Questioning Authority. Films reviewed: Empty Metal, The Oath, The Happy Prince

Posted in 1800s, Biopic, comedy, France, Indigenous, LGBT, Politics, Protest, Resistance, Supernatural, UK, US by CulturalMining.com on October 19, 2018

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

Toronto’s Fall Film Festival season continues with Imaginenative, in its 20th year. Imaginenative looks at indigenous film and media arts on the big screen and in galleries. There are scary movies, docs, short films, video games VR, and lectures. Look out for Alanis Obomsawin, a retrospective of Métis director Marjorie Beaucage, CBC’s Rosanna Deerchild on Colton Boushie, and Oscar winner Zacharias Kunuk’s latest. There are dozens of things to see and do, from North America and around the world, and many of them are free.

This week I’m looking at three new movies about people who question authority. There’s a writer in exile for breaking a law, an American in trouble for ignoring a law, and indigenous revolutionaries fighting the law… using telepathic powers!

Empty Metal

Wri/Dir: Adam Khalil, Bayley Sweitzer

It’s present day America, where native protesters face rows of armed state troopers. Aliens, a three member electropunk band in Brooklyn, are obsessed by the upcoming apocalypse, and sad they might miss the end of the world. So when they are approached by a young indigenous activist on their first band tour, they are wary, but intrigued by what she offers them. She says they can play a crucial role in the upcoming collapse of everything… but they will have to communicate telepathically. She is advised by three elders – a Zen like white man with a shaved head, a white bearded Rastafarian, and a matronly indigenous activist – who plot the group’s future. Meanwhile, a posse of white, NRA militiamen are training in the woods for their own armed insurrection. And observing – and listening to – everything are unseen government intellegence agents using drones and cellphone listening devices. Who will survive this never ending battle between surveillance and subversion? And why are these people body worshipping a wild boar and opening umbrellas on sunny days?

Empty Metal is a strange and disjointed but ultimately satisfying look at music, art and politics. Some of the images are baffling – what’s with the frying eggyolks and stirring soup? But what seems at first like a series of unrelated events and bizarre practices gradually coalesces into a coherent narrative. It ends up as a cool, if unusual, arthouse espionage drama.

And it’s having it’s Canadian premier at ImageineNative.

The Oath

Wri/Dir: Ike Barinholtz

Chris and Kai (Barinholtz and Tiffany Haddish) are a middle class liberal couple hosting a big Thanksgiving dinner for all of Chris’s family. Since he’s known for his outspoken views, Kai makes him promise to stay away from political discussions. But his vows all evaporate when his little brother’s girlfriend Abbie (Meredith Hagner) shows up. She’s a poster child for Fox News views and doesn’t care who knows it. Get ready for big fights over turkey. But there’s a bigger issue splitting the family – and the country – apart. That’s an oath the president declares all citizens must sign, affirming their loyalty and patriotism. And the deadline for signing is Black Friday, the day after Thanksgiving. Who has signed the oath and who has stood firm? And what will happen to people who refuse to sign?

Things take a turn for the worse when quasi-official government agents show up to enforce the new law. Peter (John Cho), is a reasonable guy, but his partner Mason (Billy Magnussen) is another story. He’s a rude, crude pit bull, longing for a fight. And he’s carrying a gun. When things violent can Chris keep his family safe? Or are they headed for disaster?

The Oath is a dark comedy about life in a divided America under a Trump-like president (they never say his name). It’s also a look at masculinity, with Chris changing from a mansplaining but progressive white guy to a stand-your-ground defender of family and home. Basically a drawing room comedy, it deals with stereotypes and politics, in a funny, though violent, way.

I liked this movie.

The Happy Prince

Wri/Dir: Rupert Everett

It’s the 1890s. Oscar Wilde (Rupert Everett) is a London playright and novelist at the height of his career, rich, famous and wildly popular. He has a happy life at home with his wife (Emily Watson) and two young sons, whom he loves to tell bedtime stories. He’s also gay, a felony at that time. His love affair with an aristocrat, Bosie Douglas lands him in the notorious Reading Jail for two years hard labour. And his career, reputation and homelife disappear overnight. Now he’s in France under an assumed name, living off a tiny allowance. His affairs are handled by a former lover named Robbie Ross. Robbie (Edwin Thomas) is still deeply in love with Oscar Wilde, but thewriter still carries a torch for the diffident Bosie, the cause of all his problems. And when Bosie  (Colin Morgan: Merlin) shows up again, things start to go wrong. Will Oscar Wilde die lonely and neglected in Paris or living life to its fullest?

The Happy Prince is a look at the last years of Oscar Wilde’s life, but is also a fascinating glimpse of the marginal nature of gay life nearly a century before it was legalized in the U.K.. Though solidly upper class, Oscar spends time with beggars, thieves, sailors, street urchins and drag queens. Or running away from bigoted cricketers armed with lead pipes. Rupert Everett plays Oscar – in excellent French and English — as a tragicomic figure, whether witty and urbane, or rude and lusty.

This movie is a lot of fun.

The Oath, The Happy Prince both open today in Toronto; check your local listings. Empty Metal is playing tonight go to Imaginenative.org for details.

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

Bro Movies. Films reviewed: Bigger, First Man, Free Solo

Posted in 1930s, 1960s, Biopic, Bodybuilders, documentary, Montreal, Movies, Space, Sports by CulturalMining.com on October 12, 2018

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

It’s Fall Film Festival season in Toronto now, meaning more movies than you can shake a stick at. Toronto After Dark will thrill and chill you with horror, cult and fantasy pics. Cinefranco brings brand new French language comedies, dramas and policiers from Quebec and Europe. And Rendezvous with Madness plays fascinating films accompanied by panel discussions on addiction and mental health.

But this week I’m talking about bro films, two biopics and a doc about men with lofty goals. One wants to climb a sheer cliff, another wants to build the perfect body, and a third one who just wants to fly to the moon.

Bigger

Dir: George Gallo

Joe Weider (Tyler Hoechlin) is a poor jewish kid in depression-era Montreal. On the streets tough kids beat him up and steal his paper route money, and at home his cruel mom beats him for not keeping clean. At least his little brother Ben (Aneurin Barnard) looks up to him. Joe finds inspiration in unusual places: a strongman at the circus and photos of weight lifters he see at newsstands. He begins to obsessively draw pictures of perfect male bodies, copying from textbooks at the McGill library. He wants to promote beautiful physiques, bodies that are muscular, symmetrical and healthy. But fitness for health and looks is still a new concept. In those days people guzzled booze, smoked like chimneys, and thought exercise was a dangerous thing best left to olympic athletes.

