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

Daniel Garber talks with filmmaker Robert Eggers about The Lighthouse

Posted in 1800s, Art, Drama, Dreams, Fantasy, Horror, Mystery, Nova Scotia, Sex by CulturalMining.com on October 17, 2019

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

Photo of Robert Eggers by Jeff Harris

It’s the 19th century on a rocky Atlantic island. An old salt and a young jack tar share threadbare lodgings. Their job? Keep a lighthouse burning to warn all passing boats of potential danger. The old man is there for the long haul, while the younger one seems to be a temporary replacement. But as the isolation grows they become increasingly unhinged as they try to keep their senses… in the lighthouse.

The Lighthouse is a new film about life in a lighthouse as seen through the fantastical minds of the two men living there. It’s written and directed by Robert Eggers, his second feature after The VVitch.

This interview was recorded onsite during TIFF 19.

The Lighthouse opens next Friday (Oct 25, 2019) in Toronto.

Quirky films at TIFF 19. Entwined, Parasite, 37 Seconds, Love Me Tender

Posted in Class, Disabilities, Fairytales, Fantasy, Greece, Japan, Korea, Manga, Mental Illness, Poverty, Switzerland by CulturalMining.com on September 6, 2019

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

TIFF – the Toronto International Film Festival – started last night with over 300 movies to see. There’s more glamour and celebrity than you can shake a stick out down on King St. West. But this week I’m going to talk about some of the unusual, odd or quirky movies you might otherwise miss. There’s a woman in the woods in Greece, a poor family in a Korean mansion, a disabled manga artist in Japan, and a house-bound woman in Switzerland.

Entwined

Dir: Minos Nokolakakis

Panos (Prometheus Aleifer) is a young doctor starting a practice in a remote Greek village. But on a drive through the forest, his car hits a beautiful young woman, all dressed in white. Though injured, she flees into the woods. He follows enchanted music until he finds her cabin. It’s an old place built around an ever burning hearth, with music coming from an ancient windup Victrola. But to his horror, he finds her under the spell of a violent, old man who keeps her as his bride. He defeats the ogre, drives him to a hospital and comes back for the woman, Danae (Anastasia Rafaella Konidi).

He intends to bring her to the city for counselling and medical care (she has a strange skin disease). But Danae refuses to leave – she owes it to the trees, earth and sky to keep the hearth burning. Instead she gives him strange potions that make him sleep for days, or possible months. And whenever he tries to leave the forest the trees seem to lead him back to the cabin. Who is this strange woman? What does she want? How old is she? What is she hiding behind her locked door? And is he her lover…orher victim?

Entwined is a contemporary take on classic fairytales, with a bit of mythology thrown in. Though somewhat predictable, it’s pretty to watch, well-acted and… well, I like fairytales.

Parasite

Wri/Dir: Bong Joon-ho

Ki-woo (Choi Woo-shik) lives with his family in a desolate basement apartment in Seoul. They’re destitute but clever; Ki-woo earns money writing exams for rich but stupid college applicants. So when Min offers him his parttime job tutoring a highschool girl, he smells bucks. Big Bucks. She lives in a beautiful home built by a famous architect, along with her bratty little brother, vapid mother and absentee Dad, a CEO. Through some skillful manoeuvring Ki-woo manages to find jobs for his sister, father and mother in the same house, as, respectively, art therapist, chauffeur and housekeeper without ever letting on they are all related. Only the youngest notices they “all have the same smell”. They’re the sort of people who take the subway, explains the father. They all have a disgusting smell that never comes off…

Now that they all have well-paid employment they can turn their lives around, and leave their apartment. Until… something awful happens which sends their lives spinning in a new direction. [No Spoilers: this movie depends on its surprises].

Parasite starts as a knock off of last year’s Shoplifters, about a poor family making do. But once they’re in the rich house, the plot spirals outward in ever-more shocking, funny, and impossible directions, until it becomes a bizarre fantasy.

Brilliant.

Parasite won the Palme d’Or at Cannes.

37 Seconds

Wri/Dir: Hikari

Yuma (Kayama Mei) is a woman in her twenties who lives with her single mom (Misuzu Kanno). She was born with Cerebral Palsy, and depends on her mother for basic functions, including bathing, dressing herself and getting around in her electric wheelchair. Though she can’t walk, she’s a gifted manga artist who works for an instagram star named Sayaka. Sayaka passes Mayu’s work as her own, and pretends she doesn’t know her at book signings. But when Maya tries to publish work under her own name, she gets snubbed.The only publisher who will consider her work is a comic book porn publisher. But when they meet, Maya is told the sex scenes just aren’t real enough. Come back after you get some sexual experience. Now Mayu has a goal, which opens a new world to her, and uncovers some secrets from her past. But can she get what she wants under the ever-watchful eye of her over-protective mother? And can an inexperienced and naïve disabled woman find independence and happiness?

