Are the 90s back? Films reviewed: Brigsby Bear, Landline

Posted in comedy, Coming of Age, Drama, Family, Fantasy, Manhattan, Movies, Sex by CulturalMining.com on August 4, 2017

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

What’s with the nineties? Is it a thing now? Are the nineties back? It’s recent enough that we don’t yet know how to abbreviate it. Is it what was there? Grunge, flannel, ecstasy, glow sticks, drum and bass, Roxette, gangsta rap. Or is it what wasn’t there any more (the Berlin Wall, the Soviet Union, the Warsaw Pact). Or is it what hasn’t happened yet: 9/11, cell phones, texting, facebook, google.

I guess it is possible to be nostalgic for the 90s. This week I’m looking at two indie movies, dramatic comedies that played at Sundance this year. There’s a Manhattan family living in the 90s and a 25-year-old guy who is stuck in the 90s.

Brigsby Bear

Dir: Dave McCary

It’s present-day America. James (Kyle Mooney) is 25 but still lives with his dad (Mark Hamill) and mom. He was homeschooled and has never left his house – an underground bunker – because poison gas has flooded the planet. At least that’s his parents tell him. His only contact with the outside world is a TV show called Brigsby Bear, a low-budgets kids’ show. The highlight of his week is when his dad, wearing a gas mask, comes home with the latest episode recorded on VHS. Life never changes, until…

Until the day when there’s a police raid on their home. They arrest his parents and interrogate him. Turns out, everything James thought he knew was wrong. His parents? Actually kidnappers who snatched him from his real family as an infant and raised him as their own. Poison gas? Another lie to keep him from leaving. But the biggest shock of all was his hero and best friend Brigsby Bear, the foundation of his entire universe. No one else has heard of him.

James is reunited with his birth parents and a 16 year old sister sister named Aubrey (Ryan Simpkins.) But he sticks out like a sore thumb. His clothes and bad haircut are stuck in the 90s and the only thing he talks about is Brigsby Bear. He knows nothing about sex drugs and rock and roll. The ultimate fish out of water. He learns about a few things at his first party, from his new best friend — a teenager named Spencer (Jorge Lendeborg Jr) — and his first potential girlfriend. He’s a bit of a celebrity, the kidnapped guy, so people like to gawk at him.

James’ therapist (Claire Danes) wants him to forget about Brigsby Bear and enter the real world. But that would leave him rudderless with nothing familiar to him. Until Detective Vogel (Greg Kinnear) tells him a secret. He knows where Brigsby Bear is – the costumes the props, the whole thing. Will James – and his friends – recreate the TV show so he can achieve closure? Or will his parents and his therapist gang up to destroy his Brigsby universe… for his own good?

Brigsby Bear is a cute, gentle comedy drama. There’s no real villain, just James trying to adjust. Unfortunately, it relies a lot on Saturday Night Live-style humour: grown ups who act like children, are socially inept, or out of fashion; people who look like us but talk strange. The problem is, James is both the sympathetic main character and also the butt of most of the jokes. The movie just isn’t that funny, but it is entertaining and watchable.

Landline

Dir: Gillian Robespierre

It’s summertime in the 1990s and the Jacobs family is returning from their cottage to Manhattan. Ali (Abby Quinn) is the foul-mouthed teenaged sister. She’s a rebel, into raves, recreational drugs and, she hopes, sex at some point with her current non-boyfriend Jed. Dana (Jenny Slate) works at Paper magazine and is engaged to her affable fiance Ben (Jay Duplass). Then there’s Dad and Mom (John Turturro and Edie Falco). Dad’s an advertising copywriter – but wants to be a playright — and Mom’s involved in municipal politics. Her inspirations are Hillary Clinton’s pantsuits and Jennifer Aniston hairstyles. (It’s the 90s). They’re a happy family, though they never stop fighting.

But everything changes when Ali picks up a random floppy disc and puts it into her dad’s grey computer. She discovers a file, filled with erotic poetry he wrote, not for her mom but for someone named “C”. Is her father having an affair?

Dana, meanwhile, is in a comfortable relationship with her fiance, one that involves kinky sex in the shower and watching movies on TV. But at a party she runs into Nate, an old flame from college (Finn Wittrock). He’s clearly interested in her, despite the engagement ring. Which way will Dana go?

When Dana runs into Ali in an unexpected encounter the two sisters are forced to come clean, talk to each other and work out their family’s growing problems.

Landline is a good, funny and sometimes moving look back at family life in NY city in the 1990s. Characters are not caricatures, they’re quirky and realistic, and the acting is uniformly spot on. The 90s aspect is there as a gimmick, not central to the plot. The soundtrack is mainly from the songs from the 70s and 80s. What’s with the trench coats? And correct me if I’m wrong, but the NY City skyline seems already missing the Twin Towers. But other details — things like using a pay phone to check voice messages — are very realistic. Who knows …Maybe the 90s were kinda cool.

Brigsby Bear and Landline 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 Kliph Nesteroff about Funny How? at Just For Laughs Film Fest and Viceland

Posted in comedy, Comics, documentary, Reality, TV by CulturalMining.com on July 28, 2017

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

Comedians and their audience share an unspoken contract. Standup comics provide the funny things, the audience supplies the laughs. But the unknown variable, the big question hovering at the back of the comic’s mind is always: Funny how?

Funny How? is the name of a new documentary series that takes you behind the scenes of stand-up comedy. It’s showing at the Just For Laughs Film Festival in Montreal, and is broadcast on TV on Viceland. Funny How is hosted by Kliph Nesteroff, the celebrated author, producer and comedy historian.

I reached Kliph in Montreal by telephone from CIUT 89.5 FM in Toronto.

