Lower Budget. Films reviewed: Dead in a Week, Nothing Like a Dame, Clara

Posted in Acting, Canada, comedy, Death, documentary, Movies, Romance, Science Fiction, Space, Suicide, Thriller, Toronto, UK, Women by CulturalMining.com on November 30, 2018

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

There are lots of big-budget blockbusters and Oscar bait cluttering the theatres these days, but I thought I’d give you a break from all that. So this week I’m looking at three lower- budget films that might otherwise fall through the cracks. There’s a documentary on the hidden side of acting; a dark comedy about the humorous side of suicide; and a scientific romance about the spiritual side of astronomy and quantam physics.

Dead in a Week (or your money back)

Wri/Dir: Tom Edmunds

William (Aneurin Barnard: Dunkirk, Bigger, Bitter Harvest ), a brooding young English writer, is a total mess. He’s lonely and depressed, with a dead-end job, and daily rejection letters for his unpublished book. Things are so bad he wants to off himself. But he has terrible luck with that too. Each time he tries to kill himself something goes wrong, saving his life. In desperation, he hires an assassin to kill him. “Dead in a week or your money back.” His assassin, Leslie O’Neil (Tom Wilkinson: Selma, Denial, The Happy Prince ) was the country’s top hitman in his heyday, but no more. His homey wife and the Assassins League president are both pushing for him retire. But this hit could change his luck, putting him over the required minimum murders so he’s stoked and ready to kill. Everybody’s happy, until…

William gets an unexpected call from a publisher who wants to meet him. Ellie (Freya Mavor: The Sense of an Ending, The Lady in the Car with Glasses and a Gun), an editor, is intrigued by his book. She’s also bright, cynical and pretty. Suddenly William has a reason to live. Trouble is you can’t cancel a contract once it’s been signed. And through a series of mishaps, other assassins are also on their tail. Are they both doomed? Or will they find love beneath a dark cloud in the picturesque southern counties of England?

Dead in a Week is Tom Edmunds’s first film, and it’s a very enjoyable, twisted comedy. It starts with a ridiculously implausible premise, but manages to ride it to a fun and unexpected conclusion. It twins bland, small town life – budgies and needlepoint – with bloody violence and an almost supernatural “League of Assassins”. And the main actors stick to their oddball characters in absurd situations without resorting to mugging or hamming.

This would make a perfect date movie for an emo and a goth.

Nothing Like a Dame

Dir: Roger Michel

What do actors Judy Dench, Maggie Smith, Joan Plowright and Eileen Atkins have in common? They are longtime actors of the London stage, and good friends since the 1950s. They are also all addressed as “Dame” a title awarded by the Queen, the equivalent of Sir for men. This documentary follows them at their retreat in the English countryside as they reminisce about life on the stage, and reveal untold stories about what really was going on; their homelives and marriages. They talk abut naturalism, stagefright, forgotten lines, and whether they read critics of their work. And what it’s like growing old before the cameras.

I’m not a big celebrity hound, so a lot of what they say that might be common knowledge to you was all new to me. I never realized Joan Plowright was married to Lawrence Olivier. (How could I have missed that?) I remember as a kid seeing Maggie Smith as Lady MacBeth at Stratford… but until now I never knew that the reason she was in Canada was she was scared to perform Shakespeare in England. And that all four of them protested the Vietnam War at demos in London.

Nothing like a Dame is an enjoyable look at famous actors chatting. There’s also amazing footage of stage, film and TV performances spanning their careers. But if you’re expecting salty stories about clandestine romances and shocking backstage sex scandals, you’re not going to find them here. Everything they say is guarded and carefully worded, suitable language for a Dame.

Clara

Wri/Dir: Akash Sherman

Dr Isaac Bruno (Pattrick J Adams) is a young astronomy prof at a Canadian University, who works in a lab beside his best friend Charlie (Ennis Esmer: Sex after Kids). Isaac is a sweater nerd with wire rimmed glasses and a neck beard. He hates teaching, preferring to study the stars using Extremely Large Telescopes, continents away. He feels angry and adrift since his marriage collapsed. His only obsession? His search for evidence of life on a distant planet. And he needs to find it soon, before the WEBB telescope is introduced, opening the universe to amateur star searchers.

But when he loses his research priveleges he hires an unpaid research assistant to help analyze data in his home. But she’s not like his normal students. Clara (Troian Bellisario) is a free spirit in a duffelcoat with long black hair. She travels the world, carrying a pouch of small stones, one from each continent, to plot out her next journey. She’s a study in contradictions, a highschool dropout who can speaks five languages. And whenever she closes her eyes, she’s overwhelmed with images of galaxies, stars and planets… Can Clara’s spiritual views coexist with Isaac’s die-hard science-based research? Do they share a cosmic entanglement? And could there be a populated planet like Earth somewhere far, far away?

