a kerfuffle . A young man named Hakim Jamal (Anthony Mackie), a member of the Black Panther Party, objects loudly to the fact that well-known civil rights activist Betty Shabbaz (Malcolm X’s widow) is sequestered in economy class.  Jean offers to exchange seats, calming the waters. They meet up again in LA and sparks fly, leading to a secret affair. But what neither of them realizes is the FBI is photographing and recording everything they do. J. Edgar Hoover’s Cointelpro program considers activists on the left – and particularly Black activists – as enemies of the state.

Bright-eyed and bushy-tailed agent Jack (Jack O’Connell) and his conservative partner Carl (Vince Vaughan) follow the two from inside a painted van, listening in on their most intimate conversations. Soon the FBI’s focus shifts from Hakim to Jean, as the leak salacious details to Hakim’s wife and Hollywood gossip columnists, in an attempt to ruin his status and her career. As Jean becomes increasingly paranoid (and for good reason – she’s being gaslighted by the FBI!) she grows more and more frantic, all observed by agent Jack. His consience is pricked. But will he  do something to stop this persecution of Jean Seberg?

Seberg is a fascinating drama, based on a true story, about the FBI spying on its own citizens regardless of the consequences and moral cost suffered by their victims. It also gives a good look at Hollywood in the 1960s and the interplay among black activists and their white sympathizers. Seberg is part fashion and glamour, part intrigue and espionage.  It feels a bit like The Lives of Others (2006, Florian Henckel von Donnersmarck), where you get to know both the spies and those spied on. While the dialogue and acting seems wooden and clugey at the beginning, it gets better as it moves along, as you get to know and feel for the characters.

I liked this movie.

The Jesus Rolls

Wri/Dir: John Turturro

Jesus Quintano (John Tuturro) is a Puerto Rican American known for his skill at bowling, his sexual prowess and his penchant for pointy purple shoes. He’s on his prison bowling team, and when the Jesus bowls, Jesus rolls. But his term has finished and he’s being released. His old pal Petey (Bobby Cannavale) is at the gate to help him adjust to life outside. But Jesus doesn’t want to adjust; he wants to live his life to the fullest. He immediately steals a vintage, orange muscle car and starts cruising the streets of his small town. He visits his mom, a sex worker, and then hooks up with his ex-girlfriend Marie, a French hairdresser (Audrey Tautou: Emélie). Petey is with him all the way. The three of them embark on a spree of petty crime across the state. They steal and ditch vintage cars, run away from diners without paying, and hold up doctor’s offices.  At night they experiment in bed… but there is one factor missing. Marie enjoys frequent sex but has never had an orgasm. Can Jesus and Petey bring Marie to satisfaction before they are all thrown in jail?

The Jesus Rolls is one unusual picture. It’s a sex comedy, a bittersweet crime drama, and a buddy movie/road movie. Judging by the fashions, hair styles and vintage cars, it seems to take place in the late ’80s, but suddenly an iPhone or smart car will appear dragging it back to the present. It takes a character from one film – Jesus in the Coen Brothers’ The Big Lebowski – and transplants him into the plot line of another one: Les Valseuse  (1974, Betrand Blier). Many of the characters are half-naked, half the time, the Jesus character is always over the top, while others are more subtle.

Does it work? Kinda. Depending on the scene and your mood, it’s moving, it’s over-acted, it’s strange, it’s awful, it’s bizarre, and it’s funny. And there are great cameos by the likes of Susan Sarandon, Pete Davidson, Jon Hamm, Christopher Walken, and Sônia Braga.

Beanpole (Dylda)

Co-Wri/Dir: Kantemir Balagov

It’s Leningrad in Autumn, 1945. The war is over, and soldiers are returning home from the front into a bombed out shell of a city. Iya (Viktoria Miroshnichenko), nicknamed “Beanpole”, is a young woman discharged from the army after a head injury. She is extremely tall and gangly, with pale skin and white-blonde hair. And she is prone to absence seizures, frozen in place, incommunicado, until they pass. She lives in a crowded, decrepit apartment with a young boy named Pashka (Timofey Glazkov) whose she treats like her son. She sometimes brings him to her workplace, a hospital for injured soldiers. They play animal charades with the kid who has probably never seen a live animal (food is very scarce.) And everyone is on their best behaviour whenever a glamorous Communist party official named Lyubov (Kseniya Kutepova)  drops by the hospital to congratulate soldiers and offer gifts.

