Wedding or Wetting? Films reviewed: Fiddler: A Miracles of Miracles, Aquarela, Ready or Not

Posted in documentary, Horror, Movies, Musical, Russia, Thriller, Ukraine, violence by CulturalMining.com on August 23, 2019

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

There’s a great movie series on right now at the TIFF Bell Lightbox, highlighting a rarely screened cohort, one I’ve been covering for the past decade: contemporary Arab Women Filmmakers. It features movies from places like Lebanon, Algeria, Palestine and Tunisia, and cover a wide range of genres from avant garde to docs to dramas. Well worth seeing.

This week I’m looking at three movies, two docs and a comic thriller horror. – there’s a milkman worried about his daughters’ wedding; a bride whose inlaws want her dead after her wedding; and melting glaciers, waterfalls and hurricanes wetting everybody.

Fiddler: A Miracles of Miracles

Dir: Max Lewkowicz

In 1964, a new musical about a Jewish milk man in Czarist Russia, opened on Broadway to little fanfare. With songs by Jerry Bockand Sheldon Harnick and book by Joseph Stein it was based on Sholem Aleichem’s stories about Tevye and his Five Daughters and their neighbours in a shtetl. It was a risky venture with little hope if a widespread audience. Little did they know that Fiddler on the Roof would become one of the most popular musicals ever staged, with productions staged somewhere in the world until today.

This is a deep dive documentary that delves into everything there is to know about Fiddler on the Roof: is it a feminist fable? Jewish nostalgia? Is it about the American dream? The immigrant experience? And lots of esoteric news. Did you know the title came not from Sholem Aleichem stories but from a painting by Marc Chagal? That it’s wildly popular in Japan for its Japeneseness? Or that Zero Mostel (the original Tevye) was in a feud with director Jerome Robbin notorious for his perfectionism and slave driving style, but Mostel hated Robbins for a different reason. They were both called before the House Unamerican Activities Committee (the Macarthy hearings). Mostel stood up to them and refused to cooperate – and was blacklisted for years because of it. Robbins named names – gave them a list of suspected communists – not because of the Red Scare but because of the Lavender purge: he worried they’d reveal he’s gay.

Fiddler: A Miracle of Miracles is a fascinating documentary, full of interviews and stage footage and photos from the various productions over the past half century. It even plays songs you’ve probably never heard – they were cut from early versions. If you’re a theatre buff, this one’s a must see.

Aquarela

Dir: Viktor Kossakovsky

It’s Lake Baikal in Siberia. For some reason a team of men are digging holes into the frozen crust. Why? Because the usually solid ice melted early and cars crossing the lake are being swallowed up. The rescue team is there to save unsuspecting drivers. Then Boom! You’re on a sailboat navigating between drifting icebergs. And then you’re in the middle of a hurricane destroying an American city. Aquarela is a meditative collage of images of ice and water, turning on a dime to new locations across the globe. No explanations are given, no voiceovers no talking heads here, just a series of images tell their own stories, some slow and contemplative, others violent and arresting, as nature takes its toll. While not explicitly about climate change, when you see and hear glaciers calving mammoth icebergs which bob in the ocean like dinosaurs, you can’t help think about the meltdowns happening right now from greenland to Tuktoyaktuk.

Aquarela is shot at high speed ninety six frames per second, giving the doc an intense visual effect. It starts extremely slow, but this unusual documentary gradually switches to faster and faster images in a visual symphony. It may be a little slow and hard to comprehend, but it’s more than a week since I saw it, and it’s images are still haunting my dreams.

Ready or Not

Dir: Matt Bettinelli-Olpin, Tyler Gillett

Grace (Samara Weaving) is a young woman raised by foster parents and who has never had a family to call her own. So when she meets Alex Le Domas (Mark O’Brian) she wants to be a part of his family in every way. It doesn’t hurt that they’re filthy rich. So after an 18-month bone-a-thon, they decide to get married. And all of Alex’s eccentric family are there: big brother Daniel (Adam Brody) his dad and mom (Henry Czerny, Andie MacDowell), various coke-snorting siblings and inlaws, and even his hate-filled Aunt Helene (Nicky Guadagni)

The Le Domas family made their vast fortune from playing cards, board games, and pro sports teams. They love games. So it’s no surprise that family tradition says a new bride or groom has to play a game on their wedding night. The big surprise? The rules to the game – its hide-and-seek – say she hides and the rest of the family has until dawn to find her and kill her. Why is thefamily doing this to her? Will her husband protect her? And can she ever escape from this nightmare?

Ready or not is a horror thriller with darkly comic undertones. It’s full of satirical jabs at a truly evil family of one percenters, while still being interesting enough to care when characters kill or are killed. Aussie actor Samara Weaving is terrific as the strong female lead – a Buffy the Vampure skater without special powers – , who has to transform herself from blushing bride to road warrior in a manner of minutes. It’s shot in and around a mansion in Ottawa as she t makes her way out of windows and down hidden passages. Warning: this movie is quite violent and gory, but it’s light tone keeps you watching. I liked this movie.

Fiddler: A Miracles of Miracles opens today at the Rogers Hot Docs Cinema, with Aquarela playing at the TIFF Bell Lightbox; Ready or Not is playing now 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.