Weider challenges all that with self-published magazines, promoting new exercises, diets and weight training, illustrated with glamour shots of barely-dressed muscle men. It’s a smash hit, he gets a US contract and Joe and Ben’s empire expands to bodybuilder contests, weights, and a wide range of magazines. And when business takes him to Hollywood, he spots a bleached blonde pin up model working out at Jack LaLanne’s gym.  Betty (Julianne Hough) is everything he desires: beautiful, fit and smart (he is separated from his first wife). Is this true love? Later he discovers Austrian bodybuilder Arnold Schwarzenegger – the personification of his childhood drawings – and brings him to America.

Bigger is a fun, if idealized, look at the life and career of Canadian fitness mogul Joe Weider. It’s a bit corny, with Montreal-born Joe talking in an unplaceable, choppy accent. And it steers clear of his lawsuits and scandals. But Hoechlin and Hough are enjoyable as Joe and Betty, and there’s even a super villain, a racist, anti-semitic homophobe named Hauk (wonderfully played by Kevin Durand) who is his business rival and real-life enemy. Not a great movie, but an enjoyable one.

First Man

Dir: Damien Chazelle

It’s the 1960s in America, the space race is on, and the Soviets are winning. Neil Armstrong (Ryan Gosling) is a test pilot exploring the skies. He can land any plane, even one about to explode. He’s married to Janet (Claire Foy), a pixie-ish woman with a fierce temper. They have a young daughter they both love. But when the girl dies of an incurable illness, and Neil loses his job despite his skills they know things have to change. So Neil makes a big decision: NASA needs astronauts, and he’s going to be one. They move down to Houston and settle in to suburban life.

First Man follows the career and home life of the renowned astronaut, from Gemini missions, to Apollo’s first landing. Armstrong is portrayed as a strong silent type, a no-nonsense guy who drives off alone to handle anger and depression. It also deals with astronauts and their uncertain lives (lots of them died). And director Chazelle makes you feel like you’re there with them in the planes and rockets. He even inserts showtunes into his astronaut movie. (Wait — showtunes?)  So why didn’t I Iike it? First Man is too heavy, too long, too ponderous. It’s one of those overly stern and patriotic American movies about national heroes. And where’s the suspense? We already know he was the first man on the moon. What’s the point? Ok, there are a few powerful scenes, but First Man consists mainly of rattling cockpits, brooding astronauts and suburban housewives yelling about their husbands.

Ryan Gosling is wasted in this boring example of Oscar Bait.

Free Solo

Dir: Elizabeth Chai Vasarhelyi and Jimmy Chin

It’s 2016 and Alex Honnold has one obsession: to scale a sheer cliff in Yosemite. Mountain climbers have done it before in teams rapelling with ropes, pitons and caribiners. But Alex wants to do it “free solo”, that is, by himself and without safety ropes. One slip, one miscalculated reach, will send him plunging to his death. But he really wants to climb El Cap, and if it’s not free solo, what’s the point?

Alex is a boyish, wiry vegetarian who cares little for material things. He’s a loner who lives out of a trailer. He’s also in perfect shape, lithe, bendy and incredibly strong. He has to be to hold onto a crack in a rock with just a few fingers while stretching his body sideways to the next outcropping. He intensely studies the cliff, practicing each stage in separate small climbs using ropes. And he is accompanied by the filmmakers, who are accomplished climbers themselves. Alex proves to be a bit camera shy, hesitant to “let go” before the cameras. Is it performance anxiety? And will Alex make it to the top of El Capitan… or plunge to his death?

Free Solo is an amazing and spectacular look at one climber attempting the nearly impossible. I have no deep-seated passion for rock climbing – I even have a fear of falling – but this movie kept me riveted the whole time. Scenes that show Alex’s quirky nature and the people around him —  including other climbers, his family and his girlfriend – help give him a more rounded portrayal. But it’s the climb itself, and the truly amazing photography, that really keeps your attention.

Bigger, First Man, and Free Solo and 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.

Women, famous and infamous. Films reviewed: Lizzie, Anthropocene, Colette

Posted in 1800s, Biopic, Crime, documentary, Elephants, Environmentalism, Feminism, France, Lesbian, LGBT, melodrama, Poverty, Psychological Thriller, Women by CulturalMining.com on September 28, 2018

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

This week I’m looking at three movies about famous — and infamous — women. There’s a psychological thriller about an axe murderer; a biopic about a French novelist, and a documentary… about Mother Earth.

Lizzie

Dir: Craig William Macneill

It’s 1892 in Fall River, Massachusetts. Lizzie Borden (Chloë Sevigny) lives with her sister Emma, her stepmother Abby, and her rich and successful father (Jamey Sheridan). He’s a successful financier resented by the neighbouring farmers. Lizzie is a pale woman with curly red hair and an uptight manner. She whiles away her hours reading poetry and cooing with the pigeons she keeps in a wooden dovecote.

But trouble is brewing in this family. Father is outwardly kind but with evil intent. Cryptic notes show up at their home, promising blood and damnation. And then Lizzie has a tonic-clonic seizure at the opera house. Her father calls epilepsy “showing off”, but agrees to hire Bridget (Kristen Stewart) an irish maid as her caregiver. Meanwhile, feeling left out in a house of four women, he invites his brother John to stay with them. John is untrustworthy and might be embezzling money. And as the relationship between Lizzie and Bridget turns sexual, they try to rebuff the aggressive creepiness from the men inthe house. What will happen to this disfunctional family?

Well, it’s not a spoiler that the parents are going to die, as anyone who has heard of Lizzie Borden knows that her mother and father were brutally murdered. This is also made clear in the first scene of the film. But you don’t know who actually did it till a shocking scene near the end. Lizzie is a slow moving, slow-build psychological drama. Chloe Sevigny and Kristen Stewart are both good in their roles, but a thriller it’s not. It’s just too slow.

Anthropocene: The Human Epoch

Dir: Jennifer Baichwal, Nicholas de Pencier, and Edward Burtynsky

Picture a mountain of garbage in Kenya as far as the eye can see. A marble quarry in Italy, carved out of a shear cliff. An open pit mine in Germany. A heavily polluted city in Siberia. Or the rising water gradually flooding the streets and piazzas of Venice. These are not what you normally think of as natural phenomena. Rather they’re part of a new phenomenon, a period some geologists are calling the Anthropocene Epoch, when nature is shaped by humans.