Kliph Nesteroff’s new series Funny How? premiers at the Just for Laughs Film Festival and will be broadcast on Viceland TV.

For information about Just For Laughs go to hahaha.com.

 

Secrets. Films reviewed: Two Men in Manhattan, Army of Shadows, Rumble: Indians Rock the World

Posted in 1940s, 1950s, African-Americans, documentary, Drama, France, Indigenous, Manhattan, Music, WWII by CulturalMining.com on July 28, 2017

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

Is there anything you wouldn’t tell your partner, best friend or parents? This week I’m looking at movies about secrets: two classic French thrillers by Jean-Pierre Melville, and a new Canadian documentary. There’s French resistance fighters with secret identities, a journalist in Manhattan chasing a secret story, and the secret, indigenous roots of rock and roll.

Two Men in Manhattan (1959)

Wri/Dir: Jean-Pierre Melville

It’s the late 1950s. Moreau (Jean Pierre Melville) is a reporter for AFP (Agence France-Presse), based in Manhattan, who receives a strange assignment. A top diplomat at the United Nations didn’t show up at the General Assembly… he has completely disappeared. The missing man is a French diplomat, and a war hero with a sterling reputation. Moreau has to track him down and find out what’s going on.

So Moreau turns to a freelance photographer Delmas (Pierre Grasset) for help. Delmas is a notorious alcoholic and a womanizer, but one who knows what’s going on behind the scenes in downtown manhattan. Moreau has to drag him out of bed with his latest pickup to get him to come along.

Turns out Grasset was the right one to turn to – he knows how to find the diplomat by who he’s been scene with late at night. But while Moreau is a respected journalist, Grasset will do anything for a buck. Their search takes them to a series of meeting with exotic women: a jazz singer in her recording studio, an actress backstage at intermission, a stripper in her change room and a sex worker in her boudoir. And, unbeknownst to them, they’re being followed by a mysterious woman in a car. Will they find the diplomat, and if they do will the story be suppressed or sold to the highest bidder?

This is neat noirish movie with a moral dilemma on the ethics of journalism. It’s also the only time Melville appears in one of his own movies.

Army of Shadows (1969)

Wri/Dir: Jean-Pierre Melville (Based on the novel by)

It’s 1942 in Vichy France. Most of France is occupied by Germany, but for most people life hasn’t changed. But not for Philippe Gerbier (Lino Ventura) a middle-class engineer. He is arrested by gendarmes, not by Nazis,  and sent to a relocation camp, built by the French to hold prisoners of war from Germany. Now it’s the other way around.

The camp holds a ragtag assortment of Russians, Poles, Jews, Algerians, Communists, as well as random Frenchmen arrested for no known reason. He has plans to escape with a young communist but is suddenly sent to the Gestapo headquarters for interrogation. After a daring escape, he joins a Resistance cell in Marseille consisting of tight knit group of men and one woman:

There’s handsome Jean Francois (Jean Pierre Cassel) who is in awe of his older brother, a philosopher. Mathilde (Simone Signoret) is a tactical genius, inventing fantastical ways to break into enemy headquarters without being noticed (Signoret convincingly switches from French to German). Other members are known only by their code names: La Masque, Le Bison, Felix. Together they smuggle allied forces to safety in England, relay messages sent by radio, and keep one another out of the hands of the enemy. Army of Shadows is a realistic thriller, based on a novel by a member of the French resistance( as was the director himself – in fact Melville was his nom de guerre)

It’s full of dark episodes and plot twists, that doesn’t portray the French, including the Resistance, in the best light. It’s full of secrets and lies, and the cold-blooded executions of their own comrades and closest friends who may have divulged secrets.

The movie bombed when it was first released – perhaps it was still too close to the events it portrayed, or maybe its politics didn’t jibe with Paris in 1969 – but decades later, after it was finally released on North America, it was a critical success. It is now considered a masterpiece.  Ventura, Cassel, and especially Signoret are all fantastic.

A must-see.

Rumble: The Indians who Rocked the World

Dir: Catherine Bainbridge, Alfonso Maiorana

When people talk about rock and roll they’re sure to mention its influences: jazz, blues, folk and country. It uses tunes from Europe, rhythms from West Africa but with words and feelings that are purely American. But what about aboriginal North Americans – First Nations, Metis and Native Americans? This documentary looks at both the musicological influences and the genetics of the musicians themselves – the drummers, guitarists and singers most people took for white, black or hispanic.

Link Wray pioneered the use of guitar feedback (his hit Rumble was a huge influence on bands from Led Zeppelin to the Who). He was Shawnee. Robbie Robertson, founding member of The Band, is Mohawk and learnt his music on the Six Nations reserve. Early blues great Charley Patton was Choctaw, and singer Mildred Bailey was Couer d’Alene.

The film covers territory from centuries past to present-day struggles, like activist and folk singer Buffy Ste Marie who performed at Standing Rock. And many of the black musicians who still perform at the New Orleans Mardi Gras dressed in “tribal” costume are descended from indigenous ancestors.

Music styles covered in the movie range from heavy metal to pop rock, country to folk, and soul to R&B. The musicians point out the singing styles, the drums from their childhoods.

Rumble is a really great music doc.

Rumble opens today in Toronto at the Hot Docs cinema; check your local listings. Two Men in Manhattan and Army of Shadows are part of the Jean Pierre Melville retrospective, Army of Shadows: The Cinema of Jean-Pierre Melville, which continues through August. Go to tiff.net for details.

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

Indoors, Outdoors. Films reviewed: The Black Prince, Dunkirk, A Ghost Story

Posted in 1800s, 1940s, Clash of Cultures, Death, India, Movies, Punjab, Supernatural, War, WWII by CulturalMining.com on July 21, 2017

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

Summer is the perfect time to see movies outdoors. There are open air screenings in city parks, free Canadian films at Yonge Dundas square, and an Open Roof festival, complete with music at 99 Sudbury, that is showing the amazing documentary Brimstone and Glory next Tuesday.