Bustin loose. Films reviewed: Ma, Rocketman PLUS ReelAbilities Film Festival

Posted in 1950s, 1960s, 1970s, 1980s, Disabilities, drugs, High School, Horror, Music, Musical, Psychological Thriller, Thriller, UK by CulturalMining.com on May 31, 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 and Reelabilities playing through Sunday. ReelAbilities is a film festival showing shorts and features (along with panel discussions) dealing with disabilities. They are made by actors and filmmakers with disabilities, and the characters or topics of the films touch on issues relevant to people with a wide range of abilities. This includes physical disabilities, deafness, and many others areas, ranging from Tourette’s to one of the most segregated and discriminated groups: people with intellectual disabilities. And the festival itself is designed and planned to make the movies accessible to all viewers, with subtitles on the screen and locations fully accessible to people who use wheelchairs.

This week I’m looking at two new movies, a musical and a thriller/horror. There’s a man who turns to music to overcome his stodgy and repressive upbringing; and some teenagers who turn to a surrogate mom to escape their restrictive parents.

Ma

Dir: Tate Taylor

It’s winter in small town America. Maggie (Diana Silvers) is a 16-year- old girl from San Diego starting at a new school. She just moved there so her single mom Erica (Juliette Lewis) could start a job as a cocktail waitress in a nearby casino. Luckily she quickly makes friends with the popular kids at school, a clique that includes the take-charge girl Haley (McKaley Miller), and their designated driver Andy (Corey Fogelmanis). A typical Saturday night consists of convincing a random adult to buy them alcohol, and then getting drunk at an abandoned rock pile on the outskirts of town. (Lots of fun.)

But things take a turn for the better when they meet Sue Ann (Octavia Spencer), a middle-aged assistant at a veterinary hospital. She says they can use her basement as their party headquarters, a place to listen to music, dance and get drunk. Word spreads quickly until every kid in town knows that’s the place where they can par-tay without grownup supervision — except Sue Ann, of course, whom they all call “Ma”. It’s a kids’ paradise. Or is it?

Maggie feels something is not quite right.

What they don’t realize is that all of their parents, even Maggie’s mom, went to high school together back in the 80s. Sue Ann went there too, something bad happened, and she wants payback. Is Sue Ann just lonely and enjoys reliving her teenaged years with local kids? Or is there something more sinister going on? And will the sins of the parents fall on their children?

Ma is a pretty good psychological thriller / teen horror movie. The casting is good, not just the main roles but even the small parts, like Allison Janney as the foul-mouthed animal doctor, Dominic Burgess as a flamboyant casino manager, and Luke Evans as Ben, a dickish security exec. But the story is a bit muddy, with the point of view shifting from Sue Ann, to Maggie to Erica. It’s not a spoiler to say this is a thriller/horror, so you know something bad is going to happen, but most of the movie is suspense leading up to the violence rather than the violence itself. Is it scary? More creepy than scary. Is it gory? A little, toward the end. And the story seems a bit lopsided, almost as unbalanced as Sue Ann herself.

While Ma is not perfect, I did enjoy watching it.

Rocketman

Dir: Dexter Fletcher

It’s England in the 1950s. Little Reggie Dwight (Matthew Illesley) lives with his standoffish RAF dad, his self-centred mum and his kindly grandmother. He’s an ordinary kid until the day his fingers touch the keys of a piano, and suddenly everything changes. He discovers he can play perfectly, by ear, any song he hears on the radio. He enrolls in the Royal Academy of Music and starts on the path to be a professional musician.

Later, in his twenties, he works as a backup musician for a touring American soul band. He learns about rock and roll and gets his first kiss… from a guy! And he learns to reinvent himself. Reginald Dwight becomes Elton John (Taron Egerton), and the pudgy, shy boy gradually becomes the flamboyant pop star. Together with his writing partner and platonic best friend Bernie Taupin (Jamie Bell) they head to London and then on to Los Angeles.

There he meets the handsome manager John Reid (Richard Madden), who takes Elton under his wing, promising incredible fame, fortune and success. But is it true love? Soon Elton John rises to the top, becoming the world’s biggest pop star playing to stadium-sized audiences… even as his personal life spirals into a decadent morass of depraved sex, drugs, alcoholism. Will Elton ever find peace with his parents, overcome his self doubt, come out publicly as gay, and find true love?

Rocketman is a biopic about Elton John from his life a a child until a low point midway through his career at a drug rehab centre. It’s also a musical. By musical, I mean an actual, old-school musical, one where the characters at any moment might burst into song accompanied by elaborately choreographed dance numbers. The dance scenes include everything, from 50s rock’n’roll dance routines, to abstract modern dance in a swimming pool, to writhing bodies at a 70s sex orgy.

The songs they sing tell Elton’s life by singing his (and Bernie Taupin’s) actual hit songs, rearranged chronologically to fit the storyline. I’m not a fan, to say the least, of most music biopics, and had very low expectations for Rocketman, but I actually really liked it. It’s a beautifully produced, seamlessly directed and highly stylized movie that moves without pause from start to finish. It has outrageous costumes, and great music – with the actors doing their own singing. And they’re really good at it, especially Taron Egerton.

If you like Elton John’s music – and even if you don’t – you won’t be disappointed by Rocketman.

Rocketman (which opened Inside Out) and Ma both start today in Toronto; check your local listings. ReelAbilities and Inside Out are both on through Sunday.

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

Nannies. Films reviewed: Mary Poppins Returns, Roma

Posted in 1930s, 1970s, Family, Kids, Mexico, Musical, Protest, UK, Women 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 holiday season, between Christmas and New Year, a good time to catch up on all those movies you’ve been meaning to see. This week I’m looking at two new movies, a musical and a period drama, about nannies. There’s an ageless nanny in London with a magical touch, and a young nanny in Mexico City with a touch of sadness.