But things change for Iya when her best friend and fellow soldier comes back from the front. Masha (Vasilisa Perelygina) is as outgoing as Iya is shy, sexually promiscuous (Iya shies away from contact with men), and short with auburn hair, not tall and blonde like Beanpole. And when Masha discovers Pashka is missing she gets an unshakeable need to to have a new baby, immediately if possible. They meet a couple of young men in a fancy car – the sons of Communist Party apparatchiks. Masha pair up with Sasha (Igor Shirokov) with hope of a future marriage and a normal family. But Iya feels left out. Will Masha and Sasha become a couple? Can Beanpole survive on her own? What is her real relationship with her best friend? And what really happened at the front?

Beanpole is a fantastic story of two young women getting by in Stalinist Leningrad just after WWII. Loaded with pathos but devoid of kitschy sentimentality it exposes the harsh realities people faced. It also shows the unsurmountable class divisions in the Soviet Union, extreme poverty, and the horrors of war. The acting is superb, and the candlelit warmth of the images helps to modify the movie’s dark tone. Beanpole is a wonderful movie you can’t forget. I recommend this one.

Seberg, The Jesus Rolls and Beanpole all open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with filmmaker Albert Shin about Disappearance at Clifton HiIll

Posted in Animals, Canada, Crime, Mental Illness, Movies, Mystery, Noir, Thriller, Women by CulturalMining.com on February 21, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Abby is a young woman returning to her hometown of Niagara Falls. She’s figuring out what to do with the rundown motel she inherited with her sister. Should she make a go of it? Or sell it to a rich local patriarch. But as she goes through old photos and films, she starts to remember hidden memories from the distant past. And with the help of eccentric locals she finds herself digging deeper and deeper, the more dirt she uncovers. Dirt that involves some of the most powerful figures in the city. Most troubling of all is an image from her childhood, still stuck in her brain. A boy with one bleeding eye who disappeared right in front of her. Was he kidnapped? Was he killed? Or was it just a false memory. What really happened happened in Clifton Hill?

Disapearance at Clifton Hill is also the name of a new movie opening February 28th across Canada. It’s been nominated for multiple Canadian Screen Awards, and is a fantastic film. It’s co-written and directed by award-winning filmmaker Albert Shin. I last interviewed Albert six years ago alongside his collaborator and colleague Igor Drljaca about In Her Place.

I spoke to Albert by telephone at CIUT 89.5 FM.

Disappearance at Clifton HIll opens across Canada on February 28th.

Turning thirty. Films reviewed: Space & Time, Standing Up Falling Down

Posted in comedy, Depression, Drama, photography, Physics, Science, Toronto, US by CulturalMining.com on February 21, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Blockbusters are good, but once in a while it’s also fun to watch real people in real situations without any green screens or CGIs. So this week I’m looking at two nice movies, both low budget and independent, that look at the lives of millennials turning thirty. There’s a romantic drama about a physicist and a photographer with a seven year itch, and a dramedy about a drunk dermatologist and a standup comedian with itchy skin.

Space & Time

Wri/Dir: Shawn Gerrard

Sean and Siobhan are a Toronto couple in their twenties.  Sean (Steven Yaffee) is a professional photographer who still develops his prints old-style in a darkroom. Siobhan (Victoria Kucher) is doing her graduate degree in astrophysics but longs to work with a supercollider. They’ve been together for seven years so are spending their anniversary camping out on the Toronto Islands, just the two of them. But something doesn’t click. They wonder if there’s another Sean and Siobhan in a distant parallel usiverse that’s doing better than they are. Like when Sean used to take her picture all day long… and when they made love on every bare surface in their apartment?

But back on earth, Siobhan dreams more about the Large Hadron Collider in Cern than she does if Sean. She wants to study there, in Switzerland… and he can come too, of course. Sean, meanwhile, seems more concerned about whether or not to buy a rice cooker. He also wonders about fellow photographer DD (Risa Stone). She’s pansexual and so much more free-spirited than career-oriented Siobhan is these days. And Siobhan is fighting off scientific super nerd Alvin (Andy McQueen) in her office. Is he cute or just a pain? The couple is still in love, but can they stay together? Are upside forces working against them? And what would happen if they take a break?

Space and Time is a bittersweet romance about a couple turning thirty who is forced to reassess their lives. It looks at desire, love, and the pluses and minuses of living together. It’s an unapologetic indie actually set in Toronto, with recognizable buildings everywhere. It has some glitches. In the opening scenes it frequently cuts to outside images, setting the whole movie up like a graphic novel. But they go away after that scene, as if they ran out of energy.  But it rightly deals with real-life issues… like couples whose main reason for staying together is that it’s too difficult to find separate apartments.

