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

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

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

It’s a tough time for movie critics.

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

Canadian Strain

Dir: Geordie Sabbagh

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

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

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

Transfert

Wri/Dir: Massimiliano Russo

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

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

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

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

Freud

Co-Wri/Dir: Marvin Kren

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

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

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

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

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

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

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

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

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

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

Seberg

Dir: Benedict Andrews

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

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

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

I liked this movie.

The Jesus Rolls

Wri/Dir: John Turturro

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

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

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

Beanpole (Dylda)

Co-Wri/Dir: Kantemir Balagov

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

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

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

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

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

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

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

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

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

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

I spoke to Albert by telephone at CIUT 89.5 FM.

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

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

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

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

The Assistant

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

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

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

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

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

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

Come to Daddy

Dir: Ant Timpson (Turbo Boy)

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

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

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

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

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

Daniel Garber talks with filmmaker Jamhil X.T. Qubeka about Knuckle City

Posted in Academy Awards, Africa, Boxing, Corruption, Crime, Drama, Family, South Africa, violence, Women by CulturalMining.com on January 10, 2020

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

Photos by Jeff Harris.

It’s Mdantsane, Cape Province, in Apartheid South Africa. A boxing champ tells his young sons Duke and Dudu that there are three ways out of their township: as a boxer, as a mobster, or as a dead man. Flash forward to the present day; their father is dead, and the boys have taken divergent paths. Duke is a flamboyant career criminal just out of prison and Dudu – AKA the Night Rider – is a professional boxer in the twilight of his career. But there’s still a chance at becoming a champion. Can they turn things around? Or will they just be the latest casualties at Knuckle City?

Knuckle City is the name of an exciting new boxing / crime drama out of South Africa. This fast-moving, visceral movie dives deep into the nexus between those two worlds as personified by the brothers, their families and friends. Knuckle City is directed by Jahmil X.T. Qubeka, who has won countless awards across Africa, Europe, and North America. The film had its international premier at TIFF and was South Africa’s nominee for Best International Feature Film Oscar.

I spoke to Jahmil in studio at CIUT 89.5 FM during #TIFF19.

Knuckle City is opening soon.

Top to Bottom. Films reviewed: The Kindness of Strangers, The Two Popes, Knives Out

Posted in Argentina, Catholicism, comedy, Crime, Family, Homelessness, Movies, Mystery, New York City, Poverty by CulturalMining.com on November 29, 2019

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

With the awards season coming up, Hollywood is starting to release the big ones with famous stars and directors. This week I’m looking at three such movies. There’s a drama about the downtrodden, a biopic about religious leaders at the top, and a comedy mystery about a large group of suspects caught in the middle… of a possible murdet.

The Kindness of Strangers

Wri/Dir: Lone Scherfig (An Education, The Riot Club, One Day)

Manhattan is a lonely place, especially for people down on their luck. Alice (Andrea Riseborough) is an empathetic ER nurse who volunteers at a soup kitchen and moderates a forgiveness group. But her long hours are taking a toll on her psyche. Clara (Zoe Kazan: The Ballad of Buster Scruggs, The Big Sick) is a wide-eyed young mom from Buffalo on vacation with her two boys _ well thats what she tells them. In fact she’s penniless, fleeing her husband, a cop Richard (Esben Smed: Lykke Per) who beats up their kids. She keeps them fed by shoplifting, dumpster diving and stealing hors d’oeuvres from parties. Marc (Tahar Rahim: A Prophet, The Past) is an ex-con, recently freed from prison by a lawyer, who lands a job managing a Russian restaurant. And Jeff (Caleb Landry Jones: ByzantiumContraband, The Last Exorcism) is an earnest simpleton who can’t hold onto a job. If he doesn’t pay his rent soon, he’ll be out on the street.

Luckily, some strangers are kind. But will Alice find happiness, Clara find refuge, Marc find friends, and Jeff find a job? Or are they just more victims in the Naked City?