Mary Poppins Returns

Dir: Rob Marshall

It’s the 1930s in London, the time of The Great Slump. Michael Banks (Ben Whishaw) is a recently widowed father of three adorable kids – Anabel, John, and Georgie. They’ve lived in the house for generations, right beside an eccentric Admiral who fires cannons off his roof. Michael wants to be an artist, but works as a bank clerk to make ends meet. The kids struggle to act like grown-ups now that their mother is gone. And his sister Jane is doing her part as a social activist and union organizer. But an unexpected visit by two lawyers from the bank he works for throws the family into disarray. Turns out Michael defaulted on a loan and has until midnight Friday to pay it back or the entire family will be evicted from their own home.

What to do? Who can they turn to for help? Mary Poppins (Emily Blunt), of course!

Michael and Jane have almost forgotten that she saved the two of them when they were kids, and here she is back again, aged not a day. There is something magical about her, but only if you allow the impossible to happen.  The kids are much too mature to fall for her tricks… or are they? Soon they’re swimming in the ocean via their bathtub, and travelling to a music hall in an animated world inside a chipped bowl. They visit Topsy (Meryl Streep) a flibbertigibbetty repair woman who lives upside down, to fix the bowl.  They race through London piled up on a bicycle driven by Jack (Lin Manuel Miranda) who lights the city’s gas lamps. And they buy magic balloons from an old woman (Angela Landsbury) in the park. But can magic save their home before the bank’s evil Mr Wilkins (Colin Firth) takes it all away?

Mary Poppins Returns is exactly what the title promises: a continuation of the original story, one generation later. Jack was the chimney sweep’s son in the original, now he’s a lamplighter who narrates the story in song and dance. Michael and Jane are grownup versions of the original kids. The costumes – in bright yellows and fuscias with white boater hats – are pure Disney.The music, songs and dances, even the combination of flat cel animation with real people is just like it used to be. The score, the art direction, everything was a spot- on recreation of the original. The only differences are this Mary Poppins is decidedly sexier than the original, (Emily Blunt is amazing) and the cast isn’t lily white anymore. Lin Manuel Miranda is nicely endearing as Jack, though never having seen the hit broadway musical Hamilton I didn’t quite get the camera’s adulation of him.

I didn’t grow up with Mary Poppins, so I hold no deep sentimental attachment, but even so it scored high on my nostalgia meter, tugged at my heartstrings and made me feel warm inside. This is a wonderful G-rated musical and a genuine kids’ movie that also appeals to grown ups, a rarity these days.

Roma

Wri/Dir: Alfonso Cuaron

It’s 1970 in Mexico City. Cleo (Yalitza Aparicio) lives in a beautiful house with a grand staircase, and walls lined with bookshelves. There’s a narrow tiled passageway that serves as a garage, where a big dog runs around. And four cute kids — Toño, Paco, Pepe and Sofi — who happily play spaceman games. Cleo lives there but it’s not her house. The kids pet their dog while Cleo shovels the poop. She’s the nanny and also the maid, the one who gets blamed when there’s trouble. And there’s lots of trouble these days, with Señora Sofía (Marina de Tavira) the mom, trying to run the house with Papa on a long business trip to Quebec. She has help from the grandmother, Señora Teresa, but it’s a world without men, at least until Papa comes back.

Cleo is from a village and not yet used to city life. She spends her free time with the cook and her boyfriend Fermin (Jorge Antonio Guerrero). Fermin is a Kendo fanatic – martial arts saved my life, he says – prone to bouts of kicking and punching the air in the nude following sex. But when Cleo tells him she’s pregnant with his child, he disappears without a trace. What will happen to her baby? Who will take care of the kids? And will the family’s father ever come home?

Roma is a slice-of-life look at Mexico City in the tumultuous early 70s. It follows Cleo, a poor indigenous girl who speaks Spanish as a second language, and Sofía’s upper middle class family, as they try to understand one another, even while they both face family crises. It’s a slow-moving drama with normal, mundane family problems alternating with episodes of violence, terror and natural disaster. Cleo is viewing gurgling babies in the maternity ward just as an earthquake hits. She travels with the family to a hacienda where family dog heads are mounted on a wall like hunting trophies and forest fires break out. A simple trip to a downtown furniture store coincides with a government attack on student protesters.

Watching Roma is an immersive experience, filled with sound and unexplained images appearing on the screen. It’s shot in exquisite black and white – Cuaron is the cinematographer, as well as writer and director. Long, low shots almost always from far away: looking longingly down long corridors, at figures in a field before a spacious mountain range, or watching Cleo and Fermin from behind as they watch a movie on a screen even further away.

This is a lovely rich movie but one that intentionally keeps the audience from getting too close to any of the characters. We’re observers, but the action is far away, through a window or behind a closed door. No close ups, reaction shots, or gushing movie score, even with Cleo. But the cumulative effect – the sounds, music, images characters and historical events based on Cuaron’s own childhood – gives it a powerful impact.

See it in a movie theatre while you still can.

Mary Poppins Returns is now playing in Toronto; check your local listings. And you can see Roma on Netflix or at the TIFF Bell Lightbox in Toronto.

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 Moze Mossanen about My Piece of the City

Posted in Canada, documentary, Housing, Movies, Musical, Poverty, Toronto by CulturalMining.com on November 17, 2017

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

Regent Park is a section of Cabbagetown in Toronto’s east end. After WWII, tenements were razed to the ground replaced with lowrise housing surrounded by grass parks. It was meant to lessen poverty and crime, but it didn’t quite work out that way. Now they are replacing it all with clean, market rent condos integrated with public housing. But what will become of the longtime residents of this unique piece of the city?

