Critical Mass. Films reviewed: Dolittle, What She Said: The Art of Pauline Kael, Les Misérables

Posted in 1800s, 1960s, Animals, Clash of Cultures, documentary, Drama, Family, Fantasy, France, Kids, Language, Morality, Movies, New York City, Police, Protest, Women by CulturalMining.com on January 18, 2020

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

This week I’m looking at three movies. There’s a man who talks to monkeys; a kid who steals a lion, and a movie critic who monkeyed with the way we look at movies.

Dolittle

Dir: Stephen Gaghan

It’s early 19th Century England, in a village called Puddleby-on-the-Marsh. Young Stubbins (Harry Collett) a boy out hunting with his dad  accidentally shoots a squirrel. But instead of “putting it out of its misery” as his father suggests, he tries to save it. Stubbins stumbles on a derelict hospital run by the reclusive Doctor Dolittle (Robert Downey Jr) the legendary animal doctor. The hospital is full of steampunk devices and wild animals — gorillas and polar bears, insects and parrots — wandering around just like people. And even more surprising, Doctor Dolittle can speak all their languages. Stubbins wants to convince the doctor to take him on as an apprentice so he can talk to the animals, too.

But trouble is brewing at Buckingham Palace. Someone has poisoned the Queen! And only the doctor knows the cure, a panacea found in a distant land.  Dolittle and the gang set sail to find it. Can they trick the evil King Rassouli (Antonio Banderas) into giving them the map? And will they defeat a tiger, a  dragon, and various palace villains, and manage to cure the Queen in time?

I grew up surrounded by Hugh Lofting’s books, TV cartoons, and movies, and though I wasn’t a devotee, I knew all about the stories and characters. And I don’t love Robert Downey Jr. So I was all set to be disappointed: where’s the chimp? And what happened to my favourite animal, the two-headed Pushmi-Pullyu?

But you know what? I liked it! It was cute, full of adventures, close escapes, exciting trips to exotic lands, and all the quirky animals (voiced by Octavia Spencer, Rami Malek, John Cena, and Emma Thompson). Keep in mind, this movie is for little kids, not grown ups, who may find the jokes too stupid, but the exciting scenes and the fast-moving action kept me satisfied. Not a terrific movie, but a very cute one.

What She Said: The Art of Pauline Kael

Wri/Dir: Rob Garver

Pauline Kael was a single mom who grew up on a California ranch during the time when movies were still silent and B&W. Her first published review was Charlie Chaplin’s Limelight — she hated it. She ran a movie theatre in Berkeley where she wrote the reviews and descriptions of the films playing there, encouraging locals to see them. She wrote for Macall’s but was fired for not loving big-budget cinema. And she quit her job at The New Repulic because they edited out her writing. She finally found a post at The New Yorker, where she became one of the most influential movie critics in the world.

She’s is known both for the movies she hated (she described The Sound of Music as asexual revisionist treacle, and trashed Kubrick’s 2001!) and those she loved (Penn’s Bonnie and Clyde, Scorcese’s Mean Streets, Spielberg’s Sugarland Express). Some directors’ careers were made by her patronage, while others lived in dread of her columns.  She rejected the ennui-ridden academic view of Auteur theory, without falling for manipulative Big-budget schlock. She liked trash, mind you, but it had to be good trash.

What She Said is an immaculately researched,spot-on look at Pauline Kael’s reviews,and her influence on audience and filmmakers. It delves into her fascinating life and and undeniable influence without resorting to endless kiss-assery. This movie is a labour of love,  combining vintage TV interviews with Dick Cavett and Brian Linehan, and talking heads — from Tarantino to David Lean — with readings from her work by Sarah Jessica Parker. Best of all, these voices are illustrated by a barrage of 2-3 second film clips from hundreds of movies over the past century that I haven’t seen in a documentary since Los Angeles Plays Itself (2002). (I grew up reading her reviews in The New Yorker — that and the cartoons were all  read — and while I disagreed with her half the time, I always wanted to see what she had to say.)

If you love movies, I strongly recommend this doc.

Les Misérables

Co-Wri/Dir: Ladj Ly

It’s Paris in the high-rise banlieue that circle the city. It’s 35 degrees outside and the crowds are high on the country’s win on the soccer pitch, singing la Marseillaise at train stations. But trouble is brewing…. it seems a lion cub is missing from a travelling Roma circus and the four brothers that run it are threatening a rumble with the locals.

Power here is shared by the secular — led by community leader called Le Maire (Steve Tientcheu); the religious — Salah (Almamy Kanouté), an Imam who runs a kebab shop; and the criminal — a gang of thieves who work directly with the cops. Attempting to keep the peace are the feckless police who mainly harass kids and sex workers. The regular team — an abrasive white guy Chris (Alexis Manenti) and his calmer black partner Gwada, who grew up in the hood (Djebril Zonga) — is joined by a newbie. the wide-eyed Stephane/Pento (Damien Bonnard) is a hick, straight from the farm. But the only ones who really know what’s going on are the local kids, who know every broken fence, every fire escape and back alley — they are watching everything. Especially Issa (Issa Perica) a feisty 10 year old, and his pal the nerdy Buzz (Al-Hassan Ly). Issa is the one who liberated the cute lion cub, and Buzz who records everything from the rooftops with his trusty drone.

But when the cops overstep their bounds and use weapons — which is caught on camera — things start to go really wrong. Chaos reigns.