The Kindness of Strangers follows seemingly unrelated stories as they gradually come together in unexpected ways. Danish director Lone Scherfig’s movies are always good, even the bad ones. And this is a good one. It’s basically a Christmas movie but without any santas or angels. Lots of snow, but no presents. Church basements but no preaching. Some criticism: Only 7% of homeless in NY City are white, but in this movie it’s 100%. Although it veers into corn territory once or twice, this tear jerker is miles beyond any Hallmark movie, and seems genuinely sympathetic to the downtrodden. It deals with real problems, and leaves you feeling warm inside.

The Two Popes

Dir: Fernando Meirelles

Jorge Bergoglio (Jonathon Pryce) is a popular priest in Buenos Aires, Argentina. He loves soccer, pizza and dancing the tango. He preaches humility and compassion to the poor, and though he’s a Cardinal, dresses in plain clothes. He is flying to the Vatican to request early retirement. Pope Benedict (Anthony Hopkins) is a conservative German, whothis the Vatican was moving in the wrong direction and has to be fixed. He loves the pageantry and finery of the Vatican, from the fancy clothes to the elegant trappings. He likes eating alone, a bowl of plain broth with Knödel. And he invites Bergoglio to join him at his country retreat. There conversation goes nowhere, with one asking to retire, and the other refusing. They disagree on practically everything. Why are they meeting and will they ever find common ground?

The Two Popes is a dramatization of a meeting between – not a spoiler! –  two Popes: Benedict who stepped down amid scandal, and Francis, the first pope from the Americas, who took his place. It’s a highly visual film, shot in a semi-documentary style. It gives us a “Pope’s-eye view” of the inside of the Vatican, with all its sumptuous finery and grandeur. I once saw Pope John Paul II appear at the window; in this movie you’re inside the window looking down at the crowd, which is very cool. And the larger-than-life characters – as imagined by Welsh actors Hopkins and Pryce in effective performances – are humanized and normalized. They’re just like you and me.

But I think you have to deeply care about the doctrine, policies, politics and rituals of the Catholic Church to truly appreciate this movie.

Count me out.

Knives Out

Wri/Dir: Rian Johnson

Harlan Thrombey (Christopher Plummer) is a hugely successful mystery novelist. He lives in a gothic mansion with his nurse Marta (Ana de Armas). All of his descendents are in town to celebrate his landmark birthday. There’s hard-boiled Linda, a real-estate agent with her hanger-on hubby and playboy son (Jamie Lee Curtis, Don Johnson, Chris Evans). Flaky, new-age entrepreneur Joni (Toni Collette) with her college-age daughter (Katherine Langford) and alt-right son (Jaeden Martell). Goateed Walt’s family (Michael Shannon) handles the publishing side of his dad’s burgeoning book empire. And Greatnana (K Callan) who observes all but says nothing. There are the usual family squabbles, But by morning, everything has changed. Thrombey is found dead in his bedroom in a pool of blood, an apparent suicide… but is it? And if it’s murder, whodunnit?

Investing the crime are two hapless cops (LaKeith Stanfield and Noah Segan) and a private detective named Benoit Blanc (Daniel Craig). Blanc has an eagle eye and a deep southern drawl. Everyone is a suspect and has something to hide. Everyone but Marta, who is allergic to lying. She actually throws up if she says anything untrue.

Knives Out is an extremely entertaining mystery comedy, in the style of Agatha Christie and Murder She Wrote. Almost every line is clever, overflowing with biting cultural references: Benoit Blanc is referred to as CSI from KFC, and there are pastiches of everyone from Gwynneth Paltrow to Ben Shapiro. I’ve seen this one twice already and I could easily watch it again next year.

Knives Out is now playing in Toronto, and The Two Popes opens today at the TIFF Bell Lightbox. The Kindness of Strangers opens next Friday; 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.

Not Marvel Movies. Films reviewed: The Irishman, Last Christmas, Midway

Posted in 1940s, 1960s, 1970s, Christmas, Corruption, Crime, Cuba, Hawaii, Romantic Comedy, UK, Unions, War, Woody Harrelson, WWII by CulturalMining.com on November 8, 2019

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

Martin Scorsese recently wrote that tentpole movies, like ones that Marvel makes, are hogging a disproportionate share of Hollywood bucks. This squeezes traditional, medium-budget, one-off films out of the picture. Luckilly, they’re not all gone.  This week, I’m looking at three films – a crime drama, a war movie and a rom-com – without superheroes.