My Piece of the City is a new documentary that looks at Regent Park, then and now, in the form of a theatrical production performed there each summer. The Journey combines song, dance, spoken poetry and drama in a celebration of the neighbourhood, its history and the people who live there.

It is written and directed by award-winning Canadian filmmaker Moze Mossanen, known for performance-based documentaries like Nureyev, Roxanna, and The Rings of Saturn. His works play in cinemas and are broadcast across Canada and around the world.

My Piece of the City will have its world premier on November 18th, 2017 at the Regent Park Film Festival.

I spoke with Moze Mossanen in studio at CIUT 89.5 FM.

Christmas movies. Films reviewed: Julieta, Fences, La La Land

Posted in African-Americans, Drama, Hollywood, L.A., Musical, Spain by CulturalMining.com on December 23, 2016

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

It’s Christmas weekend with lots of movies to choose from. This week I’m talking about three excellent movies to see. There’s a woman in Madrid haunted by her past, a married man in Pittsburgh fighting off his demons, and a young couple in LA looking for love in a city of lost souls.

207c9f5a-c8b2-4684-84b8-e2ca620e5350Julieta

Dir: Pedro Almadovar

Julieta (Emma Suarez) is a middle aged woman who lives in Madrid. She is making a big change, leaving her longtime lover Lorenzo (Dario Grandinetti) and moving to Portugal after countless years of waiting. What is she waiting for? Word from her daughter Antia, who disappeared without a trace many years earlier. She’s all ready to go when she runs into her daughter’s childhood friend Beatriz on a street corner, who says she saw Antia in Lac Como. And so begins the telling of a mysterious story divided into three chapters.

As a young woman, Julieta (Adriana Ugarte) is a brilliant and beautiful prof. Her c1bbda5d-7ad7-43d0-8743-6fd52f0acf0dstudents all love her. But when she meets Xoan — a handsome and rugged fisherman — on a train, her life is turned upside down. A man is killed, a deer runs past the train, and she falls heavily for Xoan. Is it love at first sight? She visits Xoan (Daniel Grao) at his home by the water. But he’s not at home, just a suspicious and protective housekeeper (Rossy de Palma) who won’t let Julieta wait for him inside. Eventually they live as a couple and raise their daughter Antia together. Julieta meets Xoan’s friends, including the sultry 47c1af05-dbf2-4911-b667-2e6504d2be42sculptress Ava (Inma Cuesta),

But after a tragic turn of events, Julieta is back in Madrid, raising her daughter alone. She falls into a deep depression, and young Antia spends more and more time with her best friend Beatriz. Still later, Julieta retraces her steps, trying to explain why she lost her daughter so many years ago.

Julieta is a great drama, the product of an unexpected combination. It pairs Almadovar – known for his lush, passionate melodramas and over-the-top comedies — with Canadian author Alice Munro’s quirky, understated stories about women in small town Ontario. Does it work? Yes, yes, yes. With its small fishing boat on a lake, classrooms, caribou running past a train, along with jealousy and infidelity, it’s an intrinsically Canadian story… and yet perfectly Spanish. I really liked this movie.

14707023_1121134524668241_6064690716005417326_oFences

Dir: Denzel Washington

It’s the 1950s. Troy Maxton (Denzel Washington) works as a garbage man for the city of Pittsburgh. Each Friday, he comes home from work with the same things: a sack of potatoes, a piece of lard, a mickey of gin, and his pay envelope. The money goes to his wife Rose (Viola Davis) but he shares the gin with his best friend Bono. Troy met Bono in jail as a young man. It’s also, where he learned to play baseball, and where he met Rose a kindly visitor. He has two sons: Lyons who is a jazz musician (Troy calls it Chinese music) and Cory (Jovan Adepo) a high school athlete. His brother Gabriel – with a metal plate in his head — carries a trumpet to play for St Peter at the pearly gates. Troy, though, is more worried about the Devil.

Troy and Rose are deeply in love, Cory’s doing great in school, everything seems perfect… but it isn’t.. Troy wants to show he’s the man of the house, and everyone’s afraid of him. He tries to stop Cory from going to college on a football scholarship. (He once was a pro baseball player once but now he’s hauling rubbish.) Gabe has moved out, and best friend Bono says Troy is looking too closely at other woman. Can this family stay together? Or is it teetering on the brink of total collapse?

Fences is a small movie that feels more like a filmed play. Great dialogue — adapted from his own script by August Wilson – and basically one setting, with little action other than crossing the floor or sawing a board.  Flashbacks are talked about, not shown. But the grandness of the characters and the stories they tell does come through. Director Denzel Washington doesn’t hog the screen; instead he lets all the other actors bloom before the camera. Davis and Adepo are outstanding, in fact all of them are great. But this film is more stage-worthy than cinematic. Fences is a moving and revealing look at an African-American family in the 1950s.

LLL d 29 _5194.NEFLa La Land

Dir: Damien Chazelle

Mia and Sebastian are strangers in LA. Mia (Emma Stone) is an aspiring actress. She commutes to a major Hollywood studio each day, to work not as an actress but as a barista at a coffee chain. She lives with other actresses who enjoy the party scene but none of whom has made it big. Each audition Mia goes to is worse than the one before. But she’s hoping her one woman show wi’ll convince Hollywood she’s ready for stardom. Sebastian (Ryan Gosling) is a serious musician who composes grand jazz opuses on his grand piano. He’s a jazz purist who would rather die than perform with a fusion band. He pines for the old jazz joints, now rapidly turning into tapas bars. Ironically he ends up working in a rundown piano bar where his hard-ass boss (JK Simmons) makes him play Jingle Bells, over and over again.