Can the trouble be defused by the cops and community leaders? Or will the kids triumph? And could this lead to a repeat of the Paris riots of 2005?

Les Misérables (this is not Victor Hugo’s novel, but the location is the same) is an amazing dive into the lives of Parisians in the outer suburbs, their alienation, and the tension brewing there. The acting and story are superb, and I love the way multiple strands are woven together into a seamless whole. It’s nominated for a Best Foreign Film Oscar, and, though violent at times, it holds a real love and understanding of the characters portrayed. This is a great movie.

Dolittle opens today in Toronto; check your local listings. What She Said: The Art of Pauline Kael is opening today at the Hot Docs Cinema, as is Les Misérables 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

Films Reviewed: The Body Remembers When the World Broke Open, Marriage Story, 63 Up

Posted in Canada, Depression, documentary, Drama, Family, Indigenous, Poverty, TV, UK, Women by CulturalMining.com on December 13, 2019

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

How much of our lives are changed by free will, and how much is predetermined by fate, class or outside circumstances? This week I’m looking at three films about people affeed by changes they didn’t plan on. There’s two indigenous women thrown together, a married couple torn apart, and fourteen people following divergent pathways in their lives.

The Body Remembers When the World Broke Open

Wri/Dir: Kathleen Hepburn, Elle-Máijá Tailfeathers

Rosie (Violet Nelson) is a pregnant young woman who lives with her boyfriend and his mom in Vancouver’s East End. She likes tie dye hoodies and watching TV. Alia (Elle-Máijá Tailfeathers) is a middle class woman debating whether she’s ready for a child with her partner. The two meet at random on a sidewalk, Alia emerging from an alienating medical procedure, Rosie from a violent incident at home. Her boyfriend attacked her, leaving on a daze, with a bruised face, barefoot and pregnant, standing in the rain. Alia dismisses her own problems and concentrates on getting a safe sheltered space for the woman she has just met. They are both indigenous women, but do they have anything else in common? Or are they just ships passing in the dark?

The Body Remembers as the World Broke Open is a very moving, personal drama about two women, and how their lives briefly intersect. They are followed with a handheld camera, and the movie takes place in real time, without breaks, as if you are there with them. It explores differences of class and appearance – Alia can pass for white – and all that carries: violence and abuse, and how police behaviour depends on the appearance of a victim. This is an amazing depiction of a multifaceted urban indigenous story told from the characters ownpoints of view. It takes you on a heartfelt journey even as it destroys common stereotypes. Great acting, a realistic script and an urgent, constantly-moving style keeps you on edge the entire time.

I like this movie.

Marriage Story

Wri/Dir: Noah Baumbach

Charlie and Nicole (Adam Driver, Scarlett Johansson) are a happily married couple in Brooklyn. He’s originally from the midwest and she’s from LA, but they both think of New York as their home. He’s a theatre director with a show headed for Broadway, and she’s an actress featured in the plays he directs. But when she heads to California to shoot a TV show, their perfect marriage turns out to be not so perfect. Turns out they haven’t slept together in a year, and Charlie is having an affair with another actress from within their own theatre. And now their living on opposite coasts of the country. Still, Charlie is shocked and devastated when Nicole tells him she’s staying in LA, with their son, and filing for divorce. Can their marriage be saved? Should it be? What will happen to their careers? The broadway show? And who will stay with their son.

Marriage Story is a compact film about a relationship falling apart. It follows the characters – along with her family and their son – as it turns from a disagreement to a fight to a legal battle. I watched this movie not in a theatre but at home on Netflix. The problem with home viewing is that you can turn it off halfway through and come back later, something you can’t do in a movie theatre. That’s what happened to me. I was bored and distracted for the first half-hour, and didn’t want to sit through a happy and successful family’s divorce. It was irritating, annoying. Charlie is an entitled, selfish doofus, while Nicole can’t take responsibility for her own actions, pinning it all on him.

But I later returned to watch the rest… and I am so glad I did. It turns into a fantastic, subtle portrayal of a loving couple torn apart by their own actions and a legal system that leaves them scrambling. It also becomes almost a brilliant musical, in which both characters (in separate, plausible settings), break into Sondheim songs to explain their situations to their friends and families. Driver and Johannsson are both excellent and believable in their roles and their lawyers (Laura Dern, Ray Liotta, Alan Alda) provide a sharp and cynical counterpoint the couple’s real emotions.

63 Up

Dir: Michael Apted

“Give me the child at age seven and I’ll show you the man.” That’s how a segment called Seven Up began on a UK current affairs show in the early 60s. 14 children were brought together on a playground and interviewed on camera. Upper class boys in line for elite public schools and then on to Oxford or Cambridge and the seats of power. Working class kids from London’s east end; a couple from the North, one from a farm, and two taken from a “Home for Boys”, an orphanage-like institution. The short piece wondered what will become of these post-war baby-boomers as the world

changes? Seven years later a young Michael Apted took on the responsibility and followed them every seven years with a new film looking at what has become of them. Each successive version surprises and delights audiences who wonder what has happened to these kids – now adults – as they gradually age: their opinions on relationships and politics, whether they have transcended their class or background, what are their hopes, and later, what are their regrets.