Clara is a nicely-made first film set in Toronto. It’s filled with amazing telescopic footage of quasars, meteors, galaxies and stars rushing through space, as visualized in Clara’s brain, and as seen through super telescopes. And I’m no astronomer, but the film seems accurate in its reading of space data. This is not a perfect film — some of the characters’ motivations seem too simplistic – but I still liked it.

Clara, Nothing Like a Dame, and Dead in a Week 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.

 

 

Far from the Madding Crowd. Films reviewed: Border, The Drawer Boy

Posted in 1970s, Acting, Canada, Crime, Fairytales, Farming, Folktale, Horror, Intersex, Sex, Supernatural, Suspicion, Sweden, Theatre, Toronto by CulturalMining.com on November 23, 2018

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

Fall festival season is coming to an end in Toronto but there’s still some left to see. This weekend, watch out for Blood in the Snow. Not literally. BITS is the all-Canadian film fest that shows horror, genre and underground films at the Royal Cinema. And at the ROM this weekend, presented by Ekran and The Polish Filmmakers Association, you can see films with historic themes celebrating 100 years of Poland’s Regained Independence, featuring Andrej Wajda, Roman Polanski and other great Polish directors.

This week, I’m looking at two movies set far from cities. There’s a Canadian actor who thinks a farmer’s stories don’t smell quite write; and a fairytale-like Swedish customs officer who can sniff out crime.

Border

Dir: Ali Abbasi

(Based on a short story by John Lindqvist, author of Let the Rght One In)

Tina (Eva Melander) is a customs officer at a remote ferry dock in rural Sweden. She lives in a cabin in the woods. She feels a kinship with the local foxes and reindeer, more so than with people. She shares her home with a redneck dog trainer named Roland, but rejects his

sexual advances. It just doesn’t feel right. She’s resigned to a life of celibacy, partly because of her very unusual appearance. She’s kind and friendly, but… pretty ugly. She looks almost neanderthal, with her heavy brow, scarred skin, scraggly hair, and a nose like a lion’s. And with that nose comes an amazing sense of smell. She can detect the hidden emotions – shame, cruelty, and evil intent – of smugglers and criminals passing through her customs line. When she sniffs out kiddy porn on a businessman’s cel phone, the local police begin to take notice. They ask her to help them uncover a kidnapping ring.

Meanwhile, one day at the customs house, she sniffs out a strange man. Vore (Finnish actor Eero Milanoff) looks like her and sniffs like she does. She’s suspicious at first but notices a definite attraction. When they finally get together, their sex is explosive! He urges her to run away with him and stop living “like the humans”. Wait… what?!

If they’re not human what are they, exactly? And what other secrets is Vore hiding?

Border is a fantastic Swedish movie, a combination horror and supernatural thriller that manages to be funny, repulsive, touching and shocking (not for the faint of heart). It also deals with a wide range of unexpected topics, from intersexuality and gender transformation, to ostracism, folklore, mental illness, and a whole lot more. The acting is fantastic, the look and feel of this movie is amazing.

If you want to see something truly different, this is a film for you.

The Drawer Boy

Dir: Arturo Pérez Torres, Aviva Armour-Ostroff

Based on the play by Michael Healey

It’s the early 1970s in rural southern Ontario. Miles (Jakob Ehman) is an earnest young actor, part of a Toronto theatre collective that wants to create a play about farmers and farm life. He arrives with a bunch of other actor/hippies, each staying on different farms, who get together, every so often, to rehearse and compare notes. Miles’s new home is run by two men who have lived there since 1945 after serving together in the army.  Angus (Stuart Hughes) bakes bread in the kitchen and keeps the books. He seems a bit touched in the head. In fact he has no short term memory – there’s a metal plate in his brain from a wartime explosion. Morgan (Richard Clarkin) is more like the boss, handling the heavier farm work. Morgan lets Miles stay there as long as he adapts to farm life. That means 3:00 a.m. wake-ups, hard work, and “don’t ask too many questions”. Angus doesn’t like thinking about troubling memories… it gives a headache.

Morgan talks slow and low, like a farmer, but he’s smarter than he looks. He feeds gullible Miles lots of halftruths and impossibilities, which Miles dutifully scribbles down in his ever-present notebook. Things like “dairy cows eat pigs”, and are terrified of humans, knowing they could be slaughtered any day.