The Irishman

Dir: Martin Scorsese

It’s the 1950s.

Frank Sheeran (Robert De Niro) is a truck driver who delivers beef hindquarters. When his truck breaks down on the highway, a strange man offers advice on how to fix it. He’s Russell Buffalino (Joe Pesci) a mob boss in Pennsylvania. When Sheeran is caught stealing beef, Russell supplies a lawyer, thus starting a longtime relationship between the trucker and the Mafia. And Teamsters, the truckers union, stands with them all the way. Soon Frank is doing a different kind of work for Russell: he paints houses. Which really means he’s a hitman for the mob. Despite his Irish background, he speaks Italian: he served in the Army in Anzio in WWII. Soon they’re thick as thieves, and Frank enjoys the benefits, but Russell is always the boss.

Eventually he’s sent to Jimmy Hoffa (Al Pacino), the head of Teamsters as a bodyguard, as well as the middleman between Hoffa and the mob. Hoffa is a brash firebrand, an old-school union organizer with legions of loyal members. He’s also an extremely powerful leader, and he controls the union’s pension. This means he can finance Las Vegas casinos with cash, something banks refuse to do. And he gives money to the Nixon campaign, a rare instance of a labour union officially supporting a Republican. But friction grows between Hoffa and the mafia until the day Hoffa mysteriously disappears without a trace, his body never found. What happened to Jimmy Hoffa?

The Irishman is narrated by Frank in an old age home, which gives it the feel of an old man’s movie. It’s a Forest Gump for gangsters, with Frank somehow tied to all the major events of the 60s and 70s: The Kennedies, Bay of Pigs, Jimmy Hoffa disappearance, to name just a few. This film has some problems: the CGI de-aged faces look wooden; female characters have virtually no lines – they just scowl and disapprove; and it’s missing the sharp edges and sexual zing of Scorsese’s early movies.

That said, I was never bored; I was glued to the screen the whole time. Pacino is fantastic as Jimmie Hoffa, and Scorsese’s movies are always superior.

The quality of filmmaking is superb and The Irishman tells a great story.

Last Christmas

Dir: Paul Feig

Kate (Emilia Clarke) is an quirky, aspiring young singer in London. By day she’s a cute little green elf, working in a kitschy, Christmas-themed gift shop run by a prickly boss named Santa (Michelle Yeoh). By night, she’s a barfly, sleeping with any guy she fancies, a different one each night. Ever since her operation, she’s been depressed. She’s embarrassed by her Yugoslavian family, and her singing career is going nowhere fast. She’s on a downward spiral of self-pity and self desctruction… until she meets Tom (Henry Golding).

Tom is everything Kate is not. He’s saintly, altruistic and generous. While Kate looks down and sees garbage tips, Tom looks up and sees tropical birds and quaint old signs. He takes her on a walk to show her the hidden side of London – a secret garden where people go to be alone; a soup kitchen for the homeless (he’s a volunteer), a deserted skating rink. Is it love? But he disappears for days at a time. What secret is he hiding? Is this true love? And can their relationship keep them together?

Last Christmas is a cute Romcom about a depressed woman coming out of her shell and her happy-go-lucky, would-be boyfriend. Emma Thompson plays Kate’s weepy Croatian mom and she also co-wrote the script. It’s cute and heartwarming… but not that funny.

Michelle Yeoh is terrific as a middle-aged woman still on the hunt, and Clarke and Golding make an appealing romantic couple. There is a totally surprising twist which brought tears to my eyes – No Spoiler – which left me with a bit more than I expected.

