Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
If the 1970s was Hollywood’s golden age then the 80s and 90s were its tin foil age —when a series of corporate takeovers placed short-term profits over creativity, and the Oscars celebrated forgettable, middle-brow pap. Even so, there were some fun and popular movies from 80s and 90s. Films like Alien, Shallow Grave, and Starship Troupers are playing at Cineplex’s Flashback Film Festival (FBFF) across Canada starting today, giving you a chance to revisit favourites on the big screen.
This week I’m looking at flashbacks. There’s a rerelease of a Canadian coming-of-age classic from the 70s, a flashback to a courtroom drama set in apartheid South Africa in the 80s; and a new sequel to a Japanese horror movie from the 90s.
The Apprenticeship of Duddy Kravitz (1974)
Dir: Ted Kotcheff Based on the novel by Mordecai Richler
It’s the 1940s in a poor, Jewish section of Montreal. Duddy Kravitz (Richard Dreyfuss) is a teenager recently graduated from Fletcher’s Field (a.k.a. Baron Byng) High School. He lives with his widowed father Max (Jack Warden) who works as a taxi driver and part-time pimp, and his big brother Lennie. Lennie is a smart and sophisticated med student at McGill. But Duddy has neither the brains nor the inclination to study.
He’s a boorish and loud, nervous and uncouth, always sweating and scratching, jumping and cussing. He has a filthy mouth and an intrusive manner. With no friends or admirers he just wants to get rich quick. His idol is a gangster known as The Boy Wonder (Henry Ramer), and his favourite retort is kiss my Royal Canadian Ass.
He gets a summer job at a holiday resort in the Laurentiens, but is relentlessly put down by rich kids from Westmount and Outrement. He makes friend with a pretty waitress named Yvette (Micheline Lanctot). They fall for each other and she takes him to a secret spot beside a pristine lake. He’s struck by its beauty and vows to buy it, but is blocked by Québécois farmers who never sell property to jewish people. And Yvette is turned off by his constant drive for profits and wealth.
Duddy sets off on a series of impossible ventures he thinks will make enough money to buy the land: Importing Pinball machines with his friend Virgil, an American he meets on a train (Randy Quaid); and producing films with an alcoholic British communist (Denholm Elliot). But in his quest for success, he risks alienates his friends, his lover and his family. What will he learn from his apprenticeship with the real world?
The Apprenticeship of Duddy Kravitz is a hilarious and audacious drama from the 70s which deserves to be seen on the big screen. It’s a dark slice of Canadian life, a world full of bigotry, snobbery, selfishness and deceit, tempered with the glorious freedom of a young man pursuing his dreams.
Dir: F. Javier Gutierrez
Julia (Matilda Lutz ) is a high school grad in small town USA. She’s sad because her pretty, but dumb-as-a-post boyfriend (Alex Roe) is heading off to university in Seattle. Don’t worry, Holt says, I’ll skype you every night. But when the calls stop coming and he doesn’t answer her texts, brave Julia heads off to Seattle to investigate. And she finds something strange: there’s an old black-and-white video everyone tells her to watch. Everyone she meets tell her to watch. What she doesn’t know is that anyone who watches this video will be dead in seven days. But if you trick someone else into watching it, you get another seven days added to your life.
Like Orpheus in the underworld, Julia decides to forge ahead, rescuing her boyfriend from Hell. She intentionally watches the dreaded video, and using her powers of second sight – she’s clairvoyant — she decides to follow a ghost to its point of origin. But first she has to deal with a secretive professor named Gabriel (Johnny Galecki) and a blind graveyard custodian (Vincent d’Onofrio).
Can Julia rescue Holt, defeat a ghost with long black hair, and figure out the meaning behind the cursed video tape?
Rings is a reboot of the scary Japanese movie Ring and its sequels. Last week I interviewed two ghosts from that era, Sadako vs Kayako. In the American films, Sadako is Samara, and urban Japan becomes a village somewhere in Washington State. More than that, Rings trades the chill feel of video static for a more conventional American ghost story.
Is it scary? A little, especially towards the end as Julie’s visions start to pay off. But the story is so ridiculously disjointed it’s laughable. It treats the original Ring just as a jumping-off point for an unrelated story, discarding much of what made the original so scary.