63 Up is a fascinating study, almost the only one of its kind, that traces a generation throughout their lives. It began in a very different era, when class is all-important, while gender or ethnicity are afterthoughts and sexuality never mentioned. Since there were only three girls in the initial show, three women it remains, and in the early years they are asked domestic questions, nothing about politics, or professional goals. But the subjects end up having fascinating lives. One emigrates to Australia, another follows an academic path to an American professorship. Others stay close to home. And two subjects face death. One of the most endearing stories follows a man troubled by depression whose life takes a surprising turn. And for all of them, the series both keeps track of their lives and affects them as they become public figures, almost celebrities, in a largely private world… before social networking made everyone’s lives common currency.

The Body Remembers When the World Broke Open starts today at the TIFF Bell Lightbox and Marriage Story continues there and on Netflix; and 63 Up starts next Friday at the Hot Docs Cinema.

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 Sophie Deraspe about Antigone

Posted in Canada, Disguise, Drama, Family, High School, Montreal, Prison, Protest, Quebec, Women by CulturalMining.com on December 6, 2019

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

Photos by Jeff Harris.

Antigone is a straight-A high school student in Montreal. She lives with two brothers and a sister, raised by ther grandmother. They immigrated from North Africa when she was still a child. She’s heading for university and is dating Hémon, the son of a prominent politician. But her normal life is shattered when the police kill one brother and jail the other. She comes up with a scheme to take her brothers place in prison. But what will become of Antigone?

Antigone is the title of a fantastic new film from Québec, about a strong young woman willing to confront the government and risk everything for the love of her brother. The film transplants the classic Greek play into modern day Montréal, incorporating contemporary cinema, drama, literature, and music. The film is written and directed by Sophie Deraspe who also served as cinematographer and editor. Antigone is her first feature and has won countless prizes, including best Canadian Film at TIFF and is Canada’s choice for Best Foreign Film Oscar.

I spoke with Sophie at CIUT 89.5 FM.

Antigone opens today in Toronto.

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.

Birth, Death, Birth. Films reviewed: Dead Dicks, In Safe Hands, The Report

Posted in Adoption, Bipolar, Canada, Family, France, Horror, Politics, Suspense, Suspicion, Terrorism, Torture, US by CulturalMining.com on November 15, 2019

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

Fall festival season continues in Toronto, with ReelAsian ending tonight and the EU Film Fest still going strong. Coming soon are Blood in the Snow (aka BITS), featuring Canadian Horror and Genre movies, and CineFranco with French language movies, from Canada and around the world.

This week I’m looking at three movies, two about births and two about deaths. We’ve got mysterious rebirths wanted by no one, a newborn infant wanted by everyone, and a horrifying CIA program they want no one to know anything about.

Dead Dicks

Wri/Dir: Chris Bavota, Lee Paula Springer

Becca (Jillian Harris) is a young bartender who works downtown. But much of her time is filled with taking care of her big brother Richie (Heston Horwin). Richie is a depressed artist with anger issues given to playing music full blast while scribbling in his sketchbook. When there parents died he served as the adult in the family, but now the roles are reversed. She’s forced to deal with his angry neighbours and make sure he takes his meds. So when she she is called away from her job by frantic texts, she thinks this is just another one of Richie’s episodes. But it’s not.

She arrives to see an apartment in disarray, with a huge mouldy patch formed above his bed, and Richie wandering around naked, in a daze. His brain feels fuzzy he says. Turns out he killed himself just a few minutes before. And almost immediately expelled, fully grown, through a hole in the wall. But the dead body he left behind is still there, hanging in the closet. And another one in the bathtub, and another one in the kitchen. Living Richie is surrounded by all the dead Dicks from his repeated suicide attempts. He’s experimenting, he says.

But that leaves Richie and Becka with a pile of dead Dicks to get rid of, a mysterious birth canal on his wall and an angry neighbour (Matt Keyes) who could get them arrested by threatening to call the cops. What is causing all these rebirths? What does it mean? And what are the unanticipated consequences?

Dead Dicks is a bizarre, low budget film, part horror, part mystery, part comedy. The film does not encourage death by suicide. Rather, It deals with issues of family and mental illness, within a weird fantasy setting. It manages to be grotesque and gruesome, with very few special effects, and an absurd humorous streak running through it.

In Safe Hands (Pupille)

Dir: Jeanne Herry

It’s present-day Brest, in French Brittany.

A young woman arrives at a hospital in labour. She’s a college student and says the pregnancy is the result of a one-night stand, and says she doesn’t want the baby. This starts a dozen gears spinning into action, notifying dozens of doctors, nurses, psychiatrists, midwives, social workers, foster parents, and adoption agencies. And little Theo, the baby, is the centre of attention. He is transferred to an incubator, with lots of faces peering down at him. But can his lack of contact with his birth mother damage him for life? Or will a concerted effort place this baby into safe loving hands?

In Safe Hands is mainly a dramatization of the process of birth and adoption, but there are a few interestingside plots along the way. Jean (Gilles Lellouche) is a married dad who takes care ofhis own daughter and two troubled foster boys who takes care of Theo as he awaits adoption. Karine (Sandine Kiberlain) works for the adoption and fostering program and has a thing for Jean… but will an affair upset the adoption process? Alice Langlois (Élodie Bouchez) is single and works describing action at live plays for the visually impaired. She applied for adoption when she was attached. A social worker is concerned both for the privacy of the birth mother and of the baby who might one day wish to get in contact with her. And many, many others, all centred around a wordless, Yodalike baby who seems to take everything in. It was interesting from a parenting and adoption point of view, exposing all the hidden parts of the mechanism of adoption, but isn’t very satisfying as a dramatic or romantic movie, more just as an educational docudrama, as acted by famous French movie stars.