Anthropocene throws a lot of new terms at you, words like anthroturbation – the scarring of the earth’s surface—and concepts like the stages of extinction, as more and more animals exist only in captivity. Visually it’s a treat, but there are so many scientific concepts bombarding the viewer that the message sometimes gets buried in the content. And some of the visual metaphors are too obscure to understand. Why is a bonfire first portrayed as a scary inferno (suggesting forest fires caused by climate change), when it’s later revealed to be a “good thing” — saving elephants by burning their tusks? And what do a million churchgoers in Nigeria have to do with climate change or pit mining?

Still, this stunning documentary combines the photography of Burtynsky – known for his vast and brutal industrial landscapes — with the filmmaking of de Pencier and Baichwall. It’s like the worlds biggest coffeee table book projected onto a big screen. It’s gorgeous.

Anthropocene is definitely worth seeing, perhaps more as a work of art than as a documentary.

Colette

Dir: Wash Westmoreland

It’s the 1890s in Bordeaux, France. Gabrielle Colette (Keira Knightly) is a headstrong young woman with long black braids who lives with her parents in a country home. She’s smart, pretty and creative. She’s also a country girl without a dowry. Enter Willy (Dominic West) a much older Parisian man, visiting her parents. Sparks fly, and soon they rendezvous in the barn for a roll in the hay. Literally. Willy sweeps her off her feet and presents his new wife to the consignienti of Paris; they are unimpressed. He’s a celebrity there, known as much for his flamboyant persona as for his writing (He’s actually a talentless hack who employs a stable of ghost writers.) He encourages her to write too, and then publishes her semi-autobiographical stories about “Claudine” a country school girl.

It’s a smash hit, with Claudine lookalikes popping up all across Paris. And Gabrielle is famous now too… but for her looks, not her writing, since it was published under Willy’s name.

And they are still plagued with financial troubles. Where is all the money going? Mainly to pay for Willy’s mistresses, Willy’s prostitutes, Willy’s gambling debts. Willy can’t keep his willy out of trouble. But my dear, he tells Gabrielle, it’s just what men do.

Gabrielle is pissed that he’s wasting her money and playing with her emotions. So she embarks on her own adventures, a series of affairs: a sex triangle involving a rich woman from Louisiana, known for her auburn hair and come-hither glances. Later she falls for Missy (Denise Gough) an aristocrat who dresses only in men’s clothing and military garb. Is this true love? And will she ever find fame for her writing?

Colette is a fun, historical biopic about the writer who became known as Colette. It’s filled with campy scenes of fin-de-siècle Paris – from shirtless men carrying women on a palanquin, to secret lovers hiding behind velvet curtains. This film is more of a romp than a serious take. But it’s enjoyable nonetheless. And director Westmoreland takes pains to include queer politics in his look at early lesbian feminism, providing a multiracial cast and a proto-trans character (in the current, 21st century sense).

Lizzie, Anthropocene and Collette all open today in Toronto; check your local listings. And opening Thursday is Bad Banks — a gripping German TV drama about high finance in Frankfurt — showing on the big screen at the TIFF Bell Light Box. Don’t miss it!

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

Fast cars and fast food. Films reviewed: xXx: Return of Xander Cage, The Founder

Posted in 1950s, Action, Biopic, Conspiracy Theory, Food, Morality, Movies, Sports by CulturalMining.com on January 20, 2017

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

Things are happening so fast south of the border you have to read Twitter to keep up. One day Chelsea Manning is heading for freedom. Another day Donald Trump is heading for the White House. So this week I’m looking at two movies about things that are fast. There’s a biopic about fast food, and an action movie about fast cars, fast planes and fast motorcycles.

15585154_696458033845759_3594431449720292242_oxXx: Return of Xander Cage

Dir: DJ Caruso

Americas bigwigs are meeting in a highrise and they are very worried. A top secret device known as Pandora’s Box has fallen into enemy hands. It looks like a VHS tape, but it has the power to turn satelites into Weapons of Mass Destruction, plunging to earth on their targets in a blaze of fire. But their meeting is broken up by a surprise attack by ghost agents: powerful paramilitary figures that are totally off the grid. So the head bigwig (Toni Collette) hires the legendary Xander 14940238_661940813964148_2127771514128546450_oCage (Vin Diesel) – the Triple X agent — to track down the bad guys and bring Pandora’s Box back home.

The problem is, how do you tell the good guys from the bad guys? Xander is offered a team of Sgt Nick Furys, but rejects them. Instead he gathers a team of misfits. There’s Adele, a green-haired Aussie sniper, and a car crash 14889751_661940543964175_1685622379480816316_omaniac, amond others. Xander Cage himself is an expert in extreme sports involving skis, skateboards and parkour. He’s also popular with the ladies. He regularly sleeps wth six models simultaneously. Why or how the movie doesn’t explain. The opposing team includes martial arts greats (Donny Yen and Tony Jaa — from Hong Kong and Thailand respectively) and the beautiful Serena (Indian model Deepika Padukone). The big showdown is supposed to take place at an open-air rave in a remote island (supposedly in the in the Philippines but without any Filipinos). But should they be 14902898_661941123964117_8062871875001764536_ofighting one another? Or going against the source of the trouble – the military/industrial bigwigs who started it all?

Triple X, Return of Xander Cage is an action movie, but not a thriller. It has an international cast, and a weird obsession with the 1990s, complete with 90s 14917252_661941140630782_7672771277120637968_orave culture, clothing, tattoos, even a guest appearance by Ice Cube.

There are a few funny lines, but most of the dialogue is painfully bad, filled with fake profundity. Lines like: Patriotism is dead; now there are only rebels and tyrants. (What does that mean?) Great chase scenes, including motorcycles on skis racing through a tubular wave on a beach; OK fights, though they skimped on the martial arts; plus lots of explosions, shootouts, car crashes and falling from great heights. Lots of violence but surprisingly less blood than I see shaving in the morning. (And I have a beard.) Which makes the violence seem comic book or comical. Watch this silly movie if you’re into extreme sport/action movies and just want to kill some time. It’s not a great movie by any measure, but it’s an enjoyable distraction.