Shepherds and Butchers
Dir: Oliver Schmitz
It’s 1987 in Apartheid-era South Africa. Leon Labuschagne (Garion Dowds) a white Afrikaner, is arrested for murdering seven black African members of a soccer club in a quarry. The seven bodies were found neatly lined up in a row. The accused refuses to defend himself or even to say anything about what he did; he says he can’t remember. It’s an open and shut case. Or is it?
In walks the famed jurist Johan Webber (Steve Coogan), a staunch opponent to the death penalty. While not contesting the actual crime, instead he says it is the brutal South African justice system that led to the crime. A church-going shy kid turned into a mass murderer in just a few years? Preposterous!
It turns out Leon since age 17 has been forced to work on death row in a maximum security prison. His work is like a shepherd, tending to the needs — food, showers, and prayers — of men “on the rope” (waiting to be hanged). But he’s also a butcher, forced to kill — en masse, often seven at a time — the same men he takes care of.
His story is told at his trial in a series of gruesome and realistic flashbacks. Johan goads him into recounting what he – and the prisoners — has been through. This film shows the horrors of capital punishment, and particularly the mass executions held in South Africa, in graphic detail. It is horrifying and extremely hard to watch, because it brings you the viewer right into the gallows itself. Shepherds and Butchers is a touching story about an important topic, but believe me, it is not for the faint of heart.
Rings and Shepherds and Butchers both open today in Toronto; check your local listings. The Apprenticeship of Duddy Kravitz is playing for free this Sunday as part of the Canada on Screen series. Go to tiff.net for details.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s the 1980s. Ishmael Ali is on a commercial flight to the US. Virgin Islands. But not to lie on the beaches of St Croix. He’s being transferred to another maximum security prison. He’s serving time for the Fountain Valley Massacre – the infamous killing at a golf course owned by the Rockefellers… a crime, he says, he did not commit. And on this flight he manages to hijack the plane to Cuba. But there’s much, much more to this skyjacker’s tale.
A Skyjacker’s Tale is a new feature documentary that interviews the skyjacker himself in Cuba. It tells his story, and that of all the people he affected: at the skyjacking, and at the trial. These interviews shed new light on a controversial case – with a dramatic finish — that left the public polarized. A Skyjackers Tale is directed by award-winning filmmaker Jamie Kastner, who brought us films like Kike Like Me, and The Secret Disco Revolution. (Here’s the interview from 2012).
A Skyjacker’s Tale opens today at the Hot Docs Cinema in Toronto.
I spoke to Jamie in studio at CIUT 89.5 FM..
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
The Nuremberg trials were held by the Allies immediately after WWII. They publically exposed, tried, and punished the leaders of Nazi Germany for their war crimes and crimes against humanity. But relatively few were actually put on trial. And old ideologies live on. This week I’m looking at two historical dramas about lesser-known cases. There’s a German attorney in the 1950s stymied in his attempt to prosecute war criminals; and an American holocaust historian, sued for libel by a man who denies it ever took place.
Dir: Mick Jackson
Deborah Lipstadt (Rachel Weisz) is a university professor at a Georgia university. She specializes in Holocaust studies, the history of genocide under Nazi Germany. She has a special interest in holocaust deniers, writers from the extreme right who claim the holocaust never happened, any deaths were incidental, and there were no gas chambers. She says she won’t debate ahistorical demagogues but she does provide ample academic data verifying her work. So she is surprised one day when a strange man appears, uninvited, in her classroom, shouting accusations at her, all recorded with a video camera. It’s David Irving (Timothy Spall), a UK author and a great fan of Hitler and Naziism. She has mentioned him in one of her books on Holocaust deniers.
Not long after, she receives a legal notice: David Irving is suing her for libel. Her book, he says, has damaged his credibility as a historian. If she settles out of court he will appear to be justified. But if she loses the case it could serve as a triumph for neo-nazis and white supremacists across Europe. So, in an odd judicial quirk, it’s up to her to prove (before a disinterested judge) that the holocaust took place.
With the help of well-known barristers and solicitors (played, respectively, by a cold Tom Wilkinson and a sly Andrew Scott) she pleads her case in court. Who will win the case?