37 Seconds (the title refers to the amount of time she was deprived of oxygen in childbirth) is a wonderful and warm, feel-good movie. It’s a bittersweet coming-of-age story about a disabled woman in a big city, as she encounters aspects of adult life – including sex work, porn and sex toys – she knows nothing about. No spoilers, but the story also takes her on an unexpected journey, unrelated to the other plot line.

First-time actor Kayama Mei is both touching and adorable as Yuma, and breaks new boundaries as a disabled actress. 37 Seconds is an unexpected treat.

Love Me Tender

Wri/Dir: Klaudia Reynicke

Somewhere in Italian-speaking Switzerland. Seconda (Barbara Giordano) is an adult woman who lives with her parents in an apartment overlooking a courtyard. She likes to dance in a green leotard and stare at passersby outside her window. Life is uneventful until two things happen: her mother suddenly dies and her father disappears leaving just a post-it note on the fridge. At first she feels free to do what she wants and eat what she wants. She throws her meds out the window. But she finds she also has adult responsibilities: feeding the cat and the fish, — at which she fails miserably – keeping the house in order and, most important, feeding herself.

And she encounters a rude debt collector who leaves threatening voicemail messages, and a hapless young man Santo (Antonio Bannò) who collects deposit bottles. But when she runs out of food, she realizes she has to go shopping. Problem is, she’s never been outside her home – she has acute agoraphobia. But rather than starve to death, she dresses in protective blue armour – a zippered jumpsuit – and ventures into the outside world for the first time.

Love me Tender is a fantastical comedy abut an unusual woman living with mental illness. Klaudia Reynicke’s style feels a bit like Yorgos Lanthimos’ early films, with the simplistic tone and the childlike behaviour of adult characters… but she does it in a manner all her own. And Barbara Giordano is just so good, imaginative and full-body-expressive as Seconda… she totally owns the role.

Entwined, Parasite, 37 Seconds and Love Me Tender are all playing at TIFF. Go to tiff.net for details.

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

First loves. Films reviewed: Yesterday, Genesis

Posted in Canada, comedy, Coming of Age, Drama, Fantasy, LGBT, Music, Quebec, Romance, UK by CulturalMining.com on June 28, 2019

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

This week I’m looking at two movies – a fantasy musical and a coming-of-age drama. There are three adolescents in Quebec wondering where their loves will go; and one man in England wondering where She Loves You, Yeah, Yeah, Yeah went.

Yesterday

Dir: Danny Boyle

Jack Malik (Himesh Patel) is a singer songwriter trying to make a career in a tiny seaside town near Suffolk, England. His diehard manager Ellie (Lily James), whom he’s known since his school days is always on the lookout for new gigs. He left his teaching job to make it big, but he can count his fan base on his fingers. He just never gets a break. In fact he’s ready to pack it in when something unusual happens: a massive, worldwide electrical meltdown.

When it’s over, everything seems slightly different in unfamothable ways. The biggest of all is he discovers “The Beatles” never existed:  none of their songs were ever written or recorded. Jack is the only one who remembers their words and lyrics.

He makes no secret that these songs are famous and he didn’t write them, but since he’s the only one who knows them, it’s up to him to correct that imbalance. He sets out writing down everything he can remember, sticking them to his wall using post-it notes. And when Ellie lands him a spot on a local TV show, his song goes viral. He is approached by ginger-haired pop sensation Ed Sheeran (Ed Sheeran) who signs him up as his opening act. Soon Jack is headed for international fame, fortune and glory. A bitter manager takes over his account when Ellie retreats to her school teaching job, and the money starts pouring in. But is this what he really wants? And will he ever get the nerve to tell Ellie… what he really wants?

Yesterday is an enjoyable movie with an appealing, though largely unknown cast. Patel (from the UK soap Eastenders) actually sings his songs, and the supporting roles – like his foot-in-mouth assistant Rocky (Joel Fry) – are fun. The thing is, Yesterday seems like a typical netflix-type movie, the plot as an excuse to bolster a single flimsy “what if” premise (what if only one man remembered the Beatles?). The story just plays out. And Kate McKinnon is painfully miscast as the greedy LA manager: she treats a quasi-realistic movie like a Saturday Night Live skit, spoiling the tone of every scene she appears in. Even so, while Yesterday is overly simplistic, it’s still cute.

Genesis (Genèse)

Wri/Dir: Philippe Lesage (The Demons)

Guillaume (Théodore Pellerin) is a 16 year old at an all boys school in Montreal. He’s known for his sharp tongue and witty remarks. He’s the clear class leader, as likely to challenge an unfair teacher as he is to burst into old Québécois camp songs. He serves as a mentor to younger kids and a friend to all. But his status, reputation and friendship are all threatened when he drunkenly kisses his best friend, Nicholas, after a school party.