But sometimes it’s nice just to sit inside. This week I’m looking at three movies opening today to watch inside a theatre. There’s a wartime thriller about an army’s retreat, an historical drama about a royal defeat, and an arthouse ghost story… about a white sheet?

The Black Prince

Wri/Dir: Kavi Raz

It’s the Victorian era. Maharaja Duleep Singh (Satinder Sartaaj) is a proper English gentleman. He lives a life of luxury in a country palace furnished with a retinue of servants, fine clothing and sumptuous meals. He spends his free time hunting on his estate. But something is missing. You see, he is the heir to the throne of the Punjab Empire that once stretched across northern India. But palace intrigue and assassinations left the Sikh kingdom in disarray, and the British swooped in and took control. The young prince was shipped off to England where he now lives under under the benevolent but watchful eyes of Queen Victoria (Amanda Root) and the prince’s surrogate father, Dr Login (Jason Flemyng). He’s a Sikh but wears no turban and carries no kirpan.

But back in Lahore the crowds are clamouring for his return. And when he is reunited with his mother (Shabana Azmi) he realizes he’s more than just Victoria’s “Black Prince” — he’s a Maharaja! He returns to his faith and starts a lifetime of plots and alliances to restore his kingdom with armed insurrections. But can a single man – and his followers – defeat the British Raj?

The Black Prince is a film filled with beautiful scenery and costumes, and a potentially interesting story. Unfortunatly, it moves at a glacial pace. The exciting parts of the movie — the battles and assassinations — are relegated to quick flashbacks, leaving us with endless scenes of talk, talk, talk. While Shabana Azmi adds fun to the scenes she appears in, the star, singer Satinder Sartaaj, is like a Punjabi Keanu Reeves – wooden and emotionless.

Dunkirk

Wri/Dir: Christopher Nolan

It’s 1944 on the northern tip of France near Belgium. The German Army has taken much of Europe, save for this one beach, called Dunkirk. Hundreds of thousands of British troops, along with French and Belgian allies, are completely surrounded. German bombers fill the skies and U-Boat submarines patrol underwater, shooting torpedoes and dropping bombs on the British ships. It’s time for a massive retreat back to England – but how? The film follows three stories.

Tommy (Fionn Whitehead) is a young soldier on the run, after his unit is wiped out. Together with a mute fighter he meets on the beach, they attempt to board departing warships, but with limited success… the boats keep sinking. Meanwhile, back in England, the government has commandeered all private boats, from sailboats to mudskippers, to help rescue the soldiers. Mr Dawson (Mark Rylance) along with two teenaged boys, George and Peter, attempt to cross the channel in a pleasure boat… but meet trouble when they rescue a shell-shocked soldier (Cillian Murphy). And above it all, an RAF pilot (Tom Hardy) flies his Spitfire to keep the skies clear of German bombers while the boats cross.

Dunkirk is an unusual war movie that celebrates not a triumphant battle but a potentially disastrous retreat. The enemy is invisible, faceless and nameless, and we never see a British soldier raise a gun against the Germans. No fighting, just survival. And though there’s lots of people dying, there is little blood or gore in this strangely clean war. Dunkirk is a non-stop action movie that rarely takes a breather. It’s tense, thrilling and kept my eyes riveted to the screen from beginning to end.

A Ghost Story

Wri/Dir: David Lowery

A nameless married couple (Casey Affleck, Rooney Mara) live with their dog and a standup piano in an ordinary bungalow in the American Southwest. She wants to move to a better place but he feels strangely attached to the house. Perhaps it’s the creaks and bumps they hear late at night. Is it haunted? Then disaster strikes. He is killed in a car crash, and she has to identify his body in the hospital morgue. And after she leaves, the sheet covered corpse gets up and walks slowly back to the house. Is he a zombie? No, he’s just a ghost moving back into his home where no one can see him.

When I first heard about this movie – Casey Affleck playing ghost with a sheet over his head – I thought gimme a break. It sounds like a self-conscious bad joke. So I was completely surprised at how emotionally wrenching, how shocking, how wonderful this movie actually is. The silent ghost just stands in the background as time passes, observing all as his sheet tumbles majestically around his feet. It shows the passage of time, in a series of linked tableaux, fading one to the next – his wife’s mourning, new residents, a tear-it-down party. It’s like a dream.

Do you remember the Tree of Life, that extremely long movie about creation and the meaning of life? A Ghost Story does that, more simply, and in just 90 minutes. It’s a beautiful and haunting look at love, death, memory and the passage of time.

I like this one a lot.

The Black Prince, Dunkirk and A Ghost Story 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

 

 

 

Hidden Histories. Films reviewed: The Gay the Negro and the Holy Mountain, The Journey, 13 Minutes

Posted in documentary, Drama, Germany, Nazi, Northern Ireland, Politics, UK by CulturalMining.com on July 7, 2017

Hi, this is Daniel Garber at the Movies for culturalmining.com.

Not all history is neatly recorded on paper; some of it lies hidden, far from public view. This week I’m looking at three films — two historical dramas and a personal-history documentary — that uncover hidden histories. There are two leaders in Northern Ireland who can’t come to terms; a young worker in 1930s Germany who can’t stand Hitler, and a plumber in a European village who can’t come out.

The Gay, the Negro and the Holy Mountain (Der Schwule, der Neger und der heilige Berg)

Dir: Dave D. Leins

Dave is a young man in Holy Mountain (Heilingenberg), a tiny village, who wants to make a documentary. His father, who is black, is a sailor but Dave grew up with his white mother. He faced bullying and racism growing up because of his skin colour. Dave wonders, is there anyone else in this town who feels “different”?