The Report

Wri/Dir: Scott Z. Burns

It’s post 9-11 Washington, DC.

Dan Jones (Adam Driver) is a young college grad appointed to a group to write a bipartisan internal report on the CIA for the Senate Intelligence Committee. The committee is headed b Sen. Diane Feinstein (Annette Bening). Dan is locked up in a dark basement in a nameless bureaucratic and told to find out what the CIA has done since 9/11. It turns out their practices, supposedly enacted to stop terrorism, were immoral, illegal and of no value whatsoever for intelligence. Specifically, he uncovers the practice of “enhanced interrogation techniques,” a policy previously known as torture and banned by the Geneva Convention.

They were under the direction of two psychologists, James Mitchell and John Bruce Jessen (Douglas Hodge and T Ryder Smith) working on contract with no experience in interrogation. They stripped prisoners naked, chained them to walls, waterboarded them and nailed them – live – into wooden coffins, covering their skin with crawling insects. The torture yielded no intel, yet was repeated for many years in blacksites around the world.

Dan outlines these heinous war crimes in a long report to the committee, shocking senators by its findings. But instead of offering support and investgating their own lawbreakers, the CIA initiates a coverup, threatening Dan himself with jail time if he releases his findings. And the CIA sends operatives to spy on the Senate itself in order to coverup the findings. Will Dan Jones’s report ever see the light of day? And will the war criminals be punished?

The Report is a good political drama about the illegal use of torture by the CIA, but a thriller it’s not. It incorporates elements of All the President’s Men, and is nicely shot with lots of fluorescent lights and stark, brutalist architecture. Driver is great as the persistent policy geek, with an understated Bening as a veteran Senator. Warning: there are a few highly disturbing reenactments of the torture itself, which are extremely hard to watch. Much more common are the reenactments of the culprits – John Yoo, Jose Rodrigues, John Brennan (Ted Levine), Cheney, and the psychologists – war criminals who leave a very bad taste in one’s mouth.

I liked this one.

Dead Dicks will be playing at Blood in the Snow, In Safe Hands at Cinefranco, and The Report at the Tiff Bell Lightbox all starting one week from 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.

Families. Films reviewed: Before You Know It, Downton Abbey, Once Were Brothers: Robbie Robertson and the Band

Posted in 1920s, 1960s, 1970s, Canada, Class, documentary, Drama, Family, Music, Screwball Comedy, Theatre, TV, UK by CulturalMining.com on September 20, 2019

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

This week I’m looking at three movies exploring different families. There’s a band of brothers who form a band inside a big pink house; a pair of sisters who live inside a Greenwich Village theatre; and an extended family of aristocrats – and their servants – who live inside a stately mansion.

Before You Know It

Dir: Hannah Pearl Utt

Rachel and Jackie (Hannah Pearl Utt, Jen Tullock) are adult sisters who live inside a Greenwich Village playhouse. Homeschooled by their playwright Dad (Mandy Patinkin) since their mom died, their world is centred on their family theatre. Rachel, dressed in plain clothes and sensible shoes, is their always-reliable stage manager. Jackie – flamboyant, and self-obsessed – is an actress. Her impulsive behaviour gave her with an alcohol problem and a 13-year-old daughter named Dodge (Oona Yaffe). Rachel wishes she could date more, but she has too many responsibilities.

Life continues, until a major revelation shakes up their lives. Turns out their mom (Judith Light) is still alive, and has been living nearby under a stage name since they were kids! What’s more, she owns their theatre, and they might lose their careers, their home, their entire lives. Can Jackie and Rachel infiltrate a TV studio, meet their soap opera actress mom, and convince her to let them stay on at their theatre they call home? Or is this their final act?

Before You Know It is a delightful story of three generations of women in a theatrical setting. Written by Jen Tullock and Hannah Pearl Utt it veers between a gently screwball plot and a somewhat more serious coming-of-age story about growing up, both for Dodge and the two adult sisters. Nothing spectacular, just a pleasant and fun indie movie.

Downton Abbey: The Movie

Dir: Michael Engler

The Crawley’s are an aristocratic family living in a stately mansion on a vast manor estate in post- Edwardian England. It takes a village to keep things going smoothly, and it’s almost as self-sufficient community living inside the walls. This includes the extended family and their in-laws but also the multitude of servants, footmen, groomsmen, maids, kitchen help, grounds keepers, valets, a butler and more. But the normal social order is threatened by some unexpected guests. The King is coming! The King is coming!

Amd this brings all sorts of problems. Violet, the dowager Countess (Maggie Smith) has a longstanding inheritance feud with Maud Bagshaw, a lady in waiting (Imelda Staunton) for theQueen. Tom Branson (Allen Leech), an Irish socialist and widower who started as a chauffeur but later married into the family, is suspected by a mysterious government agent as being disloyal to the King. Meanwhile, amongst the other half of the house, other troubles are revealed. Kitchen maid Daisy (Sophie McSheera) wonders whether longtime boyfriend William is right for her, especially since a handsome young plumber arrives on the scene. And when the Kings servants barge in and take over everything, they must concoct a plot to get back their rightful place within their own house. Meanwle Thomas Barrow (Robert James Collier) the usually secretive and conniving butler seizes the chance to explore his sexuality in a nearby town.