His older sister Charlotte (Noée Abita) is 18 and deeply in love. She’s dating Maxime, a smart kid from a well-to-do family. But all her feelings are shattered when he suggests they (meaning he) have sexual flings with other people. What the hell? She takes his words at face value and soon picks up Theo, a much older guy she meets at a dance club. She begins to realize she’s attractive and desirable – the world is her oyster, she can have whoever she chooses. But what should her limits be and what does she really want?

Felix (Edouard Tremblay-Grenier) is a kid with braces at a boys’ summer camp. They’re located just across from the girls camp, and the two sides get together for bonfires and music. He really likes a particular girl, Beatrice, but he doesn’t know how to approach her. So he asks his counsellor for advice. Is this true live or just a crush? And will Felix have a chance to spend time with her before they all go home?

Genèse is a beautiful, tender, realistic and funny coming-of-age story about three sets of teenagers at different stages of their lives. It delves into the meaning of first love at 13, 16 and 18… and the very-real dangers it might bring. The first two stories – involving brother and sister Guillaume and Charlotte – are told simultaneously, while the third, seemingly unrelated chapter is told seperately at the end of the film. (But they are all connected.)

The acting is superb and passionate, the music and images inviting. This is a great movie.

Yesterday opens today in Toronto; check your local listings. And Genesis is playing next week, July 5-7, in Toronto at the Royal Cinema as part of the Quebec on Screen series. (It’s also a chance to see Une Colonie, another Quebec film I reviewed here.)

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

Light on their feet. Dykes in the Street, We are the Radical Monarchs, Gordon Lightfoot: If You Could Read My Mind, Diamantino

Posted in 1950s, 1960s, 1970s, 1980s, documentary, Fantasy, Feminism, Folk, LGBT, Movies, Music, Portugal, Protest, Refugees, Sports, Toronto, Women by CulturalMining.com on May 24, 2019

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

Spring festival season continues in Toronto with Inside Out LGBT Film Festival. It premiers queer movies and docs from around the world. This week I’m talking about films at InsideOut and some general releases.There’s a musician who’s a light foot, a soccer player who is light on his feet, and some women marching in solidarity, boots on the ground.

Inside Out LGBT Film Festival

Inside Out opened last night and runs for the next 10 days. It features some major releases, like the Elton John Biopic Rocketman, Mindy Kaling’s Late Night, and the latest chapters in Armistead Maupin’s amazing serial Tales of the City.

I’m not allowed to talk about any of those films yet, but let me tell you about a couple of great new docs on radical lesbians.

Dykes in the Street

Dir: Almerinda Travassos

…looks at the evolution of the dyke march in Toronto over the past 35 years. It started in 1981 with 300 women matching down Yonge and Bay streets organized by Lesbians Aganst the Right. This informative documentary combines talking heads with historical footage from the period. It talks to women who were there then and at subsequent marches ten, fifteen and thirty-five years later, as it becomes more inclusive and diverse.

Another radical lesbian documentary is shot in Oakland California:

We Are the Radical Monarchs

Dir: Linda Goldstein Knowlton

…tells about a new alternative to scouts and girl guides. Founded by Anayvette Martinez and Marilyn Hollinquest the Radical Monarchs go camping, learn fun songs and chants and earn badges. But they also wear berets reminiscent of the Black Panther Party, and learn about social justice activism and black and brown history in Oakland.  There’s even a Black Lives Matter badge! Adorable kids working for a good cause.

These are just a few of the dozens of great movies playing at InsideOut.

Diamantino

Wri/Dir: Gabriel Abrantes, Daniel Schmidt

Diamantino (Carloto Cotta) is a Portuguese soccer player at the top of his game. Like no other player, he can weave his way through a crowded field as if he’s all alone. His secret power? he sees other players as enormous fluffy pink dogs frolicking in the grass. That’s the source of his success. Diamantino is fit, popular and incredibly rich. He owns a mansion and a yacht. He’s also naïve, gullible and very stupid. Which makes him vulnerable to adversaries and villains alike.

When he first encouters refugees he is so upset he decides to adopt a teenaged boy from Africa who loves soccer. What he doesn’t realize is the “teenaged refugee” is actually the much older Aisha (Cleo Tavares) a gorgeous, lesbian secret agent. She is working undercover to find evidence of fraud and corruption in Diamantino’s many businesses.

Diamantino also has twin sisters, Sonia and Natasha (Anabela and Margarida Moreira), the real villains. They depend on their brother to finance their lavish lifestyle and don’t want to lose it… so they start spying on the spy. Something seems suspicious about that boy. Throw in some right-wing nationalists who want Diamantino to endorse their cause, and an evil scientist named Dr Lamborghini (Carla Maciel) – who drives a Lamborghini! –  and you can see all the obstacles our hero has to face. Can Diamantino survive a cruel world and remain a soccer great?