Morgan also tells a story to Angus each day, to restore his lost memories. It’s about a boy who draws, two tall sisters, and a house on the farm they were all supposed to share. But when the actors perform their workshop in a barn for all the local farmers, including Angus, something clicks. Seeing his own story performed on the stage, suddenly, like a knock on the head, unleashes a flood of memories. Memories that Morgan doesn’t want Angus to know…

The Drawer Boy is a film adaptation of the famous Canadian play from the 1990s, which itself was about the making of an earlier play in the 1970s. I’m always cautious about plays turned into movies – sometimes the media just don’t match. But don’t worry, this play makes a wonderful movie. It incorporates the drama of the original while adding special effects and scene changes hard to show on stage. The three actors are all excellent, and seeing it in a real barn with real cows, tractors and bales of hay just adds to the realism. The Drawer Boy is a great movie about storytelling, memory, loss, and relationships… a perfect dose of Canadiana on the big screen.

The Drawer Boy and Borders both open today in Toronto; check your local listings.

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

Working class heroes. Films reviewed: 22 Chaser, Boundaries, Leave No Trace

Posted in Canada, Cars, Coming of Age, Family, Feminism, Road Movie, Toronto, Women by CulturalMining.com on July 6, 2018

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

Movies aren’t only about escapism, superheroes and spaceships. Some equally entertaining movies shed light on real people and their concerns – like escaping poverty, finding a home, or keeping their kids in school.

This week I’m looking at three new movies about working-class families. There’s a father and daughter in Portland who live in the wild, a west coast mom and her son forced to deal with a wiley grandpa, and a tow truck driver negotiating the wilds of downtown Toronto.

22 Chaser

Dir: Rafal Sokolowski

Ben and Avery (Brian J Smith: Sense8; and Tiio Horn: Ghost BFF) are an ambitious young couple from a small town with a scrappy son named Zach. Ben drives a truck for Jackrabbit Towing but hopes to open his own garage some day; while Avery plans to parlay her skills as diner waitress into restaurant owner. But despite their big ideas they’re barely surviving, with Avery forced to visit the local foodbank.

Ben is an ethical guy who helps the victims he sees at accidents; he’s no ambulance chaser like his rival towtruck drivers Elvis (Shaun Benson) and Wayne (Raoul Trujillo). One day at work he gets some good news and bad news. The good news is his company is about to land a big police contract – this guarantees lots of future income. The bad news is the drivers have to pay a big deposit to keep their tow trucks – money he just doesn’t have.

So he enters a deal with a crooked cop named Ray (Aiden Devine) who doubles as a predatory loan shark. The meeting is arranged by his best friend Sean (Aaron Ashmore), another chaser. But the income he expects doesn’t come in. The loanshark demands a payment in 24 hours — or else — but he doesn’t even have enough to buy his kid a birthday present. Jackrabbit Ben is forced to turn chaser, at least for one night. Can he survive the bloodthirsty world of competitive tow truck driving?

22 Chaser is equal parts family drama and action movie with enough violence and street racing to keep it moving. The story’s a bit old fashioned… or classic, depending on how you view it. (It feels like the movie Nightcrawler, but with a tow-truck driver instead of a news photgrapher.) Smith and Horn are appealing as the troubled married couple, and the night time street views of downtown Toronto are a pleasure to watch.

Boundaries

Wri/Dir: Shana Feste

Laura (Vera Farmiga) is an eccentric single mom who lives with her son and a whole lot of dogs – she adopts any abandoned dog she sees on the street. She’s the pied piper of mange. She works for her rich best friend as a party planner, but she’s struggling to get by. Her son Henry (Lewis MacDougall) is an artist and a bit of an oddball too. He draws what he feels. His latest hobby is to draw naked pictures of adults he knows – including his mom’s boyfriends. But when he draws his school principal naked, he gets expelled. This means mom has to find a private school that takes non-conformist kids. And she has to pay for it. Which forces her to contact her estranged father Jack (Christopher

Plummer) who was just kicked out of a seniors home.

Laura blames him for her troubled childhood – he was never around when she was growing up. And though he’s in his eighties she still doesn’t trust him. But she really needs the money. So she agrees to go on a roadtrip down the west coast, from Seattle to LA, with her son and her dad in exchange for the money to pay for Henry’s school. And maybe Henry can finally bond with his grandpa. But what she doesn’t know is Jack is using the trip for nefarious reasons. Can the the three learn to get along? And will the trip solve their problems? Or lead to a terrible end?

Boundaries is a very cute move about family ties. It pulls a lot of the old hollywood road movie tricks – I mean who doesn’t like beautiful scenery, an oddball kid, wacky grandpa, neurotic mom, and lots and lots of adorable dogs? – but I enjoyed it.