Midway

Dir: Roland Emmerich

It’s 1941, with war raging across Europe, China and the Pacific. But the US is cautiously viewing it from the sidelines. Dick Best (Ed Screin) is a gum chewing pilot based in Pearl Harbour. He’s a daredevil dive bomber, showing off his new techniques. Also on board the aircraft carrier is his rival, a by-the-books officer named McClusky (Luke Evans). He says Dick is a cowboy who should stop showing off. But while their aircraft carrier is out at sea, all the ships in Pearl Harbour are wiped out in a surprise attack by the Japanese, pulling the US into WWII.

Only Edwin Layton (Patrick Wilson) – the intel expert on Japan – predicted it. And he thinks a crucial battle up ahead: the Battle of Midway, an island in the South Pacific. Midway is a point crucial for control of the Pacific: if Layton is right, whoever wins the battle will win the war; it’s just a matter of time.

Midway is a dramatization of the years leading up to the naval battle of Midway, and the intense fight that follow: in submarines, on aircraft carriers and in planes overhead. It’s filtered through the eyes of lantern-jawed military figures like Jimmy Doolittle ( Aaron Eckhardt), Admiral Nimitz (Woody Harrelson) Vice Adm Bull Halsey (Dennis Quaid), and many semi-fictional sailors and pilots in various acts of bravery… like Bruno Gaido (Nick Jonas, of the Jonas brothers!). The story also switches back and forth to the Japanese side, with Admirals Nagumo, Yamaguchi and Yamamoto plotting to defeat the Americans.

Midway is exactly the sort of movie I can’t stand – yet another tired war pic about a long-forgotten battle, filled with smarmy patriotism. But I went to the press screening, and guess what? I actually really liked Midway! Fantastic special effects, complex battles shown in an easy-to-follow way, good acting, and great characters. Japanese are portrayed respectfully, not as hokey villains, but without covering up their war crimes in Eastern China. Like The Irishman, women are there mainly to worry about their husbands. It’s two hours, twenty minutes long, but the thrills keep you staring, rapt, till it’s over. I’m sure a lot of critics are going to compare it (unfavourably) with Dunkirk, but to me Midway is more thrilling, less ponderous.

Midway and Last Christmas both start today in Toronto; check your local listings. And The Irishman is screening at the TIFF Bell Lightbox, also beginning today.

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

Solving problems. Films reviewed: Sometimes Always Never, The Laundromat, Chiko

Posted in Berlin, comedy, Corruption, Crime, Drama, Family, Games, Scandal, UK by CulturalMining.com on October 8, 2019

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

Toronto’s Fall Festival Season is in full swing this October. Look out for Toronto After Dark – scary and fantastic films; Rendezvous with Madness – films on addiction and mental health; Planet in Focus focussing on environmental films for its 20th anniversary; ImagineNative with movies by and about indigenous peoples around the world… and many more.

But this week I’m looking at three movies, from Germany, the U.K. and the US. There’s a gangster who turns to drugs to find success, a grandpa who turns to word games to find his missing son, and an older woman who turns to amateur sluething to find the bad guys.

Sometimes Always Never

Dir: Carl Hunter

Alan (Bill Nighy) is a dapper businessman in small town England. He likes Marmite, tea and scrabble. He’s meeting his estranged, adult son Peter (Sam Riley) to view a body at a remote village morgue. Alan’s other son ran away decades ago, disappearing without a trace. Could this be him? When the body turns out be the son of another couple, Margaret and Arthur (Jenny Agutter, Tim McInnerney), Alan follows Peter home. It’s an excuse to finally meet his daughter-in-law Sue (Alice Lowe) and grandson Jack (Louis Healy). Won’t you stay for dinner? The evening turns into an extended visit as Alan insinuates himself into their homelife, sharing a bunk bed in Jack’s room. The teenager is a shy introvert who spends all his time gaming online. To change his life, his grandfather gets him a haircut and a custom-made suit. He’s a tailor, you see. The movie’s title refers to which buttons to button on a three-button suit. Top to bottom: sometimes, always, never.

Alan’s obsession with Scrabble has a lot to do with his missing son, who ran away in the middle of a game. It’s what separates him from his son – but will it bring them back together? – and influences his relations with Margaret and Arthur, the couple he met at the bed & breakfast. But can a board game bring his missing son home again?