Markus is a town leader who runs a successful business that’s been in his family for generations. He’s divorced with two adult daughters. He’s a plumber, a fitter of gas pipes and is head of the annual town carnival. Like the rest of the villagers, he dresses up in funny costumes and performs in pantomimes on the town stage. But what some people in the town don’t know he’s also gay, and can only feel truly comfortable when he’s far from home.

This beautifully photographed documentary is a first-time filmmaker’s look at his own heimat. It is a neatly constructed film that uses visual images to frame the story (for example, curtains on a carnival stage open the film, a scene replayed in a resort hotel room).

Leins documents Markus’ daily life as he works, plays and interacts with friends, family and the filmmaker himself. And it exposes some of the stranger things that happen even in small towns. But despite the provocative title (der shwule and der neger are both pejorative terms in German) this is actually a low-key, quiet and personal film.

The Journey

Dir: Nick Hamm

The Troubles was the conflict in Norhern Ireland that began in the 1960s between the Catholic Republicans who wanted to join Ireland and the Protestant Unionists who wanted to stay in the UK. It was fueled by shootings, massacres and bombings by paramilitary groups on both sides. Thousands of people, mainly civilians, were killed in the violent years that followed in this simmering civil war. But now it’s a new millennium, and both sides agree it’s time to make peace.

The two political leaders, Ian Paisley and Martin McGuiness (Timothy Spall and Com Meaney) agree to meet for talks in neutral territory: Glasgow, Scotland. The problem is they refuse to talk and walk away. Protocol says the two must travel in the same plane to prevent any assassination attempt. So in a last-ditched effort, Tony Blair puts them together, with just the young driver for the long journey to the Edinborough airport.

Paisley is the fire-and-brimstone Calvinist preacher, a christian fundamentalist, given to Papist conspiracy theories. He is also the inspiration for rightwing vigilantes. McGuinness is the head of Sinn Féin, the public face of the provisional IRA, known for its bombs and guns. Can such sworn enemies every talk like human beings?

This is a fascinating movie based on a meeting that actually took place. The script, though, is an invention asto what might have happened. Parts of it are hard to swallow, like Paisley saying he was a supporter of Martin Luther King, when in fact he was an ally of white segregationists in the 1960s. And the scenes with Tony Blair, the head of MI5, Gerry Adams, and Paisley’s son all watching the talks through hidden cameras and secretly cheering them on are just ludicrous. Come on. But that’s secondary to the great acting. I think of Timothy Spall as a short roly-poly, but he completely transforms his body, face and voice into the tall, angry Paisley.

The Journey is a tense and exciting chronical of an imagined historical event.

13 Minutes

Dir: Oliver Hirschbiegel

It’s the late 1930s in Nazi Germany. A time bomb explodes in Munich Bierkeller where Hitler and other top Nazis had just given a speech but escaped unharmed. They leave unharmed, 13 minutes ahead of schedule.

Georg Elser (Christian Friedel) is arrested for the bombing and immediately given to the Gestapo and Kripo for interrogation. Who do you work for? Who built that bomb? Who gave you the orders? They tie him to a metal cot and inflict gruesome tortures on him, refusing to believe that a simple worker could have done all this on his own.

But as he lies there, passed out, his memories flood back. Elser is a craftsman from Königsbron, a small town in Swabia, who is good with his hands. He fixes clock works, builds furniture and plays the zither. Locally he’s known just as a loud mouthed musician. He’s also in love with Elsa (Katharina Schüttler) a woman married to an abusive husband. He rents a room in her basement.

But times are hard, even in a small town, especially if you refuse to join the party. As the year’s pass, things get worse, but no one will do anything. His best friend, a communist, is arrested, a local woman is pilloried for dating a jew, and all the town customs have been co-opted by the government and turned into Nazi propaganda. He also does nothing… until he realizes he must build a bomb.

The Gestapo refuse to believe him. But Elser is the one man who dares to say “Hitler ist schlecht für Deutschland” – Hitler is bad – not just for the rest of Europe – but even for Germany. There will be war, people will die, the bombs are going to fall, the country will be destroyed! he predicted.

13 minutes is a great historical drama about one ordinary man who attempts an extraordinary feat – he decides to fight back. Half of the film is the violent and brutal torture and interrogations, the other half is flashbacks to his personal life. I liked this movie a lot.

The Gay, the Negro and the Holy Mountain is playing at ReelHeART International Film Fest. Go to reelheart.com for info. The Journey and 13 Minutes 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

 

 

 

A More Perfect Union. Films reviewed: The Big Sick, The Beguiled, In the Name of All Canadians

Posted in 1800s, Canada, Disease, documentary, Indigenous, Romantic Comedy, Rural, Women by CulturalMining.com on June 30, 2017

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

With the 150th anniversary of Confederation in Canada and the 4th of July south of the border, this is a long weekend with lots of movies to watch. This week I’m looking at two comedy/dramas from the US and a documentary from Canada. There’s a comedian coping with blind dates, a girls’ school dealing with a wounded soldier, and a country coming to terms with a new constitution.