Diamantino is a bizarre and fantastical comedy, an explosion of pastel eye-candy across the screen. It’s told in an exaggerated storybook style, but deals with important issues. I can’t keep calling every movie “like nothing you’ve ever seen” but it’s safe to say this one really is.

I liked this one a lot.

Gordon Lightfoot: If You Could Read My Mind

Wri/Dir: Martha Kehoe, Joan Tosoni

Like many Canadians I’ve heard of Gordon Lightfoot and vaguely familiar with some of his songs. But before watching this documentary I knew little about his life. Originally from Orillia Ontario, he worked his way through the folk scene in Toronto’s Yorkville and NY City’s Greenwich Village. He studied music in LA and learned to compose and arrange at an early stage, and began writing his poetic lyrics even earlier. His widely covered songs range from traditional folk melodies, to country and western, pop, rock and even the long neglected ballad genre. (The Wreck of the Edmund Fitzgerald – a six-and-a-half minute retelling of a shipwreck the year before, became an unexpected smash hit in the 1970s.)

This movie fills in a lot of gaps about his music, his career, personal problems (like alcoholism) and the meaning behind many of his lyrics. It shows him composing, recording and performing his hits, giving an inside perspective rarely seen. My only criticism is it didn’t need the overwrought ass-kissery, celebrity musicians gushing about how great Lightfoot is. (He knows it, and we know it – it feels like a eulogy, and he’s very much alive.) Luckily, that only takes up about 10-15 minutes. The rest of the documentary is outstanding, with unequalled visual and sound research. They found a recording of him singing in the church choir as a teenager, and footage of him chatting with Alex Trebec in the 1960s. There are countless family photos and films and period shots of Toronto streets meticulously covering sixty years. Just amazing. And all his best songs and performances spread out from beginning to end, getting better and better as it goes.

I went in expecting nothing, and was blown away by this great music doc.

Gordon Lightfoot and Diamantino both open today in Toronto at Hot Docs cinema and theTiff Bell Lightbox, respectively. Check your local listings. Dykes in the Street and We are the Radical Monarchs are two of many fine movies at Inside Out over the next 10 days.

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 Justin McConnell and Jack Foley about Lifechanger

Posted in Canada, Crime, Death, Drama, Fantasy, Horror, Thriller by CulturalMining.com on December 28, 2018

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

It’s Christmastime at a bar in Toronto.

Julia is a young woman sitting in her usual spot, trying to forget her own tragic history. She chats with the usual suspects – strange men trying to hit on her, and women looking for a shoulder to cry on. But what she doesn’t realize is that most of the strangers she talks to each night… are all the same person.

Then there’s Drew. He suffers from a bizarre illness. The only way he can survive is to refresh his body by inhabiting a new one… until the body is worn out and he moves on to the next. Can Drew tell Julia the truth and convince her to accept his unusual lifestyle?

Or is that just too big a life change for either of them to accept?

Lifechanger is a new fantasy/horror movie that will keep you guessing till the end.

It’s written and directed by Justin McConnell (who I interviewed 5 years ago about his documentary Skull World.) Lifechanger has won multiple awards at international film festivals across North America and around the world. It co-stars Jack Foley as the romantic lead… who is also a man with a secret.

The film opens today in Toronto, Calgary and Ottawa.

I spoke with actor Jack Foley and writer/director Justin McConnell in studio at CIUT 89.5 FM.

Big Changes, Big Trouble. Films reviewed: Every Day, The Party, Annihilation

Posted in Army, comedy, Fantasy, High School, Horror, Movies, Politics, Romance, Science Fiction, UK, Y.A. by CulturalMining.com on February 23, 2018

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

Everybody knows change is good, but big changes can lead to big trouble. This week I’m looking at three good movies about women facing big changes. There’s a British politician with a once-in-a-lifetime career change; a biologist investigating changes that are scientifically impossible; and a high school student whose boyfriend changes bodies once a day.

Every Day

Dir: Michael Sucsy

Rhiannon (Angourie Rice) is a highschool student in Maryland. Her mom’s a careerist, while her dad, since his breakdown, stays at home painting pictures. Her boyfriend Justin (Justice Smith) is a popular athlete… and a bit of a jerk. So she is surprised when he agrees to play hooky and spend the day just with her. It’s the perfect date: They explore downtown Baltimore, he pays attention to her, stops smoking, they share intimate personal stories, find their special song, and for the first time, they actually have fun together. Is this true love? But the next day he’s acting like a douche again, with only vague memories of the day before. It’s like he’s a different person. What’s going on?

What’s going on is he was a different person that day, someone named “A”. “A” is a bodyless being who inhabits a different person each day and — like Cinderella — departs that body at exactly midnight. “A” has no choice of who they’ll wake up as, except that it will be someone their age who lives nearby. “A” could be a boy that day, or a girl, could be black, white or asian, could be straight, gay or trans. Could be ugly or attractive. Rhiannon and “A” have to find each other each day to carry on their relationship. Hint: “A” knowing Rhiannon’s phone number helps a lot. Can their love overcome “A”’s ever-shifting identity?