TF_D01_TR_00075.ARWThe Founder

Dir: John Lee Hancock

It’s mid-twentieth century in middle America. Ray Kroc (Michael Keaton) is an unsuccessful travelling salesman. His mind is full of get-rich-quick schemes, but they always seem to fail. Still, he relentlessly plies the highways with samples of merchandise and the endless sales patter he carefully rehearses in motel rooms. Right TF_D22_DM_06302015-8012.cr2now it’s steel milkshake machines that he sells to drive-in burger joints popping up nationwide. They are places where leather jacketed toughs and girls in bobby sox gather to smoke cigarettes and listen to the juke box. Terrible service, cold food, long waits.

TF_D27_DM_07082015-9955.cr2But when he takes a telephone order from San Bernardino, California, his ears perk up. A restaurant there wants six of them. Six milkshake machines? Surely there must be some mistake. He drives out to investigate. And there he finds McDonalds. They sell burgers, fries, milkshakes. The lines are long but speedy, the food is delicious, and the service is perfect. No carhops, juke boxes or cigarettes here.

So he meets up with the owners, Mac and Dick McDonald (John Carrol Lynch and Nick Offerman). It’s their baby, they say. They planned the menu, the logo, the golden arches. They designed the logistics, they built THE FOUNDERthe ketchup and mustard squirters, they arranged the grills for maximum efficiency. And they’re making money hand over fist. Ray Crok sees his future – and limitless wealth — in franchising these restaurants across the country. The problem is, the McDonalds don’t want to expand. They want to keep it local and under their supervision. But Ray convinces them he’ll stay true to their wishes and TF_D14_DM_06182015-5178.cr2bring them lots of money. But who will ultimately be in charge: the McDonald brothers or the McDonalds corporation?

The Founder is a fascinating look at the history of that well-known brand. It looks at Kroc’s home life, affairs and business deals. I’m not a fan of Mchael Keaton, but he is fantastic in this movie; his portrayal as the ambitious (but unlikeable) Ray Crok is skilfully nuanced and complex. You sympathize with him, since he’s the main character in the movie, but you recoil from how he treats the honest and forthright McDonald brothers. This biopic is not a softball version, it’s a hard-hitting look at the dark side of a successful businessman.

The Founder and xXx Return of Xander Cage 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 filmmaker Avi Nesher about Past Life at #TIFF16

Posted in 1970s, Berlin, Biopic, Drama, Feminism, Israel, Music, Mystery, Women, WWII by CulturalMining.com on January 6, 2017

avi-nesher-tiff16-past-life-1-jeff-harrisHi, this is Daniel Garber at the movies for culturalmining.com and CIUT 89.5 FM.

Sephi and Nana Milch are Israeli sisters in the late 1970s. Sephi is the beautiful one – she’s a student of music and wants to become a composer. Nana is the smart one, an intellectual who writes for a pastlife_06radical leftist newspaper. They were both raised by strict parents who survived the Holocaust by hiding in a Polish farmer’s house. But on a musical visit to Berlin, Sephi has a strange encounter: a woman shouting that her father is a murderer. A murderer? Her own father? This sends both sisters on a search across two continents to find out what really happened and to confront their avi-nesher-tiff16-past-life-2-jeff-harrisown hidden past. But can they handle the truth of their parents’ past life?

Past Life is the name of a new movie, based on a bestselling memoir. It was written and directed by Israeli filmmaker Avi Nesher. Nesher is a longtime favourite at TIFF, bringing us heady romances like The pastlife_04Secrets and brilliant period dramas like The Matchmaker (a personal favourite). Nesher is a consumate storyteller. His absorbing films combine intellectual rigour with vivid characters, all placed within stories reminiscent of classic Hollywood movies. This film premiered at the Toronto international film festival. I spoke with Avi Nesher on location at the TIFF Bell Lightbox during TIFF16.

Past Life screens in Toronto at 1:00pm and 4:00pm on Sunday, January 15, 2017. Go to TJFF for details.

Photos of Avi Nesher by Jeff Harris.

 

Schocken and Scribner’s. Films reviewed: Vita Activa — The Spirit of Hannah Arendt, Genius

Posted in 1920s, 1930s, 1940s, 1960s, Biopic, Books, Cultural Mining, Germany, Manhattan, Nazi, US, WWII by CulturalMining.com on June 10, 2016

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

Movies based on books are a dime a dozen: there’s a movie option for every bestseller. But what about movies about the books and writers themselves? This week I’m looking at movies set in the mid-20th century when books really were important. There’s a documentary about a philosopher who pulls her observations together; and a biopic about an editor who cuts lengthy manuscripts apart.

Vita Activa PosterVita Activa: The Spirit of Hannah Arendt

Dir: Ada Ushpiz

It’s 1963 in Jerusalem. Adolph Eichmann is on trial there as the primary architect of the mass murder perpetrated by Nazi Germany. Covering the trial for the New Yorker  is Hanna Arendt noted German-Jewish philosopher. She observes the ultimate bland bureaucrat in a glass box who claims he has no hatred of the Jews he slaughtered and says he is not an ideologue. Arendt observes it all, and coins the term the Banality of Evil to describe it. This sets off a huge controversy. Critics accuse her of minimizing the enormity of Nazi crimes, humanizing the criminal and even partially blaming the victims.

How did she go from a girl from Hanover to a philosopher/journalist inHannah Arendt 1 Jerusalem? The path was not direct. This documentary covers the history of her life, both academic and personal, and her philosophy and writings.

Arendt lived through what she wrote about. Born in Hanover, Arendt was raised by her mother. She studied at the University of Marburg under philospher Martin Heidegger (her sometime lover) just before the Nazis came to power in 1933. She was kicked out of  school and suddenly found herself — an ordinary German — as part of a group denounced and dehumanized by government propaganda: the refugees who had fled war and revolution across Europe.  What disheartened her Hannah Arendt 2most was to see German intellectuals (including Heidegger), the very people she revered and was devoting her life to study,  incorporating Nazi rhetoric into their own writing and speeches.

She fled to Paris and continued her work. There she witnessed the rise of extremism and totalitarianism across Europe. Imprisoned in a concentration camp by the French, she escaped and made it to New York, where she wrote about totalitarianism, guilt and responsibility.

This film is a historical document that uses recorded interviews – in English, French and German — to explain her ideas and the events in her Hannah Arendt, Vita Activa, Zeitgeist Filmslife. It’s illustrated by newsreel footage, government propaganda as well as film from the Eichmann trial. Her writing and letters are read by off-screen actors. And both her critics and supporters — including Karl Jaspers and Judith Butler — are given airtime.