The Big Sick

Dir: Michael Showalter

Kumail (Kumail Nanjiani) is a stand-up comic who wants to make it big. He’s a self-described numbers geek, who is into the X-Files and corny horror movies. He’s dating Emily (Zoe Kazan), a young woman he met at the comedy club, and their relationship is getting serious. But Kumail has a secret. His Pakistani-American parents (Anupam Kher, Zenobia Shroff) insist their son marry a Muslim-Pakistani woman, and constantly surprise him with blind dates. His parents don’t know about Emily and she doesn’t know about his arranged dates. Everything goes well until Emily uncovers Kumail’s “X File”, a cigar box filled with photos of all the women he secretly dates and rejects. She is livid and never wants to see him again. But the next time he hears from her she is in hospital on her deathbed with a mysterious ailment, the “big sick” of the title. He stays by her bedside as she falls into a coma. Things get complicated when her parents Beth and Terry (Holly Hunter and Ray Romano) arrive. They know all about his secrets and lies and don’t trust him. But their relationship grows as they cope with Emily’s troubles together. Will Emily recover? Can she forgive Kumail? And can he tell the truth to his family?

The Big Sick is a very sweet romantic comedy mainly about the relationship of a young man and his true love’s parents. Spoiler Alert: it’s based on Kumail and Emily’s real life story, so obviously she didn’t die. I liked that it doesn’t succumb to crass toilet humour but instead finds jokes in the normal life of a standup comic. Holly Hunter and Ray Romano are especially good as the parents. A good date movie.

The Beguiled

Dir: Sofia Coppola

It’s rural Virginia during the US Civil War, where a school for young ladies remains untouched by the war raging all around them. There, beautifully dressed women study literature, French, music and the bible, seemingly oblivious to the mayhem outside the school’s wrought-iron gates. There’s the imperious Miss Martha (Nicole Kidman); dowdy Miss Edwina (Kirsten Dunst); the recently grown-up Alicia (Elle Fanning) and nature-loving little Amy, among many others. They live in harmony in an old plantation house with two-storey, ionic columns, but no slaves, mind you – they all ran away. No one has breached the gates so far. Until one day, young Amy is out picking mushrooms and she finds a wounded yankee soldier. Corporal John McBurney (Colin Farrell) says he joined the Union army straight off the boat from Dublin. Now he’s a deserter. Can the ladies help him?

Miss Martha sews up his wounds lets him stay, but only as a prisoner. That’s when the corporal turns the charm level to high and begins beguiling and seducing all the girls and women. You’re the most beautiful woman I’ve ever met, he tells one. You’re the one I like the best, he tells another. We have a special bond he says to a third. Soon, the women are fighting one another to spend time alone with the handsome young soldier. This culminates at a dinner where all of the women are all gussied up, each hoping he will choose her. But something unexpected happens that turns the smiling charmer into a violent ogre. What will the women do with him now?

The Beguiled is a dark comedy, a remake of Don Seigel’s movie from the 1970s, told from the women’s point of view. It includes lots of twists and turns for a simple ninety minute movie. I thought the acting was good, and the looks of the movie itself is fantastic. I’d describe it as over-the-top subtlety, with oak trees groaning with Spanish moss and a constant mist covering everything. I liked this one.

In the Name of All Canadians

It’s Canada’s Sesquicentennial, 150 years since confederation, so Hot Docs commissioned a multipart documentary made any a number of filmmakers. I dreaded watching this because I was afraid this would be yet another treackly look at toques, poutine, multiculturalism, our health system and Tim Hortons. But I was way off the mark. It’s actually a reality check, a hard look at the all the egregious errors Canada’s governments have made over the past 70 years or so. Did you know Frenco-Manitoban school teachers were forbidden from teaching in French for 50 years? Then there’s the case of Mr Abdelrazik, a Sudanese- Canadian man tortured then forced to camp out inside the Canadian Embassy in Khartoum for three years before he was allowed to come home. There’s the mass arrests at the G20, the internment of Japanese Canadians, discrimination faced by black and Muslim Canadians. And the biggest issue of all, Truth and Reconciliation with aboriginal Canadians — First Nations, Inuit and Metis — for the countless crimes, including Residential Schools, inflicted on them.

In form, most of these docs use actors reading scripts, animated sequences, talking heads and reenactments, rather than fly-on-the-wall records of actual events. Some parts are very moving, while other parts veer into speechifying. The serious parts are tied together by cute short sequences asking various Canadians what they prefer in a huge range of topics. While not perfect, altogether it gives a good hard look at Canada’s Charter of Rights and Freedoms, its successes and failures. Worth seeing.

In the Name of all Canadians is playing now at the Hot Docs cinema; and The Big Sick and The Beguiled 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 Ana Serrano, Lisa Ellis and Priam Givord about the Pulse of VR

Posted in 3-D, Art, Cultural Mining, Games, Movies, VR by CulturalMining.com on June 30, 2017

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

Have you heard of VR but never experienced it? VR, or Virtual Reality, is a system that creates an artificial, interactive environment that makes you feel like you’re somewhere else. It gives you a startlingly realistic experience of sight and sound happening all around you. It’s already used by filmmakers, scientists, artists and gamers.  But is VR a flash in the pan or a quantam leap in technological change? How will it affect Canadian cinema? And how can you experience it yourself?

Pulse on VR is a new exhibit of Canadian VR works, sponsored by the CFC media lab. It’s running now through Sunday at the House of VR on 639 Queen St West.

Ana Serrano is the award- winning Founder of CFC Media Lab that specializes in interactive storytelling.

Lisa Ellis, the Conservator of Sculpture and Decorative Arts, AGO, created Small Wonders, a VR rendering of CT scan images of miniature, gothic wooden carvings.

Priam Givord is a freelance artist and designer who specializes in interactive media; he co-created  Small Wonders, the VR Experience.

I spoke with Ana, Lisa and Priam at CIUT about Pulse of VR and how VR may affect the future of Canadian cinema.

Something in the Air: The Cinema of Olivier Assayas. Films reviewed: Something in the Air, Cold Water, Late August, Early September

Posted in 1960s, 1970s, 1990s, Drama, Experimental Film, France, Politics, Protest, Romance by CulturalMining.com on June 23, 2017

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

Olivier Assayas is a leading French filmmaker in mid-career whose current work is some of his best. He was born in 1955 and came of age amidst the violent uprisings of 1968.  Assayas is a devotee of Guy Debord,  whose Situationist International, which combined avant-garde art and architecture with revolution is said to have been instrumental in 1968.