Leave No Trace

Wri/Dir: Debra Granik

Tom (Thomasin McKenzie) is a teenaged girl who lives with her dad Will (Ben Foster) in a forest near Portland, Oregon. He’s a war vet and she’s his only child. They live a sustainable, natural life, moving every few days, being sure to leave no trace – for both ecological and security reasons. Will suffers from severe PTSD – he’s kept awake by the sound of helicopters in his head – and is extremely antisocial. He doesn’t like being around other people, except Tom of course.

They start campfires with flint and steel, pick wild mushrooms, and drink rainwater captured in plastic tarps. He teaches her survival tactics and how to hide from the enemy, but also book learning. Thom likes her life — it’s the only life she’s ever known. But when their lives are disrupted – they’re arrested by the police and Tom is handed over to social services – they’re forced to rethink their entire way of life. Tom discovers she likes being around other people, while will can’t stand it. What will happen to their father daughter relationship?

Leave No Trace sounds like a simple family movie, but it’s so much more. It follows a script with actors but feels almost like a documentary at times. It follows Will and Tom on a picaresque journey through the Pacific north west, through forests, along highways, and with the people they meet on the way. Gorgeous scenery, fantastic acting, and a beautiful subtle story. It’s directed by Debra Granik who did the fantastic Winter’s Bone – (another great movie, and was Jennifer Lawrence’s first important film, and look at her now!) That’s why I made sure to catch this one. And though it’s not a thriller like Winter’s Bone, it’s just as good.

I recommend this movie.

22 Chaser, Boundaries and Leave No Trace all open today in Toronto; check your local listings. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Daniel Garber talks with Nicole Maroon and Vladimir Jon Cubrt about their new film Luba

Posted in Addiction, Canada, drugs, Family, Hockey, Movies, Poverty, Toronto by CulturalMining.com on March 23, 2018

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

Luba and Donnie are a married couple with a young son, Matty. Their marriage faltered when Donnie’s drug use got out of hand, but since rehab things are looking up. Little Matty commutes between Lou’s flat and his grandma’s home where Donnie is living. They’re barely staying afloat with precarious jobs — he’s in construction while she’s serving jell-o shots for tips. Will poverty, depression and crack grind them into the dirt? Or can a family be saved by the hope and determination of a strong young woman named Luba?

Luba is also the name of a heartfelt family drama that looks at life in Toronto through the eyes of a family left behind. It stars Nicole Maroon as Luba and Vladimir Jon Cubrt as Donnie. Nicole is a master of Fine Arts whose range includes everything from Shakespeare to City TVs Meet the Family; while Vlad is celebrated on stage, screen and on TV’s Hannibal. The two co-produced Luba and Vlad wrote the script.

I spoke with Nicole and Vlad in studio at CIUT 89.5 FM. They talk about Acting, Luba, Hockey, Ukrainian-Canadians, Jack Nicholson, Toronto, the film’s genesis, why Nicole was cast in the title role… and more!

Luba had its Canadian premier on Saturday, March 24th at 5:30 PM at Toronto’s Scotiabank Theatre as part of the Canadian Film Fest.

At CFF Luba won both the Audience Choice Award for Best Picture and the Reel Canada Indie Award.

In the Trash. Movies Reviewed: A Swingers Weekend, The Go-Getters, Isle of Dogs

Posted in Addiction, Animals, Animation, Canada, Japan, Poverty, Sex, Sex Trade, Toronto by CulturalMining.com on March 23, 2018

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

The Canadian Film Fest is on now, bringing lots of new movies to the big screen, movies made right here in Toronto and across the country. Comedies, dramas and real life stories.

Hollywood movies often glamourize everyday life with an idealized view of the world the average person can never attain. But sometimes movies look in the opposite direction… downward, toward the gutter.  This week I’m looking at movies set among the trash. There’s an island of garbage filled with abandoned dogs, a couple of ne’er-do-wells who live in  rubbish, and a married couple who risk trashing their marriage for a weekend getaway.

A Swingers Weekend

Wri/Dir: Jon E. Cohen

Lisa and Dan (Erin Karpluk – Being Erica, Randal Edwards) are a power couple. She’s in real estate and he’s CEO at an energy drink corporation, and they’re  taking a break from their Toronto jobs for a weekend retreat in a lakeside villa up in cottage country. They’ve invited the attractive TJ and Skai (Michael Xavier, Erin Agostino) — he’s an artist, she’s into yoga – for a gourmet dinner and a weekend of kinky sex. But their planned foursome gains a fifth and sixth wheel when unexpected guests show up at the door. Geoffrey and Fiona (Jonas Chernik, Mia Kirchner) are Dan’s old friends whose marriage is falling apart. Can a weekend of bed-swapping inject new life into the respective couples’ relationships? And what are their real motives behind this swingers’ retreat?