Downton Abbey,the movie is a continuation of the popular British nighttime soap that ran for many years. I remember watching the first two seasons of it before giving up.It concentrated on a dull patriarch andhis faithful butler, his bickering daughters and various servants seen skitting around behind the scenes. It felt like a Leaveit to Beaver sitcom superimposed ona feudal estate. Deadly dull, politically loathesome – I hated it. But I found the movie much more interesting. It concentrates as much on the “Downstairs” as on the “Upstairs”, there are real surprises, and the characters are allowed to grow and progress.

I’m as surprised as you that I actually enjoyed this movie.

Once Were Brothers: Robbie Robertson and the Band

Dir: Daniel Roher

It’s the late 1950s in Toronto. Robbie Robertson is a teenaged boy and aspiring musician who learns to play chords on visits to his mom’s family at Mohawk Six Nations. When Southern rocker Ronnie Hawkins brings his band to town, Robbie is mesmerized by their energy, showmanship and confidence, especially their stick-twirling drummer Levon Helm. He writes some tunes and joins the Hawks at age 16, alongside other multitalented Canadian musicians: Rick Danko, Garth Hudson, and Richard Manuel. They travel down south to perfect their style, playing alongside blues artist and country musicians. The Hawks outgrow their front man and set out on their own,

They tour Europe as Bob Dylan,s band rght when he goes electric.They are booed on every stage, but realize they have something special. They move into a big pink house in woodstock NY where they prefect their unique boendof folk,country, rock,blues and R&B. Robbie writes most of the songs while the entire band, one with the three vocalists, crafts each song. They start releasing their own songs under the name The Band and become one of the most influential North American groups of the ’60s and ’70s.

Once Were Brothers is a great music doc about the Band, as told through Robbie Robertson’s eyes. Through old photos, magazine clippings, period footage, and new interviews, it explores their brother-like friendship through its ups and downs, including jeolousy, addiction and car crashes. And looks at the rivalry between him and Levon Helm which eventually tore the band apart. It looks at their music, the pele they knew even their look — long hair and bearded, country gentlemen farmers, dressed like in 19th Century photos. It follows them from the early 60s through their Last Waltz, a giant concert filmed by Martin Scorsese. This is a beautiful, compelling story of the – can I say it? – legendary band.

Before You Know It (at the Tiff Bell Lightbox) Once Were Brothers and Downton Abbey all open today in Toronto; check your local listings. And Toronto’s fall festival season continues through the weekend with the Toronto Palestine Film Fest.

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

Minors and Miners. Films reviewed: After the Wedding, Mine 9, Good Boys

Posted in comedy, Coming of Age, Disaster, Drama, Drones, drugs, Family, Friendship, India, Kids, Movies by CulturalMining.com on August 16, 2019

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

Mountains can grow out of moleholes. This week I’m looking at three movies – a disaster, a family drama, and a comedy with kids – about minors facing major difficulties. There are three tweens caught up in adult-type problems, coal miners caught in a disaster, and a woman who works with orphans in India facing major problems back in New York.

After the Wedding

Wri/Dir: Bart Freundlich

Isabel (Michelle Williams) is an American woman grudgingly back in New York for the first time in decades. She fled the country as a teen after an unplanned pregnancy, and has lived in India ever since. She works at an orphanage in Tamil Nadu, raising the kids there, including Jai, a little boy she found abandoned on a street. But she’s forced to travel to The States for the sake of the kids; to secure a large donation to the orphanage. The donor insists she come, not anyone else.

Theresa (Julianne Moore) is a ruthless media magnate preparing to sell all her assets and retire. She wants to donate to various charities – including the orphanage. But when she meets Isabel she says she’ll only confirm the donation after her daughter Grace (Abby Quinn)’s wedding . And Isabel must attend.

But Isabel is in for a shock. Turns out the father of the bride is Oscar (Billy Crudup) Isabel’s teenaged boyfriend, and the father of the unwanted child they put up for adoption so many years ago! He’s why she moved India in the first place, to erase her past and start again. He seems as shocked to see her as she is to see him. Is this just a coincidence? Could the bride possibly be the baby she gave birth to? And if Theresa finds out that Isabel and Oscar were once lovers will she cancel all the money the orphanage needs so badly?

After the Wedding is a remake of Danish director Susanne Bier’s film from 2006. I’ve never seen the original but I’m told in Bier’s film Isabel and Theresa are male roles and Oscar is a woman. This switch seems to work. And I found the continuous revelations fascinating – I wanted to know what would happen all the way till the end.

That said, the script was so clunky it felt, at times, like it was written by Google Translate. Williams’s main emotion was being perturbed, and the whole film lasted 30 minutes longer than it should have. I didn’t love this movie but I didn’t hate it either: good story, bad script; great actors but who are not at the top of their game here.

Mine 9

Wri/Dir: Eddie Mensore

It’s a mining town in West Viriginia. The coal mine is the only steady employer, but it’s a dangerouns place. Some of the old timers, like Kenny (Mark Ashworth), Daniel (Kevin Sizemore) and John (Clint James), have lived most of their lives underground. The black dust is ground into their skin, their hair, their beards. They don’t like it, but it’s their livelihood, and their only source of health insurance. But when they narrowly escape a methane leak, they wonder if it’s safe to go back down into mine #9. And with no outside foreman or rescue team, if there is an accident, who will save them?