Denial is principally a courtroom drama. Rachel Weiss is believable, with an excellent New York accent (she is British), but she is stifled by the role. Because her lawyers tell her not to testify, so she can’t speak in court. Instead, she spends much of the movie making gestures and sighs of anger, shock or frustration. Timothy Spall has more latitude. He plays a lawyer defending himself. Irving comes across as a self-important but wormy man who, deep down, just wants respect and love. He gets neither. So, while this is an exciting topic, the movie itself comes across as plodding and a bit dull.
The People vs Fritz Bauer (Der Staat gegen Fritz Bauer)
Wri/Dir: Lars Kraume
It’s the late 1950s in cold war West Germany. Fritz Bauer (Burghart Klaußner: Goodbye Lenin, The White Ribbon) is a State Attorney General in Frankfurt. The country is economically booming but politically moribund. It still holds many laws enacted under Nazi rule, and the civil service is riddled with former party members. Bauer takes it upon himself to expose war criminals and bring them to trial. But he is stymied at every turn.
Before WWII, at age 30, he had been the youngest judge ever, but was jailed by the Nazis when they took power. He survived the war in Denmark and Sweden, and later came back to Germany to continue his work. But he has few allies there. He has three strikes against him: Jewish ancestry, Socialist politics, and he is secretly gay, still illegal in Germany at the time.
Karl Angermann (Ronald Zehrfeld: Phoenix, Barbara) is a young prosecutor fresh out of law school with a young wife and a conservative family. He’s handsome, idealistic and devoted to the cause, with secrets of his own. And like many younger Germans, he feels alienated from his own country. He finds harsh laws punishing consensual sex to be cruel and outdated. Unlike most of his office, he finds Bauer an inspiration, a reason to strive for a new, progressive and democratic Germany.
Bauer receives a letter from a German in Argentina who says Adolph Eichmann is still alive, living nearby in plain sight. Eichmann is the notorious Nazi leader responsible for transporting millions to death camps. Bauer contacts Interpol and the German government, but they brush him off: We don’t pursue political crimes. Bauer’s one wish is to try war criminals like Eichmann under German Law, and within German courtrooms.
Can Bauer and Angermann shake up the establishment, reform its laws, and bring war criminals to justice? Or will the network of Nazis still in power stop them from their goals?
The People vs Fritz Bauer is a really interesting biopic and drama about a fascinating character. It has intrigue, suspense, and a few surprise twists. Klaußner plays Bauer as a hotheaded idealistic loner fighting the establishment, like Bill Murray playing Barney Frank. And Angermann is great as his conflicted devotee (with a secret lover). The movie is based on records released many years after these events. And it’s a great follow-up to 2014’s Labyrinth of Lies, another German movie that picks up where this one ends.
Denial opens today; check you local listings. The People vs Fritz Bauer starts in Toronto on Oct 21. Also opening today is The Stairs, a great documentary about Toronto’s Regent Park.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
It Takes a Thief. Movies Reviewed: Mona Lisa is Missing, The Life and Crimes of Doris Payne, The Rover
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at 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.
Pickpockets, muggers, robbers and burglars… are people, too. Or so say these movies. This week, I’m looking at films with sympathetic portraits of thieves. There’s a car thief in Australia, a jewel thief from the US, and an art thief from Italy.
Vincenzo Perruggia is a name that lives on in infamy as the man who stole the Mona Lisa in 1912. This documentary looks at the theft with a new eye.
Peruggia is an Italian migrant in France in the early 20th century. He works as a house painter – a very dangerous job, because of the constant exposure to lead paint. Some people say it made him addle-brained. Later, he takes a job as a security guard at the Louvre in Paris. But Parisians look down on Italian labourers, calling him “macaroni” and treating him like a fool.
But he shows them. He single-handedly walks out of the museum carrying Leonardo Da Vinci’s La Giaconda – now known as the Mona Lisa – under one arm. He keeps it hidden for two years, evading the most famous detective in Paris. He is only caught when he tries to repatriate it back to Italy.
This documentary has a light, humorous tone, but is meticulously researched. The filmmaker goes back to the original sources – letters, police files, period photos – and even tracks down his 80-year-old daughter, Celestina. What I found most interesting is that the Mona Lisa’s current fame is, in a large part, due to the publicity generated when it was stolen. Before Peruggia, it was just one painting among many. Now, it’s The Mona Lisa.