Every Day is a cool, young adult fantasy/romance that works. It’s set in Maryland, but was shot in Toronto, and it has a Degrassi feel to it, where the multiracial, multigender nature of the cast is omnipresent but not central to the plot. Instead it deals with questions of identity, look-ism, and mental illness.

I liked this movie.

The Party

Wri/Dir: Sally Potter

Janet (Kristin Scott Thomas) is a politician in the UK celebrating her promotion, the pinnacle of her career. Starting tomorrow, she’ll be the Shadow Minister of Health for the opposition Labour Party. So she’s throwing a party for her nearest and dearest. They arrive two- by two . There’s Martha (Cherry Jones) – a lesbian feminist university prof with her earnest partner Jinny.   Cynical April comes with her flaky boyfriend Gottfried (Patricia Clarkson and Bruno Ganz), a self-professed healer. And Tom — a nervous and brittle financier (Cillian Murphy) — comes without his wife Marianne, Janet’s closest friend and workmate. Janet’s husband the grey-bearded Bill (Timothy Spall) sits alone in the parlour spinning vinyl as she bakes her vol-au-vents, to show that a woman can feel at home both in Westminster and in her kitchen. Problem is, her hors d’oeuvres are burning even as her party is collapsing like a house of cards, as each guest reveals a big secret. There’s cocaine, champagne, a fire, broken glass, face slaps… even a handgun.

The Party is a drawing room comedy that pokes fun at the social conceits of a generation of middle-class, leftist baby boomers. It’s the work of Sally Potter, director of Orlando and Ginger and Rosa. Shot in black and white with a wicked musical soundtrack that shifts the mood from scene to scene, it clocks in at just over 70 minutes, as a short-but-sweet English comedy.

Annihilation

Dir: Alex Garland

Lena (Natalie Portman) is a biology prof at Johns Hopkins who specializes in mutating cancer cells. Her husband Kane (Oscar Isaac) – a soldier she met when she was in the army – is missing and presumed dead. But when he shows up at her bedroom door, seemingly with no memory of what happened and how he got there, she decides to investigate. She’s valuable to the military, a woman as comfortable with a petri dish as she is with a submachine gun. She joins a crack team of scientists, all women, headed by the laconic psychologist Dr Ventress (Jennifer Jason Leigh). Their goal is to explore unknown territory within a swampy National Park.

It’s encased in something called “the Shimmer”, a phenomenon eminating from a lighthouse on the coastline.  No one who goes into the Shimmer comes out alive (except for her husband Kane) and it’s getting bigger and bigger each day. From the outside it looks like a giant rainbow-coloured, plastic shower curtain that’s melting upwards. On the inside it’s even stranger, a world where distinctions like “animal/vegetable/mineral” cease to exist. It’s both beautiful and grotesque, filled with Chihuly crystals, human topiary and brightly-coloured tree fungi. Unrelated species are combining and mutating at a rapid rate, into a cancerous growth — just like the cells Lena studies, only prettier. And they’re affecting the five women too, both their minds and their bodies. Video messages they find (left by previous soldiers) only make things worse. Can Lena survive the hideous creatures and her deranged and suspicious teammates before she faces the scariest entity of all?

Annihilation is a terrifying exercise in horror sci-fi psychedelia. It references everything from Arrival, to The Wizard of Oz to Apocalypse Now, as the team paddles their way though a Heart of Darkness in their search for emerald city. Natalie Portman is great as the elegant soldier-scientist, and director Alex Garland brings us a different take on post-apocalyptic images. Annihilation is the kind of psychedelic fantasy that keeps you guessing.

This movie is scary-pretty… and pretty scary.

The Party comes to Toronto next week (check your local listings);  Every Day and Annihilation open today. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Holy or Hollow? Films reviewed: Black Hollow Cage, The Holy Girl

Posted in Argentina, Coming of Age, Family, Fantasy, Sex, Spain, Thriller, Time Travel by CulturalMining.com on February 16, 2018

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

After a slow period, February is busting out all over. After Valentine’s Day, films and documentaries are showing at Toronto’s Black Film Festval, Next Wave – with free movies if you’re under 25 — is on this weekend, you can catch a lion dance for Chinese New Year, or just spend time with significant others on  Family Day. So there’s tons of stuff going on out there.

This week I’m looking at movies about young women from Spain and Argentina. There’s a house in the woods with a girl in a cube, and a hotel in the mountains with a girl in a pool.