Sometimes Always Never is a clever, funny and touching look at family life in small-town, northern England. Lots of twists in the plot, and enough wordplay to make the whole script feel like an ongoing Scrabble game. It does walk the fine line between charming and twee. The movie, though set in the present day, is drenched in sets, props, costumes, and style from an earlier era. But Bill Nighy, Alice Lowe and the rest are so good you can excuse a bit of excess quirky cuteness.

I like this movie.

The Laundromat

Dir: Steven Soderbergh

Mossack and Fonseca (Gary Oldman, Antonio Banderas) are a pair of rich lawyers who operate out of Panama. They like flashy tuxedos, palm trees and vodka martinis. Why are they so rich? Their firm holds the secrets of dictators, billionaires, drug dealers, corporations, celebrities and politicians the world over. Through the use of off-shore banking, shell corporations and absolute secrecy, they launder untold billions.

Enter Ellen (Meryl Streep), an everywoman who loses her husband in a freak accident on their wedding anniversary. Turns out the accident insurance on the boat tour they took (it sank) was bogus. Later the condo she buys in Las Vegas with her husband’s life insurance is snatched away by some Russian oligarchs. So she begins to investigate. All these companies – real estate, insurance, banking – seem to operate out of offices in the Caribbean. But when she goes to confront the CEO of the company giving her the runaround, she discovers it’s just a series of post office boxes. Can she follow their trail to Panama? And will the villains ever pay?

The Laundromat is a series of fables to explain the money laundering and tax evasion brought to light by the Panama Papers, a mammoth data haul leaked to the press by an anonymous whistleblower. Mossack and Fonseca themselves tell the story in episodic form, regularly turning toward the camera to look right at you. At the beginning of the movie I was giggling at its audacity and unexpected form – I couldn’t wait to see Soderbergh’s next trick. The trouble is, that were no other gimmicks. He flogs the same dead horse – this is just a movie, they’re all actors, that’s a green screen behind them – for the whole 90 minutes! Just when you start caring a bit, Soderbergh makes sure to remind you it’s not real, it’s just a game. I admit there’s one surprising twist near the end.… but it’s immediately followed by a slice of earnest Americana so cringe-worthy it would make a nine-year-old squirm in embarrassment.

The Laudromat just doesn’t work.

Chiko

Wri/Dir: Özgür Yildirim

Chiko (Denis Moschitto) is a young Berliner trying to get ahead. His parents came to Germany from Turkey as Gastarbeiters in the 60s, and he still hangs with other Turkish Germans. Especially his two best friend, Tibet (Volkan Özcan) and Curly. Together they beat up and rob a local cannabis dealer. But instead of running away, Chiko asks to meet his boss.

Brownie (Moritz Bleibtreu — he’s in Bye Bye Germany, The Fifth Estate, My Best Enemy) is a crime boss living a comfortable middle-class life. He ends up hiring the scrappy Chiko on a trial run, moving ten keys of cannabis. Chiko exalts in his new wealth and woos the Turkish-German prostitite Meryam (Reyhan Sahin) in the apartment next door. Is it true love or just a financial transaction?

Meanwhile, Tibet, trying to save money for his mom’s kidney operation, short-changes customers. Brownie’s thugs arrive to punish him… by hammering a nail through his foot!  This leads to a series of escalating events. Chiko graduates to coke dealing, and buys a white Mercedes with gold hubcaps to match his new image. As Chiko rises to the top like Scarface, Tibet’s falls into a downward spiral, his seething anger getting worse and worse. Finally Chiko has to choose: kingpin Brownie or his former best friend Tibet? Which commands his loyalty – friendship or business?

Chiko is a cool and violent crime drama set in urban Germany. It’s a melodrama in the best sense. Moschitto is terrific as Chiko: the criminal, the lover, the anti-hero. I liked this film and found it very moving, both the acting and the realistic, almost documentary-like peek inside the mosques, corner-stores and restaurants of Berlin. Of course it also has what you expect from a good crime drama: chase scenes, shootouts, and fights. And it’s playing as part of the Goethe Film’s Stronger than Blood, a series of crime dramas.