A Swingers Weekend is a cute comedy that’s surprisingly tame. No nudity, it’s more of a social satire than a bedroom farce.

The Go-Getters

Dir: Jeremy LaLonde

Owen and Lacie (Aaron Abrams, Tomie Amber Pirie) are an odd couple. She’s a streetwalker who works for a disabled pimp called Cerebral Paulie, who keeps her addicted to oxycodone. He’s a nearly homeless alcoholic who mooches drinks from his brother’s skid row bar. He robbed her of her last fiver when she was ODing in a puddle of vomit on the bathrooom floor. It was hate at first site. But circumstances conspire to make them work together so they can buy bus tickets to Brockville to renovate an abandoned home.

They try robbing panhandlers, selling sex to teens, and fleecing buskers, but nothing seems to work. Will they ever escape from hideous Toronto? The Go-Getters is an unusual look at the lowest of the low in downtown Toronto. But guess what – this is a comedy! Yup, I’m not joking. Abrams as Owen looks like a younger and dumber Dr House (Hugh Laurie), and Pirie is truly unique as a loud-mouthed hooker with a heart of lead.

Isle of Dogs

Dir: Wes Anderson

It’s Japan sometime in the future. Megasaki in Uni prefecture is a big city controlled by the evil and corrupt Kobayashi dynasty. The Kobayashi clan own everything from the golf courses to the amusement parks and pharmaceutical labs. And they are all cat lovers who despise dogs. The dogs all come down with an odd disease called snout flu. Mayor Kobayashi – under the thumb of the corpse-like Major Domo – declares all dogs persona non grata. To save the city from infection, he says, he is banishing all the city’s dogs to Trash Island off the coast. This even includes his nephew Atari’s dog Spots. (Atari was adopted by his distant uncle when his parents died in a train crash.)

But when Atari flies to Trash Island in a toy airplane to rescue his pooch, he discovers a strange world rarely seen by humans. It’s ruled by gangs of alpha dogs, headed by a team of five: former pets Duke, Rex, King and Boss, as well as the mysterious Chief, a stray who likes to fight. (He bites.) They vow to help Atari find his dog Spots… or die trying.

Meanwhile, back in Megasaki, student journalists — led by exchange student Tracy — smell a skunk among the cats. They sense there’s a conspiracy targeting dogs and – with the help of a hacker — they vow to save the dogs and the missing boy Atari, and to make City Hall pay for their crimes. But will they make it in time?

Isle of Dogs is an epic fantasy made with stop-motion animation. The humans speak Japanese (with voiceover translation) and the dogs speak a stilted Japanese English. The story sounds simple and a bit goofy, but it’s not. It’s pure, non-stop eye candy, with art and illustration flooding your brain at the pace of a Simpsons episode.

It feels like Wes Anderson made a list of all English words derived from the Japanese — yakuza, sumo, sushi, geisha, samurai, bonsai, kabuki, haiku, anime, manga, otaku, cos-ple, taiko — and worked them all into the film. The thing is, it’s not cheap laughs and cultural plundering, it’s lovingly, respectfully, and exquisitely reproduced.

The constant barrage of images includes Japanese pop art, manga, ukiyo-e, silhouettes, and 2-D animation, all portrayed with a futuristic/retro/ steampunk feel (if such a thing is possible). Wes Anderson has done stop- motion animation before — The Fantastic Mister Fox — but this one is a quantum leap beyond that. None of Mister Fox‘s nudge-nudge, wink-wink snark in this movie; just affectionately rendered geek culture.

Isle of Dogs is stunning to watch. I’ve seen it twice now, and want to see it again, as soon as possible. It’s exquisite, beautiful, awe-inducing… I’m running out of adjectives. I love this movie, and if you revel in the visual and all things Japanese, you must see this animated film.

Isle of Dogs opens today in Toronto; check your local listings. The Go Getters and other films are playing this weekend at the Canadian Film Fest. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Canadian sex and violence. Films Reviewed: Hollow in the Land, Birdland, Badsville PLUS Film Stars Don’t Die in Liverpool

Posted in British Columbia, Canada, Canadian Literature, Fetish, Gangs, LGBT, Mystery, Sex, Thriller, Toronto by CulturalMining.com on January 26, 2018

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

Who said Canada is “nice but dull”? I’ve got three new indie Canadian movies this week, chock full of sex and violence. There’s torrid sex among the towers of Toronto, a bludgeoned body in the mountains of BC, and a gang war in the steamy southwest. …plus a UK romance set in Liverpool.