Black Hollow Cage

Wri/Dir: Sadrac González-Perellón

Alice (Lowena McDonell) is a young teenager with brown hair and huge limpid eyes. She lives with her parents in an isolated, minimalist house, built of glass wood and steel. Her father Adam (Julian Nicholson) takes care of her, while her mother Beatrice is always by her side to offer advice. Sounds like a nice, simple life… but it’s not. Her mother is dead; Beatrice is actually a fluffy white husky with a device strapped to her collar that speaks in her mother’s voice. Alice lost an arm in the same accident that killed her mother. She’s been fitted with a prosthetic arm that looks like it was taken off a star wars storm trooper: shiny, bulky and white. Alice hates the arm and the exercises the physiotherapist tells her to do. One day, Alice is walking Beatrice in the woods near her home and comes across a large, matte-black box, just sitting there. What is it and where does it come from? When she approaches it it opens, revealing a handwritten note – they are not to be trusted. The note is in her own handwriting. Spooky! And a murderous ninja dressed in black is stalking the halls of her house.

Later her dad brings home Erika and Paul (Haydée Lysander and Marc Puiggener), a teenaged sister and brother in trouble. Paul is mute, but Erika talks for the two of them. They were badly beaten so Adam lets them spend the night. Can they be trusted? A voice tells Alice to kill them, but she hesitates. Can she kill innocent children in cold blood? But when she hesitates others end up dead.

How can she fix her errors? She finds that by climbing into the black cube she can emerge and revisit her day to set things straight. But by setting in motion parallel universes she risks upsetting everything and possibly killing her father, beatrice and maybe even herself.

Black Hollow Cage is an extremely strange movie based on a fascinating concept. Some of the strangers things become clear later on, but most of it is left unexplained. So you’re never sure if Alice is insane, whether time travel is actually possible, and who is actually good or bad. It’s one of these movies with strange concepts and beautiful minimalist settings but totally devoid of real life. I couldn’t make heads or tails of this confusing picture. It surprised and shocked me… but didn’t move me.

The Holy Girl (2004)

Dir: Lucrecia Martel

Helena (Mercedes Moran) is a beautiful divorcee who lives in a remote resort in Argentina. It’s a grand hotel, the same one she grew up in with her brother, but is gradually inching from splendid to seedy. The whole hotel is preparing for an influx of Ear-Nose-and-Throat doctors in town for a convention. Under the eagle-eyed manager Mirta,The masseuse is put to work chopping chickens in the kitchen and a nervous maid rushes from room to room spraying disenfectant on everything. Helena herself was once known for her high diving skills but now just dog-paddles in the hot pool worrying about tinnitus. When Helena encounters Dr Jano (Carlos Belloso) who remembers her in her glory days, he invites her to grace the stage at the closing night presentation at the convention. The convention organizer wants to end things with a bang.

Meanwhile her daughter Amalia (María Alché) attends church classes and is on a mission to serve God by saving men. She’s into memorizing catechisms and religious tracts and is looking for a sign. But most lessons are spent listening to her best friend Josefina (Julieta Zylberberg) whispering lascivious comments in her ear. She’s looking for a sign – does a naked man falling out a second story window outside her class count? One day, when standing in a crowd listening to a Theramin player, Amalia feels a man pushing against her from behind. She turns around and sees a clean shaven middle aged man rushing away. Maybe this is her sign?

Dr Jano is married with children who join him at the hotel, even as both Helena and Amalia pursue him, but for different reasons. Whose secrets will be revealed?

The Holy Girl is a wonderfully, Byzantine drama told through the eyes of both a mother and a daughter and the dozens of other characters swarming around them. It functions both as a coming-of-age story of a religiously engaged but sexually curious teen, and the drama of a middle aged woman trying to juggle work, family, and personal rivalries with chance sexual encounters. This is a lush, detailed film with great acting. I had never seen Lucrecia Martel’s movies before (never heard of her, in fact) but now I want to see everything she’s done.

Black Hollow Cage opens today in Toronto; check your local listings. The Holy Girl is part of the retrospective Argentine Genius: The Films of Lucrecia Martel playng at TIFF Cinematheque Feb 23-27. Go to tiff.net for details.

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

Just for the lulz. Films reviewed: Adventures in Public School, Father Figures, Downsizing

Posted in comedy, Coming of Age, Family, Fantasy, High School, Road Movie by CulturalMining.com on December 22, 2017

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

There are lots of heavy-duty movies out now, with great actors, by famous directors about important issues. But what if you just want to have some fun for 90 minutes? Enough great movies — this week, just for the lulz, I’m looking at three comedies. There’s a homeschooled boy who meets a one-legged girl; a teeny-tiny man who meets a one-legged woman; and two adult brothers who just want to meet their dad.

Adventures in Public School

Dir: Kyle Rideout

It’s present-day Vancouver. Liam (Daniel Doheny) is a gawky, home-schooled teenager preparing to write his high school equivalency exams. Once he passes with flying colours he’s off to Cambridge to study astronomy. At least that’s what his over-protective mom thinks. Claire (Judy Greer) gave birth to Liam when she was still a highschool student, so she planned his life to avoid all the problems she faced as a teen.