Mia and Sebastian first meet in an LA traffic jam, and it’s hate at first site. Later, when he rescues her from a bad date, they hit it off. This leads to more meetings where together they explore the classic sites of old 16426304_660736417446295_5158240061357564169_nHollywood: like the planetarium from Rebel without a Cause.

Together, supporting one another, they think they can conquer the world. But will their success be what tears their relationship apart?

La La Land is a very good movie that’s also a musical. That means extras singing and dancing their hearts out on the LA freeway. Gosling and Stone use their real voices and legs, but they’re not Gene Kelly or Julie Andrews. They’re popular actors trying hard to sing and dance. It makes their performances real and touching, but not super fantastic. It combines fantasy, a complex plot, extended flashbacks, and touching moments of love, with beautifully shot images and catchy songs. It’s a tribute to a forgotten Hollywood by young people yearning for purer days. A very good movie.

Julieta starts today and Fences and Lala Land open on Christmas Day 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

Greek Myths and Fables. Films Reviewed: Boris sans Béatrice, Chi-Raq, The Lobster

Posted in African-Americans, Canada, Chicago, comedy, Cultural Mining, Fairytales, Greece, Movies, Musical, Quebec, Sex, violence by CulturalMining.com on March 18, 2016

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

Greek myths are not just kids’ stories; they’re full of sex, violence and magical transformations. This week I’m looking at plays, myths and fables from Ancient Greece interpreted by three great filmmakers. We’ve got two films — set in Chicago and Quebec – based on ancient Greek themes; and a futuristic fable by a modern Greek director.

nZlmp5_BSB-Coutroisie_K-Films_Amerique_-_1_o3_8976749_1456938988Boris sans Béatrice

Wri/Dir: Denis Côté

Boris Malinovsky (James Hyndman) is a self-made man. He owns a factory in Montreal, a beautiful country house, and his wife, Béatrice (Simone-Élise Girard) is an M.P. He’s tall, fit, rich and successful. He’s also self-centred, stubborn and arrogant. He can’t stand incompetence and lets everyone know it. Things are k5gjE6_BSB-Coutroisie_K-Films_Amerique_-_4_o3_8976802_1456938983going well until Beatrice climbs into her bed and succumbs to melancholia. (Sounds like a 19th century novel.) Now she’s catatonic and requires Klara (Isolda Dychauk) a ginger-haired young Russian woman, to take care of her 24/7. Boris loves Beatrice, but what can he do to help her?

GZAX4J_BSB-Coutroisie_K-Films_Amerique_-_5_o3_8976819_1456938986Enter a Deus Ex Machina: a mysterious man (Denis Lavant) dressed in gold brocade, who speaks an especially eloquent French. He arrives in an expensive black car, in a grassy field backlit by floodlights. He tells Boris that Beatrice’s illness is his fault. He must change his ways.

Boris changes his ways all right. He is sleeping with Helga, a work colleague (Dounia Sichov), and even flirts with young MjXKpm_BSB-Coutroisie_K-Films_Amerique_-_2_o3_8976767_1456938963Klara. Beatrice continues to decline, until the Prime Minister (Bruce Labruce) drops by to check up on his member if Parliament; and even his estranged, left-wing daughter – who lives with toga-clad young men – tries to help. Will Boris ever change? Or will he end up like Tantalus, the demigod permanently punished for his hubris? And are his worries real or imaginary?

Boris sans Beatrice is a satirical look at life in a Quebec – a multicultural place where ambitious people can get ahead, but where success is always precarious. The cast, especially Hyndman, Girard and Lavant, are all terrific. I like this movie.

Chi-Raq PosterChi-Raq

Dir: Spike Lee

It’s present day Chicago, a city wracked with gun violence that has killed more people than American soldiers killed in the Iraq War. There’s a real war going on between two gangs, the Trojans and the Spartans. Lysistrata (Teyonah Parris) lives with Chi-Raq (Nick Cannon) who wears the gang’s colours, while Irene (Jennifer Hudson) hangs with Cyclops (Wesley Snipes) their rivals. Fighting escalates until two things happen. An innocent schoolgirl is gunned down by a stray bullet and Lysistrata’s home is firebombed. Her neighbor, Miss Helen (the amazing Angela Bassett), grudgingly offers shelter and someChi-Raq sage advice. Stop all this killing. The plan is for all the women in both gangs, in fact all the women in Chicago — even the sex workers — to say no more sex until you lose the guns. Or as they say in the movie:

No Peace, No Pussy.

This becomes an all-out protest that grinds the city to a halt, with women occupying a military base. But can they teach the men to put down their guns, take responsibility and do the right thing?

Chi-RaqDoes this story sound familiar? It should. It’s based on 2,400-year-old drama by Aristophenes. And like the original, it’s spoken in rhyme (this time in rap or in song with elaborate dance numbers) And there’s an omniscient, anansi-like narrator (Samuel L Jackson). It’s also a bit antediluvian. Is a woman’s primary role to provide sex for their male partners? Really? This is 2016.  And the film could use an edit – it’s too long. Still, I quite liked Chi-Raq. A first-rate cast, with the spark of Spike Lee’s earlier films, missing for years.