But management insists so down they go, along with Ryan (Drew Starkey) a newbie fresh out of high school. It’s his first time in a mine, though his family has been doing it for centuries. Things seem to be going alright until a short circuit leads to an explosion and a collapse. The mine is filling with poisonous gas with only an hour’s worth of oxygen left. They have to battle fire, rushing water, smoke, dust, methane gas and collapsing tunnels all around them. It’s up to Zeke (Terry Serpico) their dependable leader, to bring them to safety. Who will escape and who will be left two miles down?

Mine 9 is an indie action/ disaster movie about West Virginia coal miners. It has a realistic, gritty feel to it, capturing the dirt, darkness and claustrophobia of coal mining, along with the excitement of escape. Unfortunately it’s also full of problems, both big and small.

I understand why they have to wear oxygen masks to breathe and hard hats for safety, but how can you care about characters when you can’t see their faces for much of the movie? And, seriously, do miners really break into miners’ songs each time they go underground? Their names aren’t Sneezy, Dopey and Doc.

Still, if you’re in the mood for a short trip into a coal mine, you might want to look at Mine 9.

Good Boys

Co-Wri/Dir Gene Stupnitsky

Max, Lucas and Thor are the Bean Bag Boys, three best friends and grade sixers. They’re a team that does everything together. Thor (Brady Noon) pierces an ear to be cool, but is labelled “sippy cup” by the popular kids for not trying beer. Lucas (Keith L. Williams) is a God-fearing boy who cannot tell a lie, but whose beliefs are shaken when his parents announce their divorce. Max (Jacob Tremblay) is a lover not a fighter, and is crushing on a girl he’s never actually met in lunchroom. But when Max is invited to a kissing party, he realizes he has to learn how to kiss before he can go there. These foul-mouthed boys can say the dirty words, but they don’t know how to do them. They can’t ask their parents and they find internet porn too disgusting to look at.

So the Bean Bag Boys concoct a plan: to spy on Hannah (Molly Gordon) the much older, girl next door as she makes out with her drug-dealer, frat boy boyfriend. But how? Using Max’s dad’s drone – something Max is forbidden even to touch. Caught in the act, Hannah and her friend Lily (Midori Francis) seize the drone from the boys. Then they steal her purse. But the purse contains the MDMA the women planned to take that night. Can the three boys escape their pursuers and rescue the drone? Can Max kiss the girl he thinks he loves? Or will the big problems they all face destroy their unbreakable friendship?

Good Boys is a hilarious coming-of-age comedy about extremely naïve kids encountering adult situations – like drugs and sex – for the first time, and deal with them from a child’s perspective. The laughs are constant, with very few misses. A lot of the humour rests on believing the kids are so sheltered they’ve never seen or encountered anything adult.  For example they find Thor’s parents’s sex toys but use them as weapons and kids’ toys. They’re afraid tasting beer will turn them into alcoholics. They’ve heard grown-up words but don’t know their real meanings: Nymphomania means having sex both on land and at sea. Misogyny means giving massages.

The three main kids are great, especially Tremblay (Room), but so are all the other roles. And despite the fact it’s being marketed as an R-rated movie, except for some foul language and innuendo, it’s not outrageously offensive. No serious violence and no sex, just some 11-year-old kids being extremely funny.

After the Wedding, Mine 9, and Good Boys 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.

 

Rivals. Films reviewed: Hobbs & Shaw, Luce PLUS Canadian films at #TIFF19

Posted in Action, Adoption, African-Americans, Canada, Cars, CBC, comedy, Drama, Family, High School by CulturalMining.com on August 2, 2019

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

The Toronto International Film Festival has just announced its upcoming Canadian film programme, so I’m going to talk about that. I’m also looking at two new movies: an action thriller and a psychological drama. There’s a rivalry between a respected teacher and a prize pupil that threatens their futures; and a futuristic rivalry between two secret agents fighting a threat to world destruction.

Canada at #TIFF19

If you’re looking for some brand new, home-grown movies, docs and short films, there’s lots to see at TIFF this September. I haven’t seen anything yet, but I’ve been looking around and there are a few that caught my attention. The program features many indigenous directors who have made great movies so, chances are, these will be great too. In Jordan River Anderson, The Messenger, Alanis Obomsawin continues to document – started in We Can’t Make the Same Mistake Twice – the struggle of First Nation kids on reserves to get the same medical treatment as in the rest of Canada. Zachariah Kunuk (Atanarjuat: The Fast Runner) brings us One Day in the Life of Noah Piugattuk, a drama set in the 1960s when the government was forcing nomadic Inuit hunters to assimilate and give up their way of life. And, in a totality different take, Jeff Barnaby’s Blood Quantum pits a Mi’gmaq nation against a new zombie-like plague… that only infects white people.

Sometimes it’s just the title that attracts, so listen to some of these Canadian movies coming to TIFF: The Last Porno Show (Kire Paputts) This is Not a Movie (Yung Chang); Tammy’s Always Dying (Amy Jo Johnson); And The Birds Rained Down (Il pleuvait des oiseaux); and The Body Remembers when the World Broke Open.

Conversely, there are some short films whose titles are very long. Like I am in the World as Free and Slender as a Deer on a Plain; or how about Speak Continuously and Describe your Experiences as They Come to You. I bet you’ll remember those.

And finally you can look at some of the big names of Canadian cinema, with new work by Alan Zweig, who has a documentary about the police called Coppers; Atom Egoyan’s Guest of Honour, starring David Thewlis as a food inspector; Albert Shin’s Clifton Hill, a psychological thriller set in Niagara Falls; and a new doc co-directed by Ellen Page, about environmental racism in Nova Scotia called There’s Something in the Water.