While not perfect, Space & Time works as a gentle, low-budget look at the lives and times of urban millenials in Toronto.

Standing Up Falling Down

Dir: Matt Ratner

Scott (Ben Schwartz) is a failed standup comic. He left his girlfriend in a lurch when things were getting too serious. He swore he’d make it big in LA. But now he’s home again, in long island with his tale between his legs. He’s moved back into his childhood bedroom in his parents house in a working class neighbourhood. He still pines for Becky, but she ended up marrying someone else. He’s jobless, sexless and nearly homeless, with no ready prospects. He even has a strange skin reaction he’s always rubbing. His life is a disaster, until a strange old guy bumps into him in a bar toilet, staining his pants.  Marty  (Billy Crystal) is a funny old man in a fedora, who tells Marty what’s what. Take it easy, he says, and enjoy life. Tell a joke, lighten up. Marty’s an alcoholic dermatologist who cures Scott’s skin problem, gratis.

But he has his own demons to handle. Marty’s adult son won’t talk with him, both his former wives are now dead, andhe doesn’t have many friends outside the bar he frequents. Can this odd couple become good friends? Or are they both carrying too much baggage to let loose?

Standing Up, Falling Down — the title refers to the unusual friendship between a standup comic and an alcoholic — is a sweet story about two lonely people. It’s a working class comedy, but less uproariously funny than warm and witty. A dramedy. Billy Crystal has still got it, and Ben Schwartz is a likeable newcomer (just saw him last week as Sonic the Hedgehog) . Also funny are Scott’s sister Megan () who works in a convenience store. There are lots of dramatic sideplots along with occasional pathos. But it’s mainly about the light interplay between these two comic actors, thirty-five years apart.

Space & Time and Standing Up, Falling Down both open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

 

Daniel Garber talks with Will Bowes about CBC Gem’s new series Hey Lady!

Posted in Canada, comedy, Meta, Music, Toronto, TV by CulturalMining.com on February 14, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Photos by Jeff Harris.

What do you call a rude, audacious and incorrigible senior citizen who has inflicted her idiocyncracies on her adult chidren and absolute strangers alike? What do you call a woman who shoplifts, puts lipstick on random babies and rants at everyone around her? What do you call a possibly demented and definitely insulting woman who named her three children after famous dogs? A woman who desperately needs you to pay attention to her? If you’re like most people, you probably just call her “hey lady”.

Hey Lady! is the name of a new web comedy series, premiering on CBC Gem on February 14, 2020. It stars the legendary actress Jayne Eastwood, is written by playwright Morris Panych, and is co-directed by actor, singer, songwriter Will Bowes.

I spoke to Will at CIUT 89.5 FM. His new single The Devil I Know is on Youtube.

Hey Lady starts streaming today in Canada on CBC Gem.

Fall of the Patriarchs. Films reviewed: Downhill, Sonic the Hedgehog, Nose to Tail

Posted in Austria, Canada, comedy, Cooking, Family, Fantasy, Ski, Snow, Super Villains, Toronto, video games by CulturalMining.com on February 14, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s Valentine’s Day today, as good a time as any to catch a new movie. So this week I’m looking at films about unusual relationships. There’s a husband and wife rejuvenating their marriage at an Alpen ski resort; a divorced, master chef dating the restaurant’s maitre d’;  and a super-sonic, electric-blue hedgehog in a bromance with a traffic cop.

Downhill

Dir: Nat Faxon, Jim Rash

Pete and Billie (Will Ferrell, Julia Louis-Dreyfus) are a happily-married couple. He’s a workaholic and a bit of chowderhead, while she’s an successful, if opinionated, lawyer. Billie is worried about her husband. He spends more time texting than playing with their two sons.  And he hasn’t been the sane since his own father died last summer. So when Pete books a family vacation at a ski chalet in the Austrian Alps — and handles all the arrangements — they are all looking forward to a fun, quiet time to heal their inner wounds. When they arrive, they are greeted by an Alpen sexpot named Charlotte (hilariously played by Miranda Otto: Aunt Zelda on  CHilling Adventures of Sabrina) who assures them nudity is encouraged and enforced. (Turns out the family lodge is nearby… they’re at the swingers chalet.)

Then Pete secretly invites his younger workmate Zach (Zach Woods) and Zach’s girlfriend Rosie (Zoë Zhao) to join them. But things really get bad when a planned avalanche crashes near the chalet, sending patrons on an outdoor patio running for cover in the sudden whiteout. Turns out, Billie stayed behind to protect the kids from what they thought was their final moment. And Pete the family patriarch? He grabbed his smart phone and ran, leaving his family to die. No one did die, of course, but now Billie and the kids feel abandoned by Pete in a dangerous crisis.