He was born in the business of movie making. His father, Jacques Remy, was a famous screenwriter. I first heard of Assayas in the 1990s, but somehow never saw his movies until recently with Clouds of Sils Maria (review here) and Personal Shopper (review here). Both star Kristen Stewart as a young woman working among ultra-rich celebrities. In these films the characters are introspective and detached, more apt to observe events than participate in them.

Now there’s a comprehensive retrospective playing through August that lets you see his lesser-known works. They totally change how I thought of him. This week, I’m looking at three of his movies showing at Something in the Air: The Cinema of Olivier Assayas. Two of them are based on memories of his adolescence and one about family and friends in their forties.

Something in the Air (2012)

It’s the late 1960s/early 70s in France. Gilles (Clément Métayer) is an upper middle class high school student in a town where chickens still peck on the street. His father adapts scripts for Inspector Maigret movies. But Gilles feels more at home on the streets of a Paris, where student protesters are violently clashing with police. Gilles has two passions: Art – he wants to be a painter – and politics — he’s a non-communist leftist, inclined toward anarchism. His third passion used to be a beautiful woman named Laure, also an artist. They would meet in the woods off country roads to smooch and read beat poetry. Until she dumped him.

His teachers want him to read French classics, but Gilles craves direct action. So he and some friends crank out sexy posters on a gestetner, grab some spray paint and set out on a graffiti trip in the middle of the night. But something goes wrong. As they run away they injure a security guard who falls into a coma. Does he know who threw the rock?

Gilles and his friends decide to get the hell out of there, and drive off to Italy in a VW van with a film collective. On the way, he debates China’s Cultural Revolution, and whether films should shock the masses with experimental, new techniques or educate them with “things they’ll understand”.

Meanwhile he smokes hash, and falls for a young woman named Christine but refuses to commit to everlasting love. Will he remain true to his artistic and political ideals? Or follow his father’s profession?

Cold Water (1994)

It’s the late 60s/ early 70s in France in a small town outside Paris. Christine and Gilles (Virginie Ledoyen, Cyprien Fouquet) are young lovers both from divorced parents. He comes from an upperclass family with a Hungarian housekeeper and a frustrated dad. Christine lives with her Scientologist mom, her Egyptian soccer playing stepdad. Her birth father owns a corner store. Gilles and Christine hang out and do daring and impulsive things together, like shoplifting from a record store. She makes a commotion and is tackled by security guards while he runs away with the loot. But the scheme falls though. The police get involved and hand Christine to her despised father who immediately commits to a mental hospital called Beausoleil. Gilles meanwhile is physically thrown out of class by an angry prof. And for some reason Gilles secreteky buys ten sticks of dynamite. What is he planning?

Gilles and Christine manage to meet again with friends at an outdoor party by an abandoned house, listening to loud radio music, smoking hash and dancing like Wickerman devotees around a huge bonfire. But can they stay together despite all the forces set against them?

Cold Water and Something in the Air are both semi-autobiographical works about Assayas’s adolescence, but made 20 years apart. I watched them in quick succession which is a mind-blowing experience. The two films have a lot in common. They both feature Gilles and Christine as young runaways but with very different results. In both films Gilles deals with a disapproving school teacher and a disappointed father, which suggests they are based on important events in his life. Bonfires, beat poetry, and period American music also play crucial roles in both films.

Maybe because Assayas is so much older now, Something in the Air can look back at the politics and visual details of the era with a cynical eye. Of the two films, I found Cold Water much more passionate, more gutsy. It’s imbued with a nihilistic punk streak, missing from the later film.

Although called semi-autobiographical, Something in the Air places Gilles and Christine in the student uprisings in Paris in 1968, while in Cold Water they dance to music from 1972. (Born in 1955, Assayas would have been 13 in 1968, 17 in ’72.) I guess that’s where the “semi-” comes from.

Late August, Early September (1998)

Gabriel and Adrien (Mathieu Amalric, François Cluzet) are close friends in their forties in an unequal relationship. Adrien is a famous writer committed to his craft. He once spent his last centime on a small work by Joseph Beuys. But how he’s broke and his star has dimmed. Gabriel works as a literary editor. He idolizes Adrien and everything about him even while he has a clandestine affair with a beautiful but impulsive young woman named Anne (Virginie Ledoyen). He recently broke up with long-time partner Jenny (Jeanne Balibar) who is also close to Adrien. But things take a turn for the worse.

Adrien has cancer and publishers have rejected his latest book. Gabriel, meanwhile, has risen to a high-ranked position at a magazine, high enough that he can hire Adrien to do paid gruntwork. And unknown to most of them, Adrien is having a clandestine, though non-sexual, relationship with a teenaged girl named Vera.

The film follows all of them, as well as a much wider circle of family, friends and ex-partners, each with past loves and unsettled grudges.

Like Assayas’ other movies, this is not a plot-heavy film, it’s a realistic slice of life of Parisian intellectuals. I didn’t immediately love this movie, but it’s the kind of film that gradually grows on you, leaving a lot to think about afterwards.

One remarkable thing: this might be the first movie I’ve ever seen where the biggest shock comes in the closing credits. Vera (Adrien’s much younger girlfriend) is a minor character, but crucial to the plot. The last line in the film, “On verra” (“we’ll see”, a pun on her name), is spoken by Gabriel who interrupts a conversation when he glimpses Vera through a window. Vera is played by none other than Mia Hansen-Løve, who eventually became Assayas’s own much-younger wife. This film was her first appearance on the screen; she is now a well-regarded Danish director.