IMG_0214.CR2The Lobster

Dir: Yorgos Lanthimos

It’s the future. Things are a lot like now except in this world two is good, one is bad. Loners – single people — are sent to an austere sanitorium where they have 45 days to couple up. Couples are given special privileges while singles are punished and humiliated. Anyone caught having “loner sex” must wear a chastity belt. And anyone still single 97e790bc-95e5-46c5-8fe1-2911423c562dafter 45 days is transformed into an animal and let loose in the nearby forest. But the forest is also filled with runaway loner, humans who have escaped.

The movie follows the latest batch of woebegone singles all frantically searching for their perfect mate. It’s speed-dating hell. And they’re all insecure. The women are bossy or shy, the men walk with a limp IMG_3703.CR2or talk with a lisp. And everyone behaves like 12-year-old wallflowers at their first school dance. David (Colin Farrell) is a typical desperate single – he goes so far as to pretend he’s an A-type sadist just to attract a certain woman.

Things go wrong, and later he finds himself in the woods (as a human, not a lobster). He meets another runaway, a nearsighted woman (Rachel Weisz). The laws in the forest, laid down by their leader (Lea Seydoux), are a topsy-turvy version of the IMG_2135.CR2mainstream: only singles allowed with couples are absolutely forbidden. But what happens if you fall in love?

Lobster is a terrific off-beat comedy. I’ve been following Yorgos Lanthimos since meeting him when his second film, Dogtooth played at TIFF. His films are all highly stylized and uncomfortable satires. Characters speak like they’re reciting lines in a school play, and dress in dated and awkward clothes and hair. I loved his Greek movies but wondered if they would work in English. Not to worry. The Lobster is weird and quirky but totally accessible. You don’t need training in avant garde film to appreciate it. I recommend this movie.

Boris sans Beatrice and Chi-Raq open today in Toronto, check your local listings; and The Lobster starts next Friday.

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

Eurasia. Movies reviewed: Mountains May Depart, Whiskey Tango Foxtrot, Sing Street

Posted in 1980s, Afghanistan, China, Ireland, Journalism, Musical, Romance, Science Fiction by CulturalMining.com on March 11, 2016

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

Europe and Asia, despite what some people think, are part of the same continent: Eurasia. This week I’m looking at movies set on the Eurasian landmass, from the far east to the extreme west. There’s a love triangle set in a rapidly westernizing China, a true story about expat journalists in Afghanistan, and a coming-of-age musical set in Ireland.

48V7xJ_MOUNTAINSMAYDEPART_03_o3_8667537_1438094807Mountains May Depart

Wri/Dir: Jia Zhangke

It’s 1999 and a mining town China prepares for the new millennium. Especially Tao (Zhao Tao) who is a pretty, young performer. She’s being courted by two men. Liangzi (Liang Jingdong) is a brash but nice guy, brimming with confidence. He works in the mine store. Equally confident, but self-centred and vengeful, is Zhang Jinsheng (Zhang Yi). He’s rich and Liangzi isn’t. She wants to be friends with both of them. But she has to choose, and she chooses the one with money over vgRA2n_MOUNTAINSMAYDEPART_04_o3_8667554_1438094737the one she loves.

They have one son they name Daole or “Dollar”, named after the US dollar, what Zhang desires most. Tao stays in the mining town, while her husband moves to the city to rule his burgeoning financial empire and satisfy his perverse obsession with guns. And their son, Dollar, is sent off to a private English-language boarding school in far-off Shanghai.

GZzj65_MOUNTAINSMAYDEPART_01_o3_8667519_1438094794The second part of the movie jumps to the near future. Dollar lives in Australia now and only speaks English. He has distant memories of his country and his mother and transfers his feelings onto a rootless, Chinese-Canadian teacher named Mia (Sylvia Chang).

The movie then reveals what has become of Liangzi, Jinsheng and Tao – the original three characters.

Jia Zhangke is one of the best filmmakers in China, and a personal favourite. He has a unique style and feel that exposes the flaws and idiosycracies of modern China. But always in a funny satirical or shocking way. What other Chinese director would start his movie with people dancing on a stage to the Village People? It looks like one of his first movies Platform (2000). That said, this isn’t his best work. The first half is a good classic Chinese melodrama, but the second half, with its prediction of China’s future, feels empty in comparison.

12803308_192044051164344_2982674369886159417_nWhiskey, Tango, Foxtrot

Dir: Glenn Ficarra, John Requa (based on Kim Barker’s memoirs)

It’s the early 2000s. Kim Baker (Tina Fey) is a network TV newswriter whose career is going nowhere fast. So she jumps at the chance to relocate to a place grabbing all the headlines: Kabul, Afghanistan. She says goodbye to her boyfriend and takes off. But as soon as she arrives she sees it’s not what she expected. She’s shocked by the unvarnished crudity of the other expats. But she also exalts in her new status. She has, at her disposal, a buff kiwi bodyguard, a smart Afghan translator, and a local fixer, to name just a few. A blonde Aussie reporter named Tanya (Margot Robbie) takes her under her wing.  She says, “In New York City you’re a 6 or a 7, but here you’re a borderline ten.” Tanya also tells her who to get to know, and who to avoid. And above all, to watch out for12362989_139342373101179_5125622253715911362_o the womanizing lush Iain (Martin Freeman: The Hobbit) a Scottish journalist.

Aside from drinkin’, dancin’, cussin’, and screwing around, she also has to file stories. She’s embedded with a Marine battalion, under the misogynistic General Hollanek (Billy-Bob Thornton.) But she manages to find some real news, even venturing out of the insular, foreign enclave in Kabul (or “Ka-bubble” as Tanya calls it). Will her new digs bring her fame and fortune? Or is it a bottomless pit that swallows journalists whole?