Will Pete ever regain Billie’s trust or his his kids’ respect? Or are his marriage, his family and his self confidence damaged beyond repair?

Downhill is a mildly funny dramatic comedy about the fall from power of the proverbial middle class white American male. It’s also an American remake of the brilliant Swedish film Force Majeure. But it’s less visually attractive, less biting and bitter than the original, trading subtlety for the broad strokes of tired Euro stereotypes.  Odd sex has been replaced by straightforward moral lessons. Louis-Dreyfus is great as Billie, conveying her hurt and suspicion through a single squint or pursed lip. Ferrell is less successful as a clueless Joe Biden-type, seemingly unaware of his imminent downfall.

Downhill is OK, but not great.

Sonic the Hedgehog

Dir: Jeff Fowler

Sonic is an electric-blue hedgehog who lives in a cave  furnished with a beanbag chair and a ping pong table, near Green Hills, Montana. He looks like a plush toy with spaghetti legs, a button nose and bright red sneakers.  And he can run faster than anything else on earth. He’s so fast he can play ping pong with himself. He’s so fast he can play all the bases on a baseball game at once, pitching a fastball from the pitcher’s mound and then hitting it from home plate. When he’s truly in danger he rolls up into a small blue ball and can generate mammoth amounts of electricity. He carries a bag of golden rings, magic portals that can instantly take hint to any place in the universe.

Sonic is a social animal who speaks perfect English (voiced by Ben Schwartz) and would love to meet friends, but is forced to remain hidden. If anyone found him – or discovered his secret powers – he would be in great danger.

But when he accidentally triggers an interstate blackout, the DC generals fear an enemy attack. They send out an expert to solve the problem and capture the so-called terrorist. This expert is the infamous Dr Robotnik (Jim Carrey) a brash and arrogant genius with multiple PhDs and a curly moustache. He plans to find the elusive source of the blackout… and dissect him. Luckily, Sonic is taken under the wing of the local speed-trap cop named Tom (James Marsden). Although dubious at first, eventually Tom takes to the hedgehog and the two become fast friends They set off on a roadtrip to San Francisco to evade Robotnik, recover the lost gold rings and save the world. But who will triumph? The evil Dr Robotnik? Or the fast little hedgehog and his buddies?

Sonic the Hedgehog is a kids movie based on the famous Sega video game. I have said it before and I’ll say it again, movies based on video games is the worst new genre out there. But you know what? I actually enjoyed this one. It’s silly of course, but the special effects are terrific. And the scenes shot from Sonic’s point of view, where everyone else seems frozen in time – like a barfight in a roadhouse where the spiny mammal runs rampant around redneck bikers – are totally fun to watch. OK, there’s relentless product placement (the whole movie is basically an ad) but still… it is fun. And Jim Carrey is a perfect as the villain and very funny.

If you see it, remember to watch it until the credits roll.

Nose to Tail

Wri/Dir: Jesse Zigelstein

Dan (Aaron Abrams) is an arrogant, self-centred master chef at a restaurant in downtown Toronto. He oversees every dish and inspects each outsourced vegetable that arrives in the morning. If anyone in the kitchen steps out of line, he lashes out like a boot camp sergeant. Dan starts his day with a makeshift breakfast of single malt whiskey and prescription drugs. The restaurant is everything to him. He depends on Chloe (Lara Jean Chorostecki) at the front of house, Keith, his Chef de Cuisine ( Brandon McKnight) in the kitchen, and Steven his sommelier (Salvatore Antonio) to keep the wine cellar well stocked. Problem is his world is collapsing all around him.

He’s four months overdue on the rent. Online bloggers are dissing his abrasive manners (fuckin’ millennials!). Keith is heading for greener pastures and his bills are piling up. He stood up Chloe (his on-again, off-again girlfriend) and has berated and verbally abused his entire staff, burning bridges all around him. Then his ex-wife drops by with unexpected news, and a popular new food truck parks right across the street. Everything depends on a high school friend and millionaire (Ennis Esmer) who is coming for dinner that night. Will he invest in the business? Or will the restaurant – just like the heritage pig he cuts up on camera, from nose to tail – go belly up?

This isn’t the first drama about a high-strung egotistical chef –  think Bradley Cooper in Burnt and Jon Favreau in Chef, to name just two – but Nose to Tail has a level of intensity and density – the whole movie lasts just one day – that beats those other two hands down. And Aaron Abrams (The Go-Getters) gives a tour de force performance, keeping close to the boiling point till the bitter end.