I just flooded you with more names than anyone can absorb, but maybe some of it will stick. Tickets are on sale now, including the cheaper packages, so check them out.

Fast & Furious Presents: Hobbs & Shaw

Dir: David Leitch

Hobbs (Dwayne “The Rock” Johnson) is a hugely muscled single dad in LA formerly with the CIA. Shaw (Jason Statham) is a well dressed wiry assassin from a family of London criminals, headed by his mother. But when Hattie (Vanessa Kirby) an MI6 agent goes rogue, the two men are ordered to work together to bring her in.

The problem is Hobbs and Shaw loathe each other, and would rather die than be in the same room. But there’s a bigger issue at stake: Hattie absconded with a terrible man-made virus which, if activated, could wipe out every human in a week.. and she carries it imbedded in her body. Even worse, they have to beat Brixton (Idris Elba), Shaw’s former partner, who is now an unkillable cyborg who works for a criminal organization that controls the world’s media. Can the two agents overcome their differences, capture Hattie, recover the virus, defeat Brixton, and save the world?

Hobbs and Shaw is a silly, comic-book-like action movie in the style of the Fast and Furious series, and though ridiculous, it’s a lot of fun to watch. It doesn’t take itself very seriously, instead just provides endless chase scenes – we’re talking cars, motorcycles and helicopters here — extended fistfights against nameless enemies, and epic battles with guns, missiles and spears (but without any visible death or blood).

As I said, it’s ridiculous, concerned purely with the images. There’s a chase scene at a Chernobyl-like nuclear reactor, but the characters blast at each other not caring about meltdoen. The towers are just there for decoration. The story takes you from an amazing vertical chase scene involving ropes and an elevator on the side of a glass and steel skyscraper in London… to an eventual battle royal in Samoa!

The banter between Johnson and Statham is silly, almost to the point of boredom, but there is some humour and, most important, the movie is loaded with superior special effects. Take it for what it is – a simple action movie – and you’ll probably love it. I gave up on the Fast and Furious series after Number 3 or 4, but I would probably watch another Hobbs & Shaw. With Idris Elba, and cameo roles by a sinister Helen Mirren and a campy Ryan Reynolds… what more can you ask for for 14 bucks?

Luce

Dir: Julius Onah

Based on the play by J.C. Lee

It’s an middleclass suburb in the Midwest. Luce (Kelvin Harrison Jr) is the school’s golden boy. He’s a star athlete, manager of the track team, head of the debating club. He’s handsome, popular, athletic and very bright. So much so, he’s invited to give inspirational, Obama-style speeches to the school. His white parents (Naomi Watts and Tim Roth) couldn’t be happier. They adopted him as a refugee from war-torn Eritrea, and moulded him into their idea of the perfect all-American son, with a new name, history, and identity. His friends may have troubles, but not Luce. Everyone, even his ex, Cynthia (Andrea Bang: Kim’s Convenience) loves Luce. Everyone except his teacher Ms Wilson (Octavia Spencer).

She is suspicious of his motives. She is disturbed enough by an essay he wrote (about Marxist anti-colonial writer Frantz Fanon) to search his school locker, where she finds an unmarked bag of firecrackers. She calls his mother in to talk, leaving Luce out of the equation for now. But it plants a seed of doubt in his parents’ minds. Luce isn’t stupid; he knows something is going on. And so begins a hidden game of cat and mouse between pupil and teacher. Is he just a normal, nice guy… or a psychopath? And is Ms Wilson honestly concerned? Or is she just jealous and wants to bring him down?

Luce is a complex, multifaceted and ultimately ambiguous drama about identity, history and blackness. (Interestingly, another work by Frantz Fanon, Black Skin, White Masks, was surely lurking at the back of Luce’s mind). It’s also about parents digging too deeply into their kid’s private lives, without realizing they’ll expose facts they didn’t want to know about. It brings in other issues, too – mental health, sexual consent, and drug use. Tim Roth and Naomi Watts are appropriately annoying as the well-meaning but namby-pamby parents. Octavia Spencer just gets better and better, and Kelvin Johnson Jr  (though he doesn’t look even vaguely Eritrean!) is great as Luce. He also a very different son in another movie, It Comes at Night, which, in retrospect, adds even more dimensions to this role. Can’t wait to see what he does next

Luce, though not perfect, is a very well-done indie movie that leaves you with a lot to think about.

Fast and Furious Presents Hobbs and Shaw opens today in Toronto; check your local listings. Luce opens next week (August 9th). And for more information on TIFF go to tiff.net.

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

Eccentric. Films reviewed: Ruben Brandt Collector, Greta, A Bread Factory

Posted in Animation, Art, Crime, Family, Movies, Mystery, psychedelia, Psychological Thriller, Psychopaths, Theatre, violence, Women by CulturalMining.com on March 1, 2019

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

It’s March and Toronto’s spring film festival season has begun. The Irish Film Fest is on this weekend, and the WTF Fest starts showing “eccentric movies” at the Royal Cinema today. In this case, WTF stands for What the Film – great stuff. Also opening is What Walaa Wants, the NFB doc about a young Palestinian woman who wants to be a cop. Also opening is Gaspar Noe’s amazing film Climax, a movie that includes a fantastic dance performance and a stunning title sequence… followed by a horrific panoply of drug-addled sex and violence.