Late August, Early September, Something in the Air and Cold Water are all playing through August at the Tiff Bell Lightbox in Toronto as part of the Olivier Assayas retrospective. The director appears in person at some screenings; go to tiff.net for details.

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

Dark Summer Movies. Films reviewed: It Comes At Night, Awakening the Zodiac, My Cousin Rachel

Posted in Cultural Mining, Gothic, Horror, Movies, Mystery, post-apocalypse, Psychological Thriller, Romance, violence by CulturalMining.com on June 9, 2017

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

Even on the hottest summer day, it still gets dark at night. So this week I’m looking at some dark summer movies. We’ve got rednecks stalking a serial killer, an aristocrat falling for a black widow, and an ordinary family fighting an unknown plague.

 

It Comes at Night

Wri/Dir: Trey Edward Shults

Travis (Kelvin Harrison Jr.) is a 17-year-old boy who lives with his parents in a huge wooden house in the woods. He sneaks around the dark halls and passageways late at night when he should be sleeping. He’s an insomniac plagued with strange dreams. And there’s a reason for his nightmares. A terrible disease – like Ebola mixed with small pox – is killing almost everybody and no one knows how it spreads. That’s why his parents Paul and Sarah (Joel Edgerton, Carmen Ejogo) fled the city and moved into this abandoned and isolated house. They are well equipped with gas masks, water purifiers… and guns, if they need them. They boarded up all the windows and doors except one: a red door that opens into a mud room.

One night, they hear a noise from behind the red door. It’s a young man covered in dirt (Christopher Abbott). Is he a thief or an innocent family man? And is he infected? Sam beats him up and leaves him to die tied to a tree with a bag over his head. But when he’s still alive the next day, he lets Will, his wife Kim (Riley Keough) and their little boy to move in with them. But can they be trusted? And are they clean?

Don’t be misled by the title. It Comes at Night is not a conventional horror movie with scary monsters; ordinary people who discard conventional morality when faced with extreme circumstances. It feels like a zombie movie, but without the zombies. It’s violent and disturbing but without the expected triumph or disaster. Great acting, amazingly shot with indoor scenes all lit by the glowing lanterns the characters carry. It has an almost surreal feel to it, as it switches between Travis’s fears, dreams and sexual fantasies and the horrible reality if his post-apocalyptic life. See this if your looking for a spooky and violent art house drama.

Awakening the Zodiac

Dir: Jonathan Wright

Mick and Zoe (Shane West, Leslie Bibbe) are a neerdowell couple living in a trailer park in rural Virginia. They drive a rusty pickup looking for work to improve their lot in life. For Mick this usually means a get-rich-quick scheme with his good buddy Harvey (Matt Craven). Their current plan? Treasure hunting in delinquent storage spaces: you pay a few hundred bucks to take ownership of the contents. And Harver thinks they’ve struck gold in the form of stacks of 8mm films dating back to the sixties. He’s uncovered the personal footage of an infamous serial killer known for his brutal murders and the cryptic messages he sent to the police. Zodiac disappeared in 1968, never heard from again. But there’s still a $100,000 reward in his head. Zoe, Mick and Harvey want the big bucks but first they must prove the storage locker belongs to Zodiac. Can they find the evidence they need before the killer finds them?

Awakening the Zodiac is a corny horror/thriller. It has some scary parts and a few shocks, and the main characters are likeable. Unfortunately it gets bogged down by a ridiculous plot and rusty script. Would a genius serial killer save all the evidence of his crimes and then forget about it? If you found valuable films wouldn’t you rather sell them than stalk a serial killer? (But I guess there’d be no movie) Even the 8 mm selfies look like what people make nowadays, not what a serial killer would have shot in the sixties. The biggest problem is when we finally discover who the killer is, he or she is just not scary enough. Save this one for late night TV.

My Cousin Rachel

Dir: Roger Michell (Based on the novel by Daphne du Maurier)

Victorian England. Philip (Sam Claflin) is a young aristocrat with a fiery temper not given to fancy words and deep thoughts. He lives in a stately mansion in the English countryside. An orphan, he was brought up by his much older cousin Ambrose, his finances handled by his godfather. He is deeply loyal to these two surrogate fathers and is expected to marry his longtime friend Louise (Holliday Grainger) his godfather’s daughter. He spends his time galloping through the rolling hills, steep cliffs and sandy beaches of his vast estate.

Philip is lord of the manor, but works alongside his servants and tenant farmers at harvest time. But things take a turn for the worse when his ailing cousin Ambrose writes him from Italy that his wife Rachel Ashley (Rachel Weisz) is trying to kill him! Before he can rescue him, his cousin dies and Rachel shows up unannounced. Full of hatred and vowing revenge, Philip confronts the murderous witch. He expects a crone with a wart on her nose. Instead, she’s a charming and sophisticated older woman with dark good looks even shrouded in widow’s weeds.

Philip falls madly in love, throwing money, family jewels and even the estate he’s due to inherit at age 25, if only she’ll marry him. She kisses him by candlelight even as she concocts odd tasting tisanes for him to drink. Is she killing him or nursing him back to health? Is she a serial killer and con artist, or merely a woman trying to secure her future? And is Philip the victim or an abusive lover who expects to possess whatever woman he desires?

My Cousin Rachel is an old fashioned gothic romance, complete with beautiful costumes, stunning scenery, authentic songs and a realistic, modern take on English country life. It’s based on a novel from the 1950s, but to modern audiences, parts seem out of date, like Philip’s ridiculous naïveté. The movie starts slowly but eventually gets really good with some shocking twists and turns toward the end.