Sometimes Always Never opens today in Toronto; check your local listings. The Laundromat starts today, with Chiko playing one night only, October 8th, also at the TIFF Bell Lightbox.

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 Matt Tyrnauer about Where’s My Roy Cohn?

Posted in 1950s, 1960s, 1970s, 1980s, Communism, Conservativism, Crime, documentary, LGBT, New York City, Super Villains by CulturalMining.com on October 4, 2019

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

Roy Cohn is a historical phenomenon, despised by many and feared by more. In his lifetime, he sent Ethel and Julius Rosenberg to the electric chair, worked beside Joe McCarthy in the massive government purge of the left; persecuted homosexuals, defended right-wing causes, mentored Donald Trump, and defended the mob. Behind the scenes he lived a decadent gay life. He was a devious, ruthless and powerful lawyer who ruled NY City… prompting more than one to ask: Where’s my Roy Cohn?

Where’s my Roy Cohn? is also the name of a new documentary that chronicles the notorious man’s life. It shares photos, recordings, period news footage and new interviews with some of his closest friends, family and past lovers. The film was directed by Matt Tyrnauer, known for his documentaries on the folk heroes and villains of our age, from Scotty Bowers to Jane Jacobs to Robert Moses.

I spoke to Matt Tyrnauer via telephone from CIUT 89.5 FM.

Where’s my Roy Cohn? opens on November 4 in Toronto at the TIFF Bell Lightbox.

Photo of Matt Tyrnauer by Jeff Harris.

Stolen. Films reviewed: Hustlers, The Goldfinch, The Vigil at #TIFF19!

Posted in Art, Crime, Death, Friendship, Horror, Judaism, Sex Trade, Women by CulturalMining.com on September 13, 2019

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

TIFF, the Toronto International Film Festival, winds up this weekend, so if you haven’t had a chnce to see anything yet, or maybe can’t afford to buy tickets, you should know theres a number of free screenings of the most popular film at TIFF, juried film winners, midnight madness and more on Sunday. This means you should go to tiff.net online on Sunday morning at 10 am, and you’ll have a good chance of getting a free ticket for later the same day.

This week I’m looking at three movie that premiered at TIFF: a horror story, and two dramas. There’s a boy who protects a priceless stolen painting, a group of women who steal from unconcscious men, and a man who sits beside a corpse… to make sure it doesn’t move.

Hustlers

Wri/Dir: Lorene Scafaria

Dorothy (Constance Wu) is a single mom with financial troubles who lives with her grandma in New York. She works as a dancer in strip bars under the stage name Destiny. When she lands a spot at bar that caters to wall street big shots she thinks her luck has changed. No dice, still struggling. That is until she meets Ramona (Jennifer Lopez). When Ramona’s on stage it rains money. She dances in high heels and fur coats. She’s intimidating and a bit scary, but Destiny reaches it to her for help. They hit it off as friend and Ramona takes Destiny under her wing. She learns how to shimmy down a pole upside down, how to conduct a proper lap dance, and howto keep the clients wanting. Life’s good but she’s still not earning the real big bucks. Until they think up a fool proof plan. Treat the biggest spenders to a serious party in a back room, drop some powder in their drinks, and then let yourself go wild on his company card. The client wakes up the next day with a hangover and $15 thou in charges, none the wiser. It works like a charm, and soon Destiny is swimming in furs. But how long will their good luck last?

The Hustlers, (based on a New York Magazine article by Jessica Pressler), is an engaging drama about BFFs in the world of stripbars, and how they attempt to take back control. Constance Wu is nice as the main character, with J-Lo believable as the iconoclastic Ramona. The other characters, played by Cardi B, Lizzo, Keke Palmer and others keep the largely all-female cast interesting. I liked it but I didn’t love it. The problem is it’s too long, and doesn’t really know where it’s going. It sets up a rivalry between Destiny and Ramona that doesn’t pan out in the plot. And it unnecessarily frames the whole story within the context of a magazine article. Why? In Hustlers, the New York Magazine journalist is just a cipher, a sounding board for what you really want to see. But the rest of the story – while not the shocking expose it pretends to be – is still good as a realistic, inside look at sex workers’ private lives.