This movie is a fictionalized account of print journalist Kim Barker’s stint as an expat in Afghanistan and Pakistan. It’s an enjoyable movie and Tina Fey and company give a good sense of what it’s like to live there as a foreigner. What it doesn’t give is what it’s like to be an Afghan. There are some good scenes of an Afghan wedding, and she has a bit of professional contact with locals like Sadiq (Alfred Molina) a sleazy government minister, but nothing that challenges existing stereotypes.

And the Afghan women in burqas? Completely silent.

12771938_228217334192440_5486446044202041047_oSing Street

Wri/Dir: John Carney

Cosmo (Ferdia Walsh-Peelo) is a middle-class kid at a private Jesuit school in Dublin in the 1980s. He lives at home with his parents, his little sister and older brother Brendan (Jack Reynor) a pothead who dropped out of college. But when his family falls on hard times he is sent to a rougher school run by the Christian Brothers. (Canadians know the name from the Mt Cashel orphanage in St John’s, Newfoundland, notorious for its horrific abuses.) The school is run by men in black priestly gowns from neck to feet, pgo441_singstreet_02_o3_8934407_1453302712and who are not adverse to corporal punishment. They make it their goal to crush every hint of non-conformity. Cosmo gets bullied from day one, especially by a skinhead. But all is not lost. Because across the street he sees a beautiful girl who looks like a model who just stepped out of a Duran Duran video. She even has a proper model’s name: Raphina (Lucy Boynton). Thinking quickly, he invites her to star in his band’s video for their next song – and she agrees. Only problem is, there’s no video, no song, and no band. Somehow Cosmo has to make it all happen. He meets Eamon (Mark McKenna) and together they start writing songs. Soon, they turn into new wave rock stars complete with appropriate make-up and frosted hair. But will they have it all ready in time for the school prom and before Raphena leaves for London?

Something about this movie grabs me – I really like it. It’s your basic boy-meets-girl/ coming-of-age story, and it’s set in the 80s, but there’s nothing old or tired about it. Sing Street feels fresh and new featuring young actors and musicians who are all amazing.

Sing Street, Whiskey Tango Foxtrot, and Mountains May Depart all open today in Toronto: check your local listings.

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

Daniel Garber talks to actor Barrett Crake and writer/producer Eric Staley about their new film Eternity: The Movie

Posted in 1980s, Breasts, comedy, Coming of Age, Cultural Mining, L.A., Music, Musical, Uncategorized by CulturalMining.com on October 24, 2014

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

It’s the 1980s. Naive and starry-eyed, blond Todd Lucas arrives in LA with just the shirt on his back and the song in his heart. His dream? Make it big as a musician. But to pay his rent he takes a day job at a discount clothing store. There he meets dark, moustachioed BJ Fairchild, who’s into sex, Eternity_Postersaxes, and girls, girls, girls!

Together the two of them form an R&B duo. The band’s called Eternity. But will it last? Will their friendship persevere? And is  something in their relationship that will make it last… an Eternity?

So asks a new musical comedy called Eternity: The Movie that opens today in Toronto. Eric Staley, Barret Crake 1 Eternity the Movie © Daniel Garber CIUT 89.5 FM culturalmining.comEternity is a high-camp look at bad sweaters, big hair, music videos, and the whole hardboiled LA music scene of the 1980s.

I spoke to Eric Staley and Barrett Crake here in Toronto. They shared their thoughts on singing, Hall & Oates, R&B, auditions, moving to LA from Texas, San Diego, quadruple threats, sucking breasts, the 80s, Myko Olivier, Care Bears and Rainbow Brite, Madonna, Eric Roberts, playing the guitar, a possible tour with Eternity, karaoke and Eternity: the Movie.

 

Zaniness. Movies reviewed: The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared, God Help the Girl PLUS October Film Festivals!

Posted in comedy, Cultural Mining, Espionage, Movies, Music, Musical, Scotland, Screwball Comedy, Sex, Sweden, Uncategorized by CulturalMining.com on October 9, 2014

estdocs14_program_coverHi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking site_brafft_2404_02at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

Get ready: it’s fall film festival season in Toronto. Coming next week are: BRAFFTV, the Brazilian festival of film and television; Estdocs, the Estonian 10694407_10152448582230345_7331007994192021518_oDocumentary Festival; and RIFF, the Reel Indie Film Festival – featuring music-themed films. These festivals are packed with hidden treasures. Followed by Toronto after Dark for horror, sci-fi, action and cult: perfect for October. And ImagineNative, the film and media arts festival celebrating works by indigenous artists and filmmakers from toronto after darkaround the world.

Lots of festivals – don’t they make you want to get out, see the world? (Lame segue?) Well, this week I’m looking at two movies about people who climb out their windows! One’s a musical drama about a beautiful, young woman in Glasgow, Scotland who just wants to make music; the other’s a screwball comedy about an extremely old man in Sweden who just wants to blow something up.

b48f5837-54f2-45dd-a3b0-fac80378d0e4The Hundred-Year-Old Man who Climbed Out the Window and Disappeared (Hundraåringen som klev ut genom fönstret och försvann)
Dir: Felix Herngren