Keeping with the theme of the strange and unusual, this week I’m looking at offbeat movies with eccentric characters. There’s a a French widow with a yen for pocketbooks, a psychotherapist keeps fine art front and centre; and a two older women who want to save their arts centre from falling apart.

Ruben Brandt Collector

Wri/Dir: Milorad Krstic

Dr Ruben Brandt is a psychoanalyst obsessed by art. He lives and works in an isolated alpine chalet where he treats his rich but troubled clients, including a banker with an eating problem, and a former bodyguard.

Meanwhile Mike Kowalsky, a private detective from Washington DC, is in Paris chasing Mimi, a notorious cat burglar down the city streets. She’s carrying a priceless Egyptian artifact. But he can’t catch her; the former circus acrobat is just too fast. Mimi tracks down Dr Brandt and visits his clinic. She wants to get rid of her kleptomania, She can’t stop stealing. But in a strange turn of events, patients turn to doc tors and doctors to patients. You see, Dr Brandt is plagued with halucinations of people in famous paintings. Is Venus in Boticelli’s painting trying to kill him? How about Warhol’s double Elvis? Brandt’s patients, including Mimi, decide the only way to save their doctor is to steal all the paintings that obsess him. They begin a series of elaborate heists of the world’s best known paintings from the most famous galleries. Can Kowalsky solve the puzzle and catch the culprits? Or will Ruben Brandt, the art collector, triumph?

Ruben Brandt Collector is a simple, silly story told with amazing animated images. It feels like a cartoon guide to Janson’s History of Art… on acid. Characters are portrayed as cubists, as two-faced januses, or as two-dimensional pieces of paper. The plot may be flat and inconsequential but the animated art and psychedelic imagery sticks with you.

Greta

Wri/Dir: Neil Jordan (The Crying Game)

Frances (Chloë Grace Moretz) is depressed. She’s a recent college grad who works as a server in a fancy Manhattan restaurant. She shares a spacious condo with her best friend Erica (Maika Monroe) whose dad gave it to her as a gift. Ever since her mom died, Frances can’t have fun; she never seems to go out anymore. But her attitude changes when she finds a designer purse that someone left on a subway. Finally, she can do a good deed. Using the ID, she takes it to its owner’s home. Greta (Isabelle Huppert), is an older woman, a widow, who lives in an isolated cottage. Her home is like a piece of France right in the middle of NY city. She plays Chopin and bakes cookies.

It’s like at first sight. Greta needs someone to spend time with since her daughter moved away and Frances misses her mother terribly. They go for walks in Central Park, share intimate meals at her home, and even adopt a dog to keep Greta company. Greta worries Frances will go away, just like her daughter. Don’t worry Greta, I’m like chewing gum – I’ll stick around. Imagine, such good friends meeting at random.

But… everything changes when Frances discovers Greta’s secret. That “lost purse” wasn’t actually lost! Greta placed it there so they would meet. Is Greta just desperately lonely? A con artist? Or is she a psychopath? Even when Frances cuts off all contact with her Greta keeps showing up wherever she goes. She’s a stalker who can’t be stopped. Will Frances ever forgive her? And will Greta leave her alone?

Greta starts as a conventional drama but turns into an unexpected psychological thriller. It feels like a classic Grimm’s fairytale, with an innocent girl lured into a witch’s lair. Though not her best performance, Isabelle Huppert is credible as the (potential) villain, though Chloe Grace Moretz is wasted as the victim. It’s hard to picture Moretz as a helpless scaredycat. Greta is OK as a run of the mill, cat-and-mouse thriller, but it could have been so much more.

A Bread Factory

Wri/Dir: Patrick Wang (I interviewed him in 2012)

The Bread Factory is an arts centre in a small town on the Hudson Valley. Formerly an industrial bakery, it’s where the post-industrial townfolks go to see a movie, put on a play or attend a poetry reading. It’s been run by Dorothea and Greta (Tyne Daly, Elizabeth Henry) for more than 40 years. At the moment there are filmmaking lessons for little kids by an auteur (Janeane Garofalo); a greek tragedy starring an elderly shakesperean actor, and a Chekhov-like drama in production. It’s a hotbed of creativity and community life.

But everything is put at risk when a strange new group arrives in town. They are a pair of performers/conceptual artists known as May + Ray (Janet Hsieh, George Young), a sort of a Blue Man Group. They are vaguely associated with China, have a large international following, their videos are on youtube, and they even have a catchy logo on the T-shirts and totebags they sell. The problem is their work is shallow and pointless. And more important, the town school board is thinking of transfering all arts spending from The Bread Factory to May + Ray.

Can the town artists and performers save the bread factory? Or will corporate interests triumph?

A Bread Factory sounds ordinary but it’s actually a great movie. I really liked it. Dozens of characters and a complex, twisted plot manages to keep you interested but not distracted, with each storyline and character carefully constructed and allowed to develop. There’s a teenager (Zachary Sayle) interning at the town paper, a kid who functions as the projectionist (Keaton Nigel Cooke), a critic and an actor who hold a 50 year grudge… and many more. It feels like a great John Sayles movie.

I’ve only seen the first two hours (Part 1) so far but now I can’t wait to see Part 2.

A Bread Factory is a delightful treat.

Greta and Ruben Brandt Collector both open today in Toronto; check your local listings. A Bread Factory is playing this weekend at the WTF Festival at the Royal Cinema.

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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