Film Stars Don’t Die in Liverpool

Dir: Paul McGuigan

It’s 1980 in Liverpool. Peter (Jamie Bell) is an aspiring actor who gets a surprise call from an older actress. She’s in the UK performing on stage in The Glass Menagerie and wonders if she can come by. Gloria Graham (Annette Bening) is a former movie star who won an Oscar in the 1950s. She talks like Marilyn Monroe and looks like Gloria Swanson. She was once known for “playing the tart” in Hollywood dramas. Now she wears large sunglasses and silk scarves over her hair.

Peter is surprised to hear from her again. He met her a year ago at a London rooming house which led to a torrid affair spanning two continents. He visited her at her beach house in California and followed her to New York. But she dumped him unceremoniously at her Manhattan apartment and he never understood why. And now she’s back again asking to stay with him in his working class home with his dowdy mother Bella (Julie Walters). Is it because film stars don’t die in Liverpool?

Film Stars Don’t Die in Liverpool is a wonderful romance based on Peter Turner’s memoirs about his encounters with a once famous actress twice his age. Bening is perfect as an over-the-hill diva who still sees herself as a Shakespearean teenaged Juliet while rejecting aging and her own mortality. And Bell is endearing as the starstruck Peter.

The story is straightforward but the director experiments with style. Peter has flashbacks while walking through a door signalled by a subtle change in lighting and music. And surprising results come from identical scenes which are shown twice but with very different points of view.

Definitely worth seeing.

Hollow in the Land

Wri/Dir: Scooter Corkle

It’s nowadays in the BC interior, a land of mountains, pulp mills and grow-ops. Ally (Dianna Agron) is a pretty but tough woman in her twenties, blonde hair beneath her hardhat. By day, she works at the town pulp mill, and at night looks after her 17-year-old brother Brandon (Jared Abrahamson). And every so often she spends the night with her lover Char (Rachelle Lefevre). Ally may be Brandon’s sister but she acts like his mother, warning him to stay out of  trouble with the cops – or they’ll throw him in jail, just like their dad. He’s in prison for running down a teenager while drunk. And the kid he killed happenis to be the son of the family that owns the pulp mill. Which is very bad news in a company town.

The two cops – friendly Darryll (Shawn Ashmore) and hard-ass Chief (Michael Rogers) – never let them forget it. So when a dead body turns up, and Brandon is the chief suspect, only Ally believes in her brother. It’s up to her to play detective, follow the clues, uncover the motive, track down the killer and find her brother who ran away into he woods. And she has to do all this before the killer kills her.

Hollow in the Land is a pretty good detective mystery/thriller, but with a few problems. I get that it’s noir so most of the scenes are at night, but you’d think they’d light up people’s faces properly so you can see who’s who. But the BC locations are amazing. The movie starts out very confusing, with dozens of characters and a foggy plot, but as it develops, it gets much more interesting. And Diana Agron is great as Ally – tough but tender — who carries it through to a satisfying end.

Birdland

Dir: Peter Lynch

It’s present-day Toronto. Shiela (Kathleen Munroe) is a tough as nails former cop with her own security firm. She’s a whiz with surveillance cameras and disguises. Her mild-mannered husband Tom (David Alpay) works at a museum cataloguing bird carcasses. But when she discovers he’s having an affair with a mysterious woman in a blue kimono, she decided to investigate. But when the affair leads to murder she realizes it’s all much bigger than she suspects. And someone is trying to cover it up. There’s an oil magnate pulling strings, a protester, a femme fatale, a nightclub entrepreneur, and a cop — her ex-partner — investigating the crime. And they all seem to share the same hobby — BDSM sex parties. Who is the killer? Who is having sex with whom? And who’s behind the conspiracy?

Birdland is full of politics, Big Oil, the police, museums, nightclubs, detectives, and kinky sex. And everything is projected against a fabricated bird metaphor:  there’s a man named Starling, an ornithologist, a nightclub with a bird concept, characters who sing Lullaby in Birdland, a bird rescue team… But what’s the point? The “bird” themes don’t come from the characters, it’s superimposed on them. There are some cool concepts and images in Birdland, but it just doesn’t work. I was never sure if I was watching a messy story to justify the not-so-sexy, softcore porn, or if the sex was there to justify an extremely confusing plot. It might work as a miniseries but it packs in too much stuff for a single movie.