Downhill, Sonic the Hedgehog, and Nose to Tail all open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Some Antipodean Directors. Films reviewed: The Assistant, Come to Daddy

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

February is the worst month of the year, full of overcast skies, slush on the ground and a general malaise. So I thought: why not look at movies from a place where our winter is their summer? At least the directors, if not the stories. This week I’m looking at two films by directors from the antipodes, one from Australia, another from New Zealand. There’s a thriller/horror about a young man searching for his father’s secrets; and a tense drama about a young woman uncovering horrible secrets in her office.

The Assistant

Wri/Dir: Kitty Green (Interview: Ukraine is not a Brothel)

Jane (Julia Garner) is a young woman trying to make it in New York City. Hired straight out of Northwestern,  she’s currently at the bottom of the ladder, but hopes to work her way up. She’s an assistant at a medium-sized movie industry corporation with offices in New York, London and LA. She’s the first one to arrive, the last one to leave, the sort who eats her fruit loops standing up in the office kitchen.  All the grunt work falls to her — order lunch, sort head shots, distribute memos, serve coffee, book hotel rooms, tidy up her boss’s office. And deal with angry abusive people blaming everything on her. She brushes it all off in exchange for the promise of future work.

But something doesn’t seem quite right. A newly hired assistant, a pretty aspiring actress, has just arrived from Boise, Idaho, fresh out of high school, who has only worked as a waitress in a diner. Jane commutes from remote Astoria while the newest assistant is staying at a first-class hotel. She finds a woman’s earring  under a cushion in the boss’s couch. Why do actresses leave the boss’s office in tears? Why is she sending out blank cheques to unnamed people? And what will happen to the new assistant who thinks she’s here for an audition? Although she doesn’t face sexual abuse from her boss, it’s becoming increasingly clear that other women do. Why isn’t anyone talking about it? And is she to blame of she doesn’t speak up?

The Assistant is a cold, hard look at the rampant sexual harassment and abuse women face. It’s set at some point in the past, before the #MeToo movement broke, when everybody knew what was going on, but nobody ever did anything about it. Or if they did, they would be paid hush money to keep it away from the public. Male assistants laugh nervously, making jokes about which pieces of the boss’s furniture you should never sit in. Older women take it as a given: don’t worry dear, you’re not his type. The movie just lays its out before the audience in all its horribleness… without ever showing it.

Julia Garner gives a stunning performance as Jane, conveying a succession of unspoken emotions over the course of one day through facial expressions and body language: dread, distrust, realization, horror, and fear. There’s a terrific scene where she wraps herself up in a winter coat and a big scarf – like a suit of armour – to somehow shield her from the bad stuff happening all around her. This film gives a realistic look at a widespread problem reduced to a single day in one unnamed office.

The Assistant is a subtly, powerful movie about a difficult and uncomfortable topic that has to be told.

Come to Daddy

Dir: Ant Timpson (Turbo Boy)

Norval Greenwood (Elijah Wood) is a privileged, 35-year-old guy from LA. He loves fashion, celebrity and the big city. His prize possession is a limited edition, solid gold cel phone designed by Lorde. But something is missing from his life. His father walked out when he was five and Norval was raised by his mother in a Beverley Hills mansion. So when he receives a cryptic, letter from his long-lost Dad telling him he wants to talk to him, he decides to do it. He follows a handwritten map to a rocky beach in the pacific northwest until he finds an isolated, wooden house decorated with christmas lights clinging to the edge of a cliff. He knocks on the door, and a dessicated, grizzled old man opens it. “Hi Dad, Here I am…”

But this is not the kindly father he remembers. Gordon (Stephen McHattie) is a mean drunk, staggering around swilling plonk as he shoots insults at his son. His beady eyes look like dried out raisins. Norval wants to get the hell out of there but only after his dad tells him why he asked him to come in the first place. But when the old man threatens to chop him up with a cleaver, he knows something is not right.

Come to Daddy is a nihilistic thriller/horror as seen through a darkly comic lens. Elijah Wood is great as a nervous, self-centred guy whose First World problems are dwarfed by real life dangers… involving a killer, an eccentric policeman, a coroner, a swingers convention at a nearby motel, and the unexplained noises, that echo — clang clang clang —  around the nearly empty house. The vintage Thai soundtrack helps balance the blood and gore. This is a particular genre; either you like it or you don’t, but I love darkly twisted movies like this, with the quirky characters and constant surprises that keeps me glued to my seat till the final revelation.

The Assistant and Come to Daddy both open today in Toronto; check your local listings.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

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