This is a rich and beautiful look at the work and life of Hannah Arendt.  It also deals with the debate on her philosophy and the controversies around her coverage of the Eichmann trial. I think this films does a better job than the dramas made about her life.

Genius PosterGenius

Dir: Michael Grandage

Max Perkins (Colin Firth) is a top editor at Scribners and sons, a major New York publisher of fiction. He’s known for championing an unknown writer. He picks up a messy pile of paper, cuts out the unnecessary parts and rewrites it Boom – instant bestseller. Max – known for the fedora he never takes off his head — is the invisible force behind F Scott Fitzgerald and Hemingway. He’s the one who edited The Great Gatsby and The Sun Also Rises.

When he’s not at work he’s commuting to the outer suburbs, a bastion of Anglo privilege and conservatism with his wife Louise (Laura Linney) and their five daughters.

But suddenly something upsets the apple cart. A manuscript 7X2A4831.cr2arrives, courtesy of Broadway costume designer Aline Bernstein (Nicole Kidman). She’s married with children but champion an unknown writer whose work has been rejected across the industry. He reads it it and is blown away. And who appears his door but Thomas Wolfe (Jude Law), a youngish man with messy hair and a brown suit with a heavy southern drawl. He shouts and performs rather than converses. As soon as they meet, the older, bookish Max and the young undisciplined Tom become fast friends and devote all their time trying to convert 1000s of messy pages a pile into a coherent readable novel. Cut, cut, cut says Max. But this is my life! 7X2A3167.cr2protests Tom. The book is published to phenomenal success. And then on to the next manuscript to the chagrine of their famileis and livers But will their bromance outlast Tom’s brush with fame?

13416962_1731661510436823_7285708826814410368_oGenius is an interesting film about writing and editing. That’s what I liked about it.

(Full disclosure: when I’m not reviewing movies I’m editing books – that’s my other job.) I love editing… but is it ever exciting? The movie is filled with writers typing and scribbling, and scribbling away passages with a red pencil. But what the movie really needs is a good edit! It’s filled with tons of speechifying and grandstanding (and dare I say overacting?) Do real writers, even famous ones, talk like they write? Of course not. But in this movie they do.

It’s done as a period piece, complete with beautiful interwar cityscapes, 13418669_1732542140348760_2521662994238663257_operiod costumes and cars, and a great cast. But somehow this movie manages to be both bookish and overwrought.

Spring festival season continues with ICFF, the Italian Contemporary Film Festival and the Toronto Japanese Film Festival, and NIFF, the Niagara Integrated Film Festival. Vita Activa: The Spirit of Hannah Arendt opens today in Toronto, check your local listings; Genius starts next week in Toronto and Vancouver.

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

Divided personalities. Movies reviewed: Al Purdy Was Here, Legend, I Smile Back

Posted in 1950s, 1960s, Biopic, Canadian Literature, Cultural Mining, drugs, Mental Illness, Movies, Organized Crime, Uncategorized by CulturalMining.com on December 4, 2015

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

People want their friends to be consistent, reliable, regular. But personalities don’t always work this way. This week I’m looking at three movies about people with shifting lives and divided personalities. There’s a US drama about a drug-addicted, bipolar stay-at-home mom; a British biopic about identical twin gangsters, and a Canadian documentary about a poet with a second life.

Purdy-at-typewriterAl Purdy Was Here
Dir: Brian Johnson

Literature once ruled Canadian culture, with poetry at the top of the CanLit heap. Dudek, Layton, Cohen, Atwood, Bowering, MacEwan, Borson… But things change, and names get lost. This documentary looks at one of those poets, a man named Al Purdy. Have you heard of him? There’s a statue of him in Queen’s Park, about 100 metres away from here.

Purdy is born in small-town Ontario and drops out of school. He joins the Air Force, works with dynamite, and rides the rails all the way to Vancouver. In the 1950s he survives on UI and roadkill. AL+&+friends+at+the+A-FramePicture a bigger-than-life man in loud plaid pants with a foghorn voice. He’s imposing, obnoxious, and happiest talking loudly with a beer stubby in his hand. He makes his mark in Montreal among the better-educated English poets, depending on his prose poetry and rough working-class persona to pull him through. But what became of him?

This movie fills in the blanks. It uses amazing old snapshots, recordings and CBC footage, chapbooks, memorial concerts and twitter feeds to memorialize Al Purdy. It concentrates on the A-frame he built by hand with poet Milton Acorn. The house falls into disrepair so a bunch of writers and musicians get together to physically fix it up. The movie also uncovers the fact it was his wife’s work and salary that let him live the life of a poet. And some skeletons in the closet of another forgotten life. For example it was his wife’s income that let him live as a poet. This movie brings musicians and poets together again, and brings Al Purdy’s poetry back to life.

LegendLegend
Wri/Dir: Brian Helgeland (L.A. Confidential)

Reggie and Ronnie Kray (both played by Tom Hardy) are gangsters in London’s Bethnal Green, in the 1960s. They make their money through extortion and gunrunning. They are well known to the police, but they still go on with their work with impunity. They’re also identical twins: they may look the same, but their personalities are night and day.

Reggie is popular with the ladies, a real charmer, while Ronnie prefers sex with guys. Reg is the shrewd businessman while Ronnie is more of the brawler. Reggie can hold his own in a fight, but Ronnie’s the really scary one, the loose cannon, ready to explode at any moment, guns ablazing.

Diagnosed with paranoid schizophrenia, the movie begins with him locked away in a high-security Legendhospital for the criminally insane. Reggie strongarms a psychiatrist to declare his brother sane but the doctor puts it on Reggie to make sure Ronnie always takes his meds. (He doesn’t)

One day Reggie meets Frances (Emily Browning) the younger sister of one of his drivers. She’s 16, a petite, beautiful wide-eyed ingénue. They share a lemon sherbet candy, and bam! they fall in love. (She serves as the movie’s narrator). She likes everything about him… except the gangster stuff. And his brother. But Reg courts her relentlessly, even climbing up a drainpipe to her second story window to avoid her mum’s disapproving glances.

Ronnie, meanwhile, is pursuing his own interests: building a mythical utopian city in far-off Africa. And hanging out with his two boyfriends.