Doris Payne was born to an African-American father and a Cherokee mother in a poor, coal-mining town in West Virginia. She’s a beautiful child – too beautiful. Her dad tries to beat the prettiness right out of her. So she vows to get out of there, erase her past and create a new one.
She establishes herself as a gentle, elegant, upper-class woman. And how does she support herself? As an international jewel thief, jet-setting to London, Paris and Monte Carlo. She’s a lover, not a fighter. No one is harmed, no weapons, no hold-ups. She steals from famous stores, never individuals. She’s actually a con-artist, and when things go right, the jewellers don’t even know something is missing until after she’s long gone.
Her techniques are fascinating. She’s like a magician, moving the jewelry around, palming but never pocketing her prey. As long as the jewel is in her hand she can always dispose of it. She tells stories about her past adventures, like a clever escape involving a nun, a pair of scissors and a needle and thread. She’s a master of disguises.Using merely a scarf or a wig she can turn herself from a haughty aristocrat into a humble nurse in seconds.
If her life sounds like a Hollywood caper, that’s because it is – or will be. They’re developing a film about her (starring Halle Berry). The screenwriter tells part of her story. But this is a documentary about — and starring — the real Doris Payne. And her current life is far from glamorous.
She’s still stealing jewels, at age 80! The movie follows her – and her defense lawyer — during a trial about her latest alleged theft (she denies everything, of course.)
Will Doris ever come clean? Has she really given up that life? And what can she do without the thrill of the Steal? This is a fascinating documentary, about a strong-willed and unrepentant black woman, and her rise and fall as the world’s best jewelry thief.
A grizzled, angry man (Guy Pearce) sits in his dusty car by the side of the road. It’s the Australian outback – mining country: vast deserts punctuated by ramshackle aluminum huts. (Not a kangaroo in sight, just menacing birds of prey.) He goes into a roadside shop to wash up. At the same time, a jeep is powering down the highway, with three men inside having it out. They’re fighting. One of them, Henry, wants to turn back to save his brother. They left him dying on the road after a shootout. The others say no. And in the scuffle, the jeep plows through a pile of roadside junk. It’s stuck. So they steal a nearby car – the one left by grizzled, angry man – and off they go.
Out comes the first guy — he wants his car back. He climbs into the stalled jeep and gets it moving again. And so begins a violent, 90-minute road movie/chase scene/shoot out. On the way, he passes your typical outback attractions: gambling dens, gun runners, an all-male brothel, a crucified man… Wait. What?!
That’s where you realize: this isn’t normal Australia. It’s some futuristic, post-apocalyptic, Mad Max Australia. Only US dollars taken here. Chinese is the language of commerce. And if you kill someone there is no police, no army there to arrest you. It’s like the old west, but without any White Hats.
On the way he meets Rey (an uglified Robert Pattinson) the brother left dying on the road. Grizzled guy would just as soon shoot him as save him, but he needs information. So he brings him to a doctor and nurses him back to life. The two of them form an unwitting pair of road buddies – the angry and bitter older man, and the younger, idealistic slow-talker. (Rey’s a hapless oakie looking for a new father figure.) Will they find the three men – and the missing car?
This is a chilling, eerie and extremely violent movie. It feel like a Clint Eastwood spaghetti western. Pearce is excellent as the nameless, hollow-hearted drifter. Pattinson (the Twilight heartthrob) is unrecognizable as Rey — and I mean that in a good sense. Even though the story makes you want to curl up and die — is that all there is? — it’s still worth seeing.
The Rover and The Life and Crimes of Doris Payne both open today in Toronto – check your local listings. The Mona Lisa is Missing played at the Italian Contemporary Film Festival. Go to icff.ca for details.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at 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.
Hot Docs – Toronto’s legendary Film Festival that shows over 200 documentaries in one week – is on now. It brings cutting edge documentaries from around the world, the filmmakers, and subjects, It’s centered on the Hot Docs cinema on Bloor St, but runs movies and events all around the downtown. And if you’re a student or a senior, you can get free rush tickets for any daytime screening.
What do conspiracies look like? They can be a group of well-meaning protesters, a gang of thieves, or a secret cabal of soldier killers. This week I’m looking at three films about secretive groups whose actions run up against the law and morality. One’s about Russian feminist punks who