It Comes at Night, Awakening the Zodiac, and My Cousin Rachel 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

 

Heads up! Films reviewed: Keepers of the Game, Mansfield 66/67, City of Tiny Lights

Posted in Canada, documentary, First Nations, Hollywood, Indigenous, Mystery, UK, US by CulturalMining.com on June 2, 2017

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

Toronto’s film festivals continue with Inside Out and Canada’s Sport Film Fest. This week, I’m looking at two documentaries and a noir drama. There’s a Mohawk lacrosse team keeping traditions relevant, a Hollywood star keeping her mystique afloat, and a private eye in London just trying to stay alive.

Keepers of the Game

Dir: Judd Ehrlich

The Akwesasne Mohawk territory straddles the US/Canadian border that runs between New York and Ontario. 20 years ago there was widespread discord among the longhouses. So to calm the waters, they started a boy’s lacrosse team to compete in the local high school division, off reserve. The idea was to bring back self-respect using a traditional custom. Lacrosse is a precolumbian warlike sport used by the Mohawk and other Iroquois long before Europeans came to North America. Hundreds, or even thousands of men would play the game together on open fields. It shows valour, strength and offers thanks to the creator.

Flash forward to the present. High school girls are facing the same problems – bullying, depression, suicide – as the boys did, but without the traditional sport outlet. They need a medicine to cure their ills. So they decide to start a girls team, using lacrosse as a traditional Mohawk medicine. But they face opposition from all sides. Awkesasne men say they are defying tradition by letting girls play a boys sport and want it stopped. The school board is facing cutbacks, so the are against funding a new team… especially one for girls. And the players themselves are afraid they lack the confidence and experience to win. Even so, they manage to raise the money and recruit the players to have a regionally competitive team. But can they beat their rivals  — a mainly white team who use a feathered native cartoon as their team mascot?

This documentary is a record of one season of a real-life team and the obstacles they face, on and off the field. It shows the role traditional customs can play in a modern sport. Players design their own war paint as they compete for the first time, even as mothers and grandmothers pass on language and rituals. It’s about young aboriginal women who gain self respect as they reclaim a sport their own ancestors created. It’s an inspiring story.

Mansfield 66/67

Dir: P. David Ebersole, Todd Hughes

Jayne Mansfield was a bleach blonde bombshell in the 1950s, who lived on publicity. She was known for her whispery voice, her highpitched squeals, and personality – that of a naïve, dumb blonde seemingly unaware of her sexiness, even as she posed for playboy and appeared naked on the big screen. In fact, her persona was self-created and nurtured by the Hollywood studios, and fed by the tabloids paparazzi and gossip rags who lived in her stories. She married Mickey Hargitay, a body-builder, to complement her own figure. And she lived in a pink mansion, legendary in Hollywood for its 45 rooms. But did you know she was a multilingual musician, and a student at a top university? Sadly, her movie career faltered in the 1960s, and  she began to follow another celebrity, a man named Anton LaVay. LaVay was known for his shaved head, his black goatee and his sinister but commanding looks. He founded a new religion — The Church of Satan. And not long after, her life was suddenly cut short in a terrible accident that totalled her car and chopped off the top of her head. Those are the bare facts. But what really happened to Jayne Mansfield?

You could call Mansfield 66/67 a documentary, but that might give you the wrong idea. It’s actually a highly stylized tribute to — and desconstruction of – a Hollywood legend. There are the usual talking heads  — from gender studies professors, to stars like Tippi Hedron and starlets like Mamie van Doren. But there are also underground icons, eighties pop stars, models, drag queens, and the chronicler of Hollywood himself, Kenneth Anger.

This is not your usual bio doc. What other documentary creates a cutesy cartoon of Mansfields son being mauled by a lion? Or intricately choreographed dancers of both sexes wearing matching blonde wigs as they worshipped  the devil in Busby Berkeley-like formations? This is a strange combination of film lore, academic analysis, hollywood gossip, and extremely campy performance art.

City of Tiny Lights

Dir: Pete Travis

Tommy (Riz Ahmed) is a private detective who lives and works in an ungentrified part of London. It’s a neighbourhood in flux, full of nervous shopkeepers and streetcorner drug dealers, radical imams, and sketchy real estate speculators. His dad (Roshan Seth) is a die-hard Briton whose life is guided by Charles Dickens and Cricket. As a South Asian Ugandan he was forced to flee under dictator Idi Amin. One day a sultry sex worker named Melody (Cush Jumbo) hires him to look for her friend Natasha. She hasn’t seen her since her last trick 8 hours earlier and doesn’t answer her cel. But when he searches her hotel room he finds a dead body, not Natasha. It’s a real estate broker involved in a major development. He also discovers the dead man gave money to an Islamic youth group known for driving drug dealers off their streets, led by a radical Muslim preacher. Lurking in the shadows is a sketchy security spook working for the US government. And it is all somehow related to his boyhood, a friend named Lovely, and woman named Shell. Who is behind the murders and disappearances? Organized crime, terrorists, corrupt developers or American spies?

City of Tiny Lights is a well-acted, low budget look at a private detective in contemporary London. Some of the camera work is annoying and gimmicky – like cheap 90s TV — that distracts from the story. I was also confused by frequent flashbacks — the young actors look nothing like their adult counterparts. But I liked the complex, multi-levelled mystery and the acting is terrific.

Mansfield 66/67 is one of many films at Toronto’s Inside Out Film Festival which continues through Sunday; Keepers of the Game is the opening night feature at the ninth annual Canada’s Sport Film Festival, beginning next Friday. Tickets and showtimes are at sportfilmfestival.ca. City of Tiny Lights opens today in Toronto, as does Ken Finkleman’s satiric comedy An American Dream: The Education of William Bowman (I talked about this film in March). 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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