02They join forces with Payne (David Thewlis) a man with a middle class accent, an impressive office and a big moustache. He acts as the frontman, while the Krays lurk behind are the muscle. They sit in the background looking threatening, rarely having to raise a finger. Soon enough they’re taking over nightclubs, moving banknotes on the black market, and even doing jobs for Meyer Lansky the US mafia kingpin (who founded Murder Inc.) And the money is rolling in.

Things seem to be going great, until Reggie spends some time in jail and Ronnie takes charge. Uh oh. LegendTheir businesses start to unravel at a rapid pace. What will happen to them now? Can the Kray twins handle a rival gang, the police, the mafia, the House of Lords, their love interests… and their own sibling rivalry?

I like this movie – the music, the look, the acting are all great. I did have some trouble understanding Ronnies lines (is it his cockney accent or his mumbling voice?) And having Tom Hardy play both the twins is pretty impressive. It really feels like two separate people. They even get in fist fights and end up wrestling on the floor.

But the central love story — Frances and Reg — just didn’t grab me. It didn’t seem quite right, ‘t works well as an action-filled historical biopic, but fizzles as a romance.

oYXOpY_ismileback_03-HIGHRES_o3_8706150_1438094935I Smile Back
Dir: Adam Salky

Laney (Sarah Silverman) lives in a nice middle-class home with her husband Bruce (Josh Charles) and her two kids, Eli and Janey. Bruce is an insurance agent who loves playing basketball with their kids. Laney loves them too but finds even dropping them off at school an almost unbearable chore. So she fills her days popping pills, snorting coke, and getting drunk. Or sleeping with random guys she meets in dive bars. She even has an ongoing fling with her best friend’s husband (and her husband’s best friend), who keeps her supplied with meds. She takes lithium to handle her mood swings, leaving her like a depressed zombie when she takes it. But when she skips her meds she goes wild – irresponsible, extreme, always searching for new sexual adventures. She finds herself waking up in strange motel rooms hungover from extreme drunken excess.

That she can handle. It’s her role as the good stay-at-home mom – and the guilt that comes with it – is almost I Smile Backunbearable. She ends up telling off mothers teachers or anyone who rubs her the wrong way.

Bruce’s patience is almost limitless, but she repays this by getting even more difficult to handle. (Does he suspect she’s sleeping with strangers?) And then there are her kids – some of her worries rub off on Eli who has horrible dreams, turning to weird, nervous habits to keep calm. She realizes she’s hit rock bottom when she goes to check on her sleeping kids and ends up masturbating with his teddy bear. Oh Lanie — get a grip! She checks into rehab to try to get back to normal, But lurking in the background is something from her past involving her dad who she hasn’t spoken to in decades.

I Smile BackCan Lanie handle her spiraling decline? Will rehab save her? Can she learn to see her kids again and just smile back? Or will she end up homeless, drunk and beaten up in a dark alley?

I Smile Back is a hard movie to handle. It’s not fun – it’s disturbing, shocking and depressing. But Sarah Silverman pulls it off. We’re used to seeing her as a comic, pushing the limits with her shocking potty humour and dirty jokes. But what’s really chilling is seeing her doing the things she jokes about but for real, not for laughs. Worth seeing.

Legend, Al Purdy was Here, and I Smiled Back 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.

 

 

 

Disses. Movies reviewed: (Dis)honesty: The Truth About Lies, Hungry Hearts, Love & Mercy

Posted in 1960s, 1980s, Biopic, Clash of Cultures, Cultural Mining, documentary, Drama, Italy, Music, US by CulturalMining.com on June 5, 2015

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

We’re all tired of being dissed, but there are a lot of disses that just can’t be avoided. This week I’m looking at three “dis” movies. A biopic about a renowned musician diagnosed with schizoaffective disorder, an Italian drama about a dysfunctional couple, and a documentary about dishonesty. dishonesty_the_truth_about_lies_3

(Dis)honesty: The Truth About Lies

Dir: Yael Melamede

We are all liars. And we all lie about the same things in the same way. Or so says a new documentary about lying. It focuses on the work of Dan Ariely, a professor of behavioural economics and psychology at Duke University and MIT. In an experiment repeated thousands of times all around the world, Ariely tested students in groups asked to self-mark their tests, drop them into a shredder and report todishonesty_the_truth_about_lies_1 an official. And they were paid $1 for each correct answer. What they didn’t know was that the tests weren’t actually shredded.

Afterwards, Ariely compared the actual answers on the pages with the fake scores the people had told them. And he found that most people do lie, to the same extent, about the same things all around the world. The movie says a lot more, and also interviews real people, like politicians who cheat on their wives or insider traders on Wall Street, to look at their rationales for dishonesty. This is a very slick, fascinating and easy-to-understand documentary. Excellent film! 2a1cc45e-d506-4916-b019-fe5c6fb5442f

Hungry Hearts

Dir: Saverio Costanzo

Jude (Adam Driver) is an engineer, a tall, well-dressed young man in New York City. Mina (Alba Rohrwacher) is a beautiful, petite Italian woman with pale skin and fiery red hair who works at the Embassy. Somehow the two strangers find themselves locked inside a tiny, grungy basement toilet in Chinatown. Jude is to blame for the horrible stench, and Mina for the constant complaining. The two of them are trapped in a claustrophobic and unhealthy situation.

So what do they do next? They have sex, fall in love, get married and have a baby. If 27ffe0a5-affc-4432-a421-b62d9947e9c9only they had followed their first impressions and never met. They soon discovered they are different in every way. Jude likes science, doctors and hospitals. Mina is into fortune tellers, vegetarianism, naturopathy, and instincts. Not a big problem until the baby (known only as “Baby”) comes into the picture. Jude, (the big American) prone to anger and violence, thinks the kid is sick and starving and is not growing big enough or fast enough. Frequently depressed Mina (the cultivated European) thinks the problems are all on Jude’s side. Add Jude’s mother Anne, a real buttinsky, to the picture (played by the venerable Roberta Maxwell) and things quickly escalate. Will they survive the stink, decay and claustrophobia of their dysfunctional life?

While Hungry Hearts has its good points, this is a real drudge of a movie filled with endless bickering, crying, hitting and altogether awfulness. The honeymoon lasts about 90 seconds and the rest of the movie is less torrid sex, more horrid fights. 71520-LM_04144_CROP

Love & Mercy

Dir: Bill Pohlad

It’s the mid 1960s. The Beach Boys is a cheesy pop band known for its catchy tunes, tight harmonies, and its formulaic California sound: all about LM_00531FD.psdgirls, surfing, and roadsters. Most of the members are brothers or cousins, and they’re getting ready for their triumphal tour of Japan, when something happens. Brian Wilson (Paul Dano) has a panic attack on a plane and decides to stay home in L.A. LM_00610.CR2While they’re touring, he’s composing, arranging and producing an incredible album.