But when he enters Claire’s old high school to write the test his world is turned upside down by a beautiful girl he passes in the hallway. Anastasia (Siobhan Williams) has blonde hair, an angelic face and a prosthetic leg. Who is this one-legged girl? He deliberately fails the test just so he can attend school and maybe meet her. He manages to join class midterm when he convinces the principal (Andrew McNee) — who has a crush on Claire — that he’ll take the place of a missing girl for two weeks. Now Liam is the new kid, known to everyone as “Maria Sanchez”.

He soon learns about friendship from the flamboyant Wes who shares his locker; bullying from BDC an Aussie competing for Anastasia; and unrequited love. Can he learn about love, sex, drugs and survival in just two weeks of school? And can he shake off his mom’s relentless interference?

Adventures in Public School is a cute Canadian coming of age comedy, but one that takes few risks. Doheny is appealing as Liam, and Greer funny as Claire, and the story is interesting enough, but the film is underwhelming as a whole. But there are enough twists and funny bits to make it worth a watch.

Father Figures

Dir: Lawrence Sher

Kyle and Peter are brothers. They’re also fraternal twins but couldn’t be more different. Peter (Ed Helms) is uptight angry and depressed. He’s a proctologist who hates his job. He’s divorced but has no luck meeting women because he lacks basic social skills. Kyle (Owen Wilson), on the other hand, is a hippy-dippy beach bum who lives in Hawaii. He’s also rich with a beautiful girlfriend. A chance photo of him ended up on a bottle of BBQ sauce, and he has lived off the royalties ever since. He explains his extraordinary luck as “the Universe” talking to him. The two were raised by their single mom Helen (Glenn Close). Their dad died of colon cancer when they were infants.

Peter and Kyle don’t get along but when they meet up again at their mother’s house they discover a secret: their dad didn’t die – in fact he’s still alive. The two of them jump into a car to try to find him. They son discover their mom slept with a huge number of men in the mid-1970s. which one is their real dad? And will they tear each other apart before they meet him?

Father Figures is a simple buddy/road movie – two guys who don’t get along but share a single goal. It has a very barebones plot, with a sentimental ending. Ed Helms is good as the uptight Peter but Owen Wilson is barely trying. It’s the “father figures” who are funny, especially JK Simmonds as a miscreant Repo Man. Again, this is not a great movie, but it’s funny enough.

Downsizing

Dir: Alexander Payne

It’s some point in the future. Paul Safranek (Matt Damon) is a non-descript but happily-married man who works as a job counsellor for a large corporation. Life’s OK, bit something is missing. Then he hears about a new scientific discvery out of Norway that addresses climate change without affecting your lifestyle. They’ve discovered how to shrink you down to the size of your finger, and developed tiny gated communities where you can live a normal life. Since you’re so small, you leave no carbon footprint and everything is cheap – middle class people with savings from the big world can live like kings in the small world. Food, real estate, travel – all affordable. One catch: the process is irreversible. And when Paul awakens he discovers his wife has changed her mind. And a bunch of his savings have disappeared. Now he’s all alone, works in a crap job and lives in a condo. He’s small and life sucks.

But when he meets a Eurotrash neighbour named Dusan (Christoph Waltz) things start to improve. He learns to let loose and live a little. And when he meets Ngoc Lan Tran (Hong Chau), a one-legged, Vietnamese cleaning woman, he begins to see how the other half lives. This tiny world has slums, refugees and undocumented migrants just like the big world. Can a normal guy find love and satsfaction in a strange new world?

Downsizing is a silly and goofy movie, but an interesting one anyway. Once they establish the big/small changes, the size thing disappears, and it turns into a light social satire with a middle class guy learning about poverty. Mart Damon plays that gormless white guy he does so well; Christoph Waltz – with sidekick Udo Kier – adds some life, and Hong Chau pours on a heavy Vietnamese accent but is still believable.

Father Figures and Downsizing open today in Toronto; check your local listings. Adventures in Public School starts in January as part of the Canada’s Top Ten movies series. Go to tiff.net for details.

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

 

Heavy Hitters. Films Reviewed: Wonder Wheel, Roman J Israel, Esq, The Shape of Water

Posted in African-Americans, Baltimore, Cold War, Drama, Fantasy, L.A., Movies, Women by CulturalMining.com on December 8, 2017

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

It’s December now, and that’s when the movie awards start to pile up. This week I’m looking at some of the hard-hitters — movies with famous directors or stars — that might be up for a prize. There’s a kitchen sink drama in Coney Island, a legal drama in LA, and a romantic drama in a secret Baltimore laboratory.

Wonder Wheel

Wri/Dir: Woody Allen

It’s the 1950s in Coney Island. Humpty and Ginny are a middle aged couple living in a rundown apartment overlooking the ferris wheel. Humpty (Jim Belushi) is an angry drunk, currently on the wagon, who manages the carousel. Ginny (Kate Winslet) is a former actress who is a waitress at the clam shack… or as she puts it, she’s playing the part of “Waitress” in an on-going drama. She has a little kid from her first marriage, Richie, who is a petty thief and an aspiring arsonist, lighting fires wherever he can. Life in this dysfunctional family is far from perfect but at least it’s stable. That is until two things turn their lives upside down.