The Goldfinch

Dir: John Crowleyn (Based on the novel by Donna Tarte)

Theo (Oakes Fegley) is a precocious prepschool boy in New York. His life is turned upside down when he survives a terrorist bomb attack at the Metropolitan Museum of Art. That fateful explosion leaves him a penniless orphan holding a priceless painting that the world thinks was destroyed. It also points him to a small shop that restores antique furniture, and Pippa, the mysterious red-headed girl who was standing beside him when the bomb went off. When he bonds with a school friend he is taken under the wing of a one-percenter family headed by old-money matriarch Mrs Barbour (Nicole Kidman). Will he end up one of the family?

Later, he finds himself living in Las Vegas, in an eerily deserted neighbourhood with his actor Dad who abandoned him as a child. There he meets an over-the-top Russian kid named Boris (Finn Wolfhard) who leads him into a world of drugs and petty crime, but also pulls him out of his shell. But can that friendship endure?

Later still, as a young adult back in Manhattan (Ansel Elgort), Theo is on the verge of entersing high society when he rejoins friends from his childhood. And through it all, he is kept sane and grounded by the knowledge that he, and only he, possesses that priceless wooden painting of a little bird. But what would happen if the secret gets out?

I read and enjoyed the book, so I was worried it would ruin it somehow. It doesn’t. It’s true to the story, and even though I knew, more or less, what was going to happen, it still kept me glued to the screen for most of the movie. It’s like running into an old friend: they feel familiar, an important part of your life, even though they don’t live up to your expectations. That said, it didn’t tug at my heartstrings nearly as much as I thought it would, and left me feeling vaguely empty at the end. But the great acting, lush images and music, and fascinating plot did what it’s supposed to do. This won’t win any awards but it’s still a pleasure to watch.

The Vigil

Wri/Dir: Keith Thomas

It’s late at night in Brooklyn New York. Jacob (Dave Davis) is broke, depressed and suffering from PTSD. He’s meeting with a support group of men and women. They are all former Chassids, ultra-orthodox Jews, who have left the insular communities they were born in. That’s why Jacob is disturbed to see a man in black standing by a streetlight outside. Why can’t they leave him alone? Turns out the man is there to offer Jacob a job: one that’s quick, easy, and well-paid. The catch? He has to start working immediately as a Shomer or vigil. This means watching over a newly dead body until undertakers arrive at dawn to pick it up. Easier said than done.

The widow, Mrs Litvack, says he’s not the right one for the job… but she doesn’t say why. It soon becomes clearer to Jacob that this is not a good place to spend the night. The old house full of shadows that seem to move, lightbulbs that frazzle and pop, and creaky sounds in the floorboards. The corpse is covered with a simple sheet, but Jacob keeps checking it didn’t move. And as the minutes tick past things start to get even weirder. A video he watches says there’s an ancient Mazzik there an evil jewish demon that can manipulate thoughts and dreams. It will play tricks on your mind, and shape shift into people you know and trust. And it can take human form. Is Jacob having a psychotic episode – he’s not taking his meds – or is the place really haunted? And will he survive until dawn?

The Vigil is a terrifyingly good horror movie that scared the pants off me. You experience everything Jacob sees, as he sees it, without always knowing if they’re hallucinations or the truth. Dave Davis is fantastic as Jacob, sharing through his facial expressions his fears, misgivings and guilt for past actions. This movie had me spontaneously shouting at the screen in terror at least three times, coming up with ever more scary surprises. This is Keith Thomas’s first film which manages to convey absolute terror in a small set, with a tiny cast, using minimal visual effects and great sound.  This is definitely the scariest thing I’ve seen all year.

Hustlers and The Goldfinch both open today in Toronto, check your local listings; And The Vigil has its last screening this Sunday at TIFF.

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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