LA’s famous studio musicians known as the Wrecking Crew provide the music and Brian goes wild. He tosses paper clips onto piano strings to make a plinkier sound. He brings dogs into the studio to bark. He even has them play in two separate keys… at the same time. The result is Pet Sounds, one of the most highly-praised pop albums ever recorded – and rightly so. It even inspired the Beatles’ “Sgt Pepper” album.

This is Brian Wilson in the sixties. The movie’s also about 71214-2Brian Wilson in the 80s (John Cusack). We see him enter a Cadillac showroom where he meets the saleswoman Melinda (Elizabeth Banks), a blue-eyed blonde. It’s the 80s so she has big hair and enormous aquamarine shoulder pads. Brian talks to her slowly and hesitantly, as if he’s never seen a woman before and isn’t used to speaking out loud. They gradually become close, but face a formidable obstacle in the form a man.

Dr. Gene (Paul Giamatti) is a psychiatric Svengali who has taken complete control over LM_05276.CR2Brian’s life. What he eats, where he goes, even whom he’s allowed to talk to. He diagnosed Brian as paranoid schizophrenic and has him pumped full of toxic amounts of meds. (That’s why he walks around with his mouth half-open staring off into space.) Can the 1960s Brian bring all his musical dreams to fruition? And can the 1980s Brian ever re-emerge from his medically induced haze?

Love & Mercy is long, detailed and sometimes slow. Its two parts are told chronologically, but the story jumps back and forth between the 60s and the 80s, so you follow both the of them throughout the film. I was left only half-satisfied by the story, but the music…! The music seduced me into listening to Beach Boys music – which I had never taken seriously before — obsessively for about a week afterwards. See it for the music.

Hungry Hearts and Love & Mercy, and (Dis)honesty (at the Bloor Cinema) 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.

Christmas biopics. Movies reviewed: Unbroken, Mr Turner

Posted in 1940s, Art, Biopic, Cultural Mining, Movies, UK, Uncategorized, US, WWII by CulturalMining.com on December 26, 2014

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

Happy Boxing Day! This week, I’m talking about two biopics, both historical dramas, both starring great actors from the UK. But they are as different as two movies could possibly be. One’s a young soldier captured and kept in the dark; one’s a painter trying to capture the light.

10403575_781275515276942_5431011275441931839_nUnbroken (based on a true story)
Dir: Angelina Jolie

Louis Zamperini (Jack O’Connell) is the child of Italian immigrants in small-town pre-WWII America. He lives on the wrong side of the tracks and is bullied by neighbouring kids. He’s often knocked down, but always gets up for another fight. Running away 10372750_782974231773737_321939819595855320_nfrom bullies also makes him a good runner. With his older brother’s help, he trains as a sprinter, competing at the Berlin Olympics. It’s his endurance and surprising reserves of adrenaline that set him apart. Later, he joins the Air Force in WWII and is stationed in the Pacific. His plane crashes into the ocean which he manages to survive… only to find himself captured by the Japanese, and thrown into a POW camp.

So basically The Unbroken is three movies. One is about Louis and two other men: the laid-back Phil (Domhnall Gleeson: Frank) and the nervous Mac (Finn Witrock). When their plane crashes, they have to survive in an 10409502_786380204766473_4227359387414983355_ninflatable life raft in the middle of the Pacific. Slowly starving to death, they fight off sharks, and inclement weather as they test their ability to endure… against all odds. They hang on by listening to Louis describe his mother’s gnocchi. But as days turn to weeks, can they survive on just hope and a tale? (If you’ve seen the Norwegian drama Kon Tiki, this might seem familiar to you.) I liked this part of the movie.

Then there’s Louis’ stay in a POW camp in Japan. It is run by Corporal Watanabe aka “The Bird”. (played by musician/actor Miyavi). Watanabe comes from a rich family, but never makes it as an officer. Now he’s a cruel but effeminate NCO who struts around in his khakis, carrying a bamboo stick. He takes out his frustrations on the prisoners, especially poor Louis. 1450190_785235881547572_7880022996659246521_nIs he jealous of his fame as an Olympic champion? Or is he secretly in love with him? If you’ve ever seen Merry Christmas Mr Lawrence, then, again, this may all be familiar to you.

Finally there’s Louis’ boyhood as a competitive teenaged runner, which appears as a series of flashbacks. This is the weakest part of the film, one of thousands of heartwarming stories about plucky immigrant kids who make good.

This movie isn’t terrible. I like Jack O’Connell a lot and he’s plays the role well. And great supporting cast – Jai Courtney, Luke Treadaway, Domnhall Gleeson — are all really good.

1970439_620940031310492_633068160_nBut can you believe this was written by the Coen Brothers? But there’s no irony, no humour, just straightforward storytelling. And it’s filled with fake profundities, like If you can take it, you can make it. Sounds like a Tony Roberts motivational speech. I get it – Zamperini did great things but survived. But the pounds you over the head with it, with its unrelenting suffer, suffer, suffer theme. The rest of the prisoners look vaguely familiar after a while, but they’re basically just faces in the background. It’s all about Louis vs Watanabe. Not a terrible movie, but disappointing and unsatisfying with an abrupt ending.

7b7c3e5e-dbbb-4a5d-b69b-f8e6d4637e0eMr Turner
Dir: Mike Leigh

Mr Turner (Timothy Spall) is a successful businessman in Victorian London, who lives with his dad (Paul Jesson), a retired barber. He lives a good life, doesn’t worry about money. What does he do? He’s a painter. He visits the seashore to observe and take notes. He finds the right pigments in the market to match them. Later, he paints what he sees. On canvases, big ones, lots of them.

Breathtaking landscapes and seascapes, cloud and light, maybe a steamship, and here and there a ruined castle or a train. He daubs on oil paint, fa38e7e5-08c2-407b-86a0-49e8653ac8adsmooches it around, and spits on it, blows at it! The results are spectacular and impressionistic, like nothing anyone had ever seen. And ethereal watercolours. Turner becomes famous in his own time, and quite rich — aristocratic artists are forced to come by to ask him for money. But he’s not from titled gentry. He’s frequently snubbed by the snooty upper-class, and not allowed into the principal art salons, only the outside rooms. Queen Victoria is not amused by his paintings. And he had to suffer the comments of insufferable art critics like John Ruskin (wonderfully played by Joshua McGuire).