First Humpty’s estranged daughter Carolina (Juno Temple) shows up out of nowhere. They haven’t spoken for five years, not since she married a racketeer. Now she’s on the lam, a marked woman since she turned canary and sang about the mob to the cops. She moves into their crowded home, working with Ginny at the Clam House. The second thing that happens is Ginny meets Mickey (Justin Timberlake), a lifeguard on the beach. He’s a grad student at NYU and loves the idea of dating a dramatic older woman. Soon they are secretly meeting under the boardwalk for afternoon delights. But then Mickey meets Carolina and everything starts to unravel.

After watching Wonder Wheel, I kept wondering: did I just see a great movie or a terrible one? It’s certainly very different from Woody Allen’s European comedies. It feels more like a stage play, with characters reciting the lines of a script, from Mickey the lifeguard who narrates by speaking directly to the camera, to Ginny who says things like: “I’m consumed with jealousy!” I think that’s intentional.  But I’m not so sure most of the characters wanted to speak exactly like Woody, down to his stammer and pauses. Still, the look of the movie – from the period costumes to the lurid colours of neon lights, and the unexpectedly jarring camerawork – is stunning and surprising. Does this mean Woody Allen is still experimenting?

So is Wonder Wheel a good movie or not? Hmmm… I guess so.

Roman J Israel, Esq.

Wri/Dir: Dan Gilroy

Roman (Denzel Washington) is a defense lawyer in present day LA. He’s a partner in a small law firm – he minds the office while his partner goes to court. He’s an old-fashioned guy. He wears big round glasses and ill-fitting clothes. He rides the bus to an office full of foolscap and post-it notes. He works under the watchful gaze of pictures of Angela Davis and Bayard Rustin. He sacrificed marriage, a social life and material possessions, in exchange for devoting his life to civil rights and equality under the law. That is until his law partner of 30 years has a heart attack. Suddenly Roman finds himself jobless, friendless and nearly homeless.

A slick corporate colleague of his boss named George (Colin Farrell) offers him a low-level job at his firm. He refuses. But when he can’t find paying work, is mocked at a meeting of young activists, and is attacked by a mugger on the way home, he is faced with a tough decision: stay true to his ideals or sell out and enjoy the profits? Only Maya (Carmen Ejogo) – a woman he meets at an NGO – still believes in him. He ends up making an ethically dubious decision, and has to deal with the consequences.

Roman J Israel, Esq. is billed as a thriller – and there are a few tense moments – but it’s basically a character study of a man forced to re-examine his values in a changing world. Denzel Washington is great as Roman – he really gets into the part, portraying him as an oddball but a sympathetic and believable one. The story is very simple, but it’s the details surrounding this fascinating character that keeps you interested.

The Shape of Water

Dir: Guillermo del Toro

It’s Baltimore in 1962. Elisa Esposito (Sally Hawkins) is an elegant cleaning woman at a top secret government lab. She loves hard boiled eggs and bathtubs and lives above a movie theatre. She is mute, but communicates with her two friends using sign language. There’s Zelda (Octavia Spence) a talkative woman who translates and covers for her at work; and Giles (Richard Jenkins) a lonely illustrator in his 60s who lives with his cats in the apartment next door.

Elisa lives a routine life, until something strange shows up in a glass tank! Like The Creature from the Black Lagoon, he’s part human, part fish. Elisa is scared but intrigued. She offers him hard boiled eggs which he scarfs down. Gradually she teaches him to communicate through sign language, and exposes him to music, art and human emotions. Could this be love? If only life were so simple. The creature arrived with Strickland (Michael Shannon) the agent in charge of the project. He’s a racist misogynist who takes sadistic pleasure in torturing the creature with a cattle prod. He plans to kill him and take him apart to study. And lurking in the shadows at the lab is a soviet spy who observes everything – including Elisa communicating with the creature. Can their love survive?

The Shape of Water is an amazing movie, modelled on classic Hollywood films. I’ve seen it twice now, and it didn’t drag for a moment. It’s funny, romantic, surprising, violent, and exciting. The music, the art direction, the singing and dancing, the dream sequences, the surreal sex scenes, the Cold War/cloak-and-dagger feel…. this movie has just about everything. Sally Hawkins is an unusual romantic lead, but she’s perfect as Elisa. Shannon is a hateable — but understandable — villain. Spence and Jenkins as, respectively, her comic and melancholy sidekick, are both spot on.

This is a wonderful movie: I recommend it.

Roman J. Israel, Esquire is now playing. Wonder Wheel and The Shape of Water open today in Toronto; check your local listings.

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

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