It’s Allan Karlsson’s 100th birthday at his old-age home in small-town Sweden, but Karlsson (Robert Gustafsson) isn’t interested. So he climbs out his 1st floor window and buys a bus ticket to the nearest town (population:1). But before he leaves he is ambushed by 95d73836-4233-4b79-b1b7-24cbda8a2bb8a motorcycle gang skinhead carrying a large metal suitcase. Somehow, Karlsson ends up on the bus with the suitcase… but no skinhead. And so begins his journey ec907bb3-1c24-414f-9ba5-fa36be388d40with the guy in the next village, a perpetual student they meet hitchhiking, an animal rights activist, and the circus elephant she liberated. And they’re being chased by the local police who think Karlsson was kidnapped, and the gangsters who want that suitcase back – and the millions of krona stuffed inside it. But that’s just half the story.444ba775-568a-4cae-b037-a2a4410500cf

The other half is all about how the 100-year-old man has lived his life: as a demolition expert – a guy who blows things up. You may be thinking: Bombs? In Sweden? But yeah! The Swede’s seem to have a knack for it, what with Alfred Nobel’s dynamite, Ivar Kreuger (the Match King), and the country’s enormous weapon industry. Karlsson’s expertise leads him to repeated brushes with famous leaders. From Franco to Stalin, from Truman to Reagan, somehow he’s there (like a Zelig or a Forrest Gump) at all the crucial moments.

Not a deep movie, but a totally zany, screwball-comedy look at the 20th century through the eyes of a hapless demolition expert. The 100-Year-Old Man is engaging, very entertaining and great fun.

GodHelptheGirlFestivalStill1God Help the Girl
Dir: Stuart Murdoch

Eve (Emily Browning) is a young Australian woman who lives in a Glasgow mental hospital. She spends her time lying in bed listening to radio DJs. She is waif-like with pale skin, auburn hair and huge eyes. Quite beautiful but quite depressed. She has songs to sing and GHTG_Tartan1words to express, but no one to hear them. So, one day she just climbs out the window and walks away, singing.

She wanders into a Glasgow concert hall and there she meets James, a guitarist in a fistfight with his obnoxious drummer. Glasgow is run by NEDs (non-educated delinquents) he says. James (Olly Alexander) is a skinny, wimpy guitar player with curly hair and glasses – a Scottish Michael Cera.

He works as a lifeguard but has “the constitution of an abandoned rabbit.” Eve tells him she’ll find him again at the pool. Could it be love?

Back at the mental hospital, her doctor tells her that she needs support – a home, food, a job and friends – and good health before she can worry about less important things like her music. But for Eve, music is everything. She sneaks out GHTGfilmstillto play the piano and compose songs. And she manages to record her music on a cassette tape.

She gives the tape to Anton (Pierre Boulanger), a tall, dark and handsome French rock musician she meets. They make out and she instructs him to pass it on to the radio DJs. He is impressed by her beauty. “You have exquisite breasts” he tells her.

James, meanwhile, is impressed by her talent – Eve can compose GHTG_glassessongs spontaneously, based on the thoughts in her head. And she has such a pleasing and rich voice that she could sing a diner menu and people would still listen. (In fact, Eve gets a job as a waitress.)

He takes her meet to Cassie, his music student. Cassie (Hannah Murray – who also played a Cassie in Skins) is a free spirit who wants to learn to play the guitar and write songs. Eve wants people to hear her music. James wants to cut a record. Hey, let’s form a band!  So they do.

They write some catchy tunes – in the style of sixties pop — and sing and dance and pose. But what will the future bring?

Will the DJs ever listen to her tape? Will Eve and James ever realize their true love? Will James ever see his dream of recording a record? And will the band ever perform?

This is a cute refreshing musical written and composed by Stuart Murdoch of Belle and Sebastian fame. It’s full of songs and dances that pop up after each serious event. But it leaves you thinking: is the movie a series of music videos linked by a storyline? Or a drama with a bunch of highly-stylized musical performances popping up? Either way, I enjoyed it a lot.

The Hundred Year Old Man and God Help the Girl both open today. Check your local listings.

This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5

Daniel Garber talks with Sono Sion and Young Dais about Tokyo Tribe at TIFF14

Posted in Cultural Mining, Gangs, Hiphop, Japan, Manga, Movies, Musical, 日本映画 by CulturalMining.com on September 19, 2014

_MG_9585 Sono Sion Young Dais Tokyo Tribe TIFF14 photo © Jeff HarrisHi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Imagine a dystopian future, where Tokyo is divided up into neighbourhoods ruled by rival gangs, that jealously guard their borders. Follow the  train up the east side of the city and you’ll hit places like Shibuya, Shinjuku and Ikebukuro, and further out Musashino and Nerima.lOpKoJ__tokyotribe_01_o3__8260247__1406658260

Musashino is peace and love; the character Kai just wants to hang with his bros at the local Denny’s (aka Penny’s). But ‘Bukuro is a land of brothels, gangsters, kidnappers and cannibals. Nera, a ‘Bukuro blonde muscleman has it in for Kai. Will this lead to all out war between the Tokyo Tribes?

Z4Wl12__tokyotribe_04_o3__8260377__1406658263Tokyo Tribe is the name of a new movie based on the manga by Inoue Santa. It’s a fantastical epic shot as a hip-hop musical, full of crowds, choreographed fights, a constant beat and more flashing lights than a pachinko parlour. It’s directed by Sono Sion, known for Guilty of Romance, Cold Fish, and Why Don’t You Play in Hell?. He’s always testing the limits of what can be shown in a film… and then _MG_9603 Sono sion and Young Dais Tokyo Tribe TIFF14 photo © Jeff Harrisgoing beyond that limitation. The movie stars Young Dais, well-known Japanese rapper, doing double-duty as a movie star. It opened at The Toronto International Film Festival (TIFF14), as part of Midnight Madness. I spoke with director Sono Sion and rapper Young Dais at the Royal York Hotel.

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