At the same time, he’s a selfish, loathesome boor, who chews on pigs’ heads and belches. He has abandoned his common-law wife and daughters. He has a shy maid, Mrs Danby (Dorothy Atkinson). When Mr Turner feels like it, fdff8789-10b2-466c-81ae-6ba2bcce7189he’ll sneak up behind her, raise her petticoats and grunt a few times. That’s “sex”. How, you wonder, can such a disgusting, depressed and ugly man create such beautiful art?

Whenever he has a chance, he revisits a seaside town from his youth. There he meets an older woman, a landlady, named Mrs Booth (Marion Bailey). Will she help him out of his perpetual blue funk?

Mr Turner is a very long, slow moving and subtle film, filled with skillfully-crafted characters. They’re not loveable people but not hateable ones either. They seem all completely real. The photography in this movie is just e671af49-baab-4efe-b119-952b2968e98famazing. If you’ve ever seen Turner’s paintings, now you get to see the skies, the clouds and the light that actually informed his art. Beautiful. Spall, Bailey and Atkinson play their parts with all their weird tics and eccentricities in place. It’s quite long, but I liked it a lot.

Mr Turner and Unbroken both open today in Toronto: check your local listings. Also opening today is Imitation Game, a fantastic biopic thriller about Alan Turing, the man who invented the computer an broke the German code known as Enigma. Definitely a must-see.

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

People’s Choice. Movies Reviewed: The Imitation Game, Honeymoon

Posted in 1940s, Academy Awards, Biopic, Computers, Cultural Mining, Horror, Movies, UK, WWII by CulturalMining.com on September 19, 2014

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

_MG_1251TIFF – the Toronto Interntional Film Festival – is over for the year. The klieg lights are dimmed, the red carpets rolled up.  It’s like a carnival sideshow leaving town, with celebrities and their droves of fans replacing the bearded ladies and tattooed men of yore. And the hundreds of members of the media, myself included, are forced to look elsewhere for the Next Big Movie.

On the last day of the festival, this past Sunday, they announced the winning films in Cumberbatch signs autographs at TIFF Jeff Harriscompetition. Unlike most major film festivals which use panels of critics and filmmakers as judges, TIFF relies on moviegoers to vote for the most important prize, the People’s Choice award. They say Torontonians are a good barometer of what kind of movies appeal to the public these days. The proof is in the pudding; People’s Choice winners, more often than not, become next year’s Oscar winners: the wonderful Slumdog Millionaire, the moving Twelve Years a Slave, the pandering King’s Speech, and the so-so Silver Linings Playbook.

So this week, I’m going to tell you about the TIFF Grolsch People’s Choice award winner, and a low-budget horror movie opening in Toronto.

THE IMITATION GAMEThe Imitation Game
Dir: Morten Tyldum

It’s the dawn of WWII. The British have captured Enigma, one of Nazi Germany’s secret devices. All their military messages use that encryption machine. Cracking it could mean an early end to the war and countless millions saved. Alan Turing — a shy, super-intelligent mathematician and Cambridge – is asked to visit the Bletchley Radio works – actually a branch of MI6. They need him to join the team and solve the puzzle.

Turing (Benedict Cumberbatch) probably got an “F” as a child  in the “plays well with others” category. Instead of working with the other recruits, notably his supervisor Hugh Alexander (Matthew Goode) he decides that cracking codes, one by one, is a waste of time. Instead he sets about creating one of the world’s first computers. He names the giant wall of wires and THE IMITATION GAMEspinning discs “Christopher”, after his first gay crush.

He quickly alienates Commander Denniston (Charles Dance), his boss, who decides to get rid of him. Will he succeed? In a compromise, Turing decides to recruit ordinary people with extraordinary minds to work on his project, using a hard-to-solve cryptic newspaper crossword puzzle to locate his geniuses. Smartest of all is a woman, Joan Clarke (Keira Knightley). Together they try to crack the code and win the war. But will they succeed? Will Joan and Alan fall in love? And what will happen after the war?

_MG_0467The story jumps back and forth from his time as a wistful schoolboy, to the thrill and excitement of wartime, to the dark period afterwards, where he is persecuted by the police as a gay man. The Imitation Game tells a fantastic, true story of unrequited love, action and adventure, and the dark politics of postwar Britain. While it’s skimpy on the sex – as in, none at all – it is still a wonderful story, miles above most biopics. Benedict Cumberbatch plays another irritating and emotionally-stunted Sherlock, but he does it so well, conveying his thoughts through a twitch of an eye. Many critics deride Keira Knightley as a one-dimensional movie star, but I found her great in this one. In fact all the cast, including supporting characters, are wonderful. Though patently Oscar-bait (wartime, British costume drama, no yuck factor) it’s wonderful Oscar-bait. I strongly recommend this movie.

Honeymoon
Dir: Leigh Janiak

Leslie Rose as Bea in the HoneymoonPaul and Bea are up in cottage country to celebrate their marriage. Bea (Rose Leslie: Game of Thones) is big-boned and robust with a winning smile. Paul (Harry Treadaway: Fishtank, Cockneys vs Zombies) is naïve, boyish and fragile. Rose’s childhood summer home is filled with wooden ducks and a giant bearskin covering one wall. They intend to skinny dip in the lake, make pancakes at noon, and spend the rest of the day in bed, screwing like rabbits.

All goes well, until they encounter Will – Bea’s  ex – and his disturbed wife Annie. Something is wrong with those two. And they seem to have affected Bea. Is she cheating on him? Paul finds her sleepwalking in the woods at night. Light beams shine through the window. Strange Harry Treadaway as Paul in Honeymoonmarks appear on her thighs – just mosquito bites, she tells him. And strangest of all, he catches her memorizing basic phrases like “My name is Bea… my husband is Paul… we’re married”. Is she really Bea? Or an eerie imposter? Or has she gone completely mad?

Honeymoon – a horror movie with a female director: quite rare! – has great acting and an interesting premise. It starts out like a dull love story, but starts to pick up after the first 20 minutes. It has me going for a while, but eventually falls prey to some awful, endlessly repeated lines that take the zing away. Honeymoon is a good try, but doesn’t quite do it for me.

The Imitation Game is coming this fall, and Honeymoon starts 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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