Badsville

Dir: April Mullen (Written by Benjamin Barrett and Ian McLaren)

It’s a dead-end town in the southwest in the 1950s (or 60s?). Wink and Benny (Ian McLaren and Benjamin Barrett) are lifelong friends and members of the Kings, a local gang. Wink works in a greasy spoon and hangs with his buddies in the seedy bar or bowling alley. He serves as a mentor for Lil’ Cat (Gregory Kasyan), a local kid with a junkie for a mom. Wink wants him to “stay gold”. The Kings are mainly Latino while their rivals, the Aces, are white. They regularly meet to rumble, meaning big fistfights supplemented with metal pipes and pieces of wood, all lit up by blazing oil drums.

Sounds like fun.

But when he falls for Suzy (Tamara Duarte) a newcomer with a secret past, it looks like things are going to change. Wink might finally achieve his dream – escaping Badsville for a better life in Colorado. And this is what pushes Benny over the edge. He loves Daddio – that’s what he calls Wink – and not just as a friend. So he sets in motion a series of events that he hopes will stop Wink from leaving, but that end up putting all their lives in jeopardy.

Badsville is a new take on classic exploitation gang movies and SE Hinton novels. We’re talking Jets and Sharks here, not Crips and Bloods. And they’re not in high school either, they’re much older. The film looks at masculinity and friendship with a bit of racial politics in the mix. Directed by April Mullen, it’s a first effort by the two non-actors who play Benny and Wink, and also wrote the script. It’s low budget and not perfect – but it works.

Film Stars Don’t Die in Liverpool, Hollow in the Land, Birdland and Badsville all start today in Toronto; check your local listings.

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

Daniel Garber talks with Cynthia Banks about The Caregivers Club

Posted in Disabilities, documentary, Family, Mental Illness, Old Age, Toronto, TV by CulturalMining.com on January 12, 2018

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

A malady is sweeping the nation, an illness with no effective medication, no clear cause and no known cure. It starts out mild but its effects get worse and worse, ultimately leading to death. More than half a million Canadians suffer from it. What is this plague? HIV? Opioid addiction? Bird flu? No, I’m talking about dementia caused by Alzheimers. And patients with dementia need constant care.

The Caregivers Club is a new documentary that looks at three patients with early-onset dementia and the very different decisions made by the people who care for them. It follows a mother who lives in her own home with caregivers hired by her adult daughter; a wife assisted by her husband; and a man who lives in a nursing home as his wife raises their three young kids. The film was written and directed by noted Toronto documentarian Cynthia Banks.

I spoke to Cynthia by telephone from CIUT.

The Caregivers Club is playing on CBC Docs-POV at 9:00 pm on Sunday, and streaming online beginning today.

 

Daniel Garber talks with producer Jason Charters and director Larry Weinstein about Dreaming of a Jewish Christmas

Posted in China, Christianity, Christmas, Christmas songs, Cultural Mining, documentary, Eating, Judaism, Music, Toronto by CulturalMining.com on December 22, 2017

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

It’s the 1960s. Chestnuts roasting on an open fire… outside the snow is falling and friends are calling yoo-hoo… it’s Christmastime in the city. Mom, Dad and the two kids get in the car to go out for their traditional family dinner. Is it ham? Turkey? No… it’s Chinese food! Beause these folks are dreaming of a “Jewish Christmas”.

Dreaming of a Jewish Christmas is a new documentary that looks at the secular celebration of a religious holiday in North America and how it’s reflected in popular culture – especially in Christmas songs. It re-eneacts a 1960s dinner in Chinatown with new performances of classic Christmas songs by Steven Page, Dione Taylor and Aviva Chernick.

The film was produced in Toronto by Jason Charters and Liam Romalis at Riddle Films and directed by Oscar nominee Larry Weinstein.

I spoke with Jason in studio at CIUT and with Larry via telephone.

Dreaming of a Jewish Christmas is playing on CBC Documentary Channel on Dec 24 and Dec 25.

Lots of Indies! Films reviewed: The Disaster Artist, Sweet Virginia, Wexford Plaza

Posted in Acting, Canada, comedy, Coming of Age, Drama, Film Noir, L.A., Mumblecore, Realism, Toronto, violence by CulturalMining.com on December 1, 2017

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

Indie movies are in this year, picking up prizes and heading for the Oscars. They are the most innovative films out there, flouting expected cinematic rules, sharing a sense of realism missing from big-budget movies.

This week I’m talking about three new indie movies opening today. There’s a hit man staying at a motel, a security guard working at a strip mall, and an indie movie about making indie movies.

The Disaster Artist

Dir: James Franco (Based on the book by Greg Sestero)

Greg Sestero (Dave Franco) is a model and aspiring actor in San Francisco. He’s taking classes, looking for his big break. Problem is he’s a terrible actor: way too shy and withdrawn. Enter fellow student Tommy Wiseau (James Franco). He’s a body–builder with a redone face, a mane of long black hair and an unintelligible accent. (He says he’s from New Orleans). He’s entirely without talent, but brimming with self-confidence. Greg sees him acting in class, shouting and literally climbing the walls. The teachers all cringe, but Greg is dumbfounded. This is what he wants to do, this is what he wants to be like. Soon they move to Tommy’s LA pied a terre, find agents and start up the ladder toward movie stardom. At least that’s the plan. When the studios don’t come knocking at their door, they decide to shoot their own movie, called The Room. Tommy will direct and produce (he’s bankrolling the whole thing) while the two of them share top billing. But will The Room be any good?

The short answer is no.

But that doesn’t convey the awfulness of the film they’re making. It’s spectacularly, stupendously, unbelievably bad… but in a very distinctive way. (It has since become a major cult hit — so bad it’s good — seen everywhere.) Its humour derives from the bad acting and non-sensical script, and from Tommy Wiseaus total obliviousness to his own social ineptitude and to how bad the film actually is (he imagines it’s a masterpiece).

This movie — The Disaster Artist — isnt a remake, it’s a move about the making of The Room. It recreates and incorporates the funniest, worst parts of the original, but also what was going on behind the camera. It’s a bro comedy, starring real life bros Dave and James Franco, who is just so funny as Tommy. And though it is ostensibly an indie movie, it may have broken a record for the number of Hollywood cameos:  Hannibal Buress, Seth Rogan, Sharon Stone, JJ Abrams, and dozens of others.

The Disaster Project is a really funny movie.

Sweet Virginia

Dir: Jamie M. Dagg

Sam (Jon Bernthal) is a former champion bull rider who used to earn his living in the rodeo circuit, until he had an accident. Now he runs a motel called Sweet Virginia nestled somewhere between two foggy mountains. Lila (Imogen Poots) is his assistant helping out in his office. All is well until the town is shaken by an unexpected killing: three men gunned down at a late night poker game. Elwood (Christopher Abbott) a man with anger issues, is staying at Sam’s motel. Turns out he’s a hit man, the one that killed the three men, including Lila’s husband. He also killed the husband of Bernadette (Rosemarie DeWitt) who is having a secret affair with Sam. Who hired him? Lila! She hated her husband and wants his money. She promises Elwood big bucks in exchange for his murder (The other men he kills are just “collateral damage”). But when Lila can’t get hold of the money, things take a turn for the worse. Will the bad guys pay for their crimes? Or will there be more violence to come?

Sweet Virginia has all the makings of an excellent movie. Great cast, good acting, wonderful locations, and beautiful cinematography. So why does it suck?

This movie is all wrong. It reveals everything in the first few minutes, ruining any suspense. It wastes a lot of screen time introducing characters who are killed off in the first 15 minutes. And the rest of the move just creaks along, revealing dull, pointless and violent lives, with no surprises. I get the feeling the only reason this movie was released is because Bernthal is starring in the Netflix series The Punisher right about now.

Wexford Plaza

Wri/Dir: Joyce Wong

Betty (Reid Asselstine) is a cheery and voluptuous 19-year-old starting her new job. She’s a security guard at a rundown strip mall in Scarborough called Wexford Plaza. She’s forced to wear a too-small uniform: black polyester pants with an ugly yellow polo shirt. Her high school friends have moved on; she only sees them on instagram. She works with Rich and Anton (Francis Melling and Mirko Miljevic) two immature asshats who smoke pot, leer at her breasts and tell off-colour jokes at her expense. Then she meets Danny (Darrel Gamotin), a bartender in the mall. He’s a nice guy, older, successful and self-confident, and seems interested in her. He has her back when she drinks too much, and she returns the favour (along with sexual benefits) when he gets sloshed. She forsees a long term relationship… until things go drastically wrong. He turns on a dime, from good guy to cold bastard. What’s going on? Is he just using her?

Wexford Plaza is a realistic comedy/drama that tells the same story twice, first from Betty’s and then from Danny’s point of view. Similar events occupy the same time and space but seem radically different. Words considered crucial by one – slurred out while drunk – are completely missing from the other one’s memories. Reid Asselstine is great, subtly exposing Betty’s burgeoning sexuality tempered by her self-doubt. This is a good coming-of-age drama set in the desolate strip malls of Toronto.

Sweet Virginia, The Disaster Artist and Wexford Plaza all open today in Toronto; check your local listings.

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

 

Daniel Garber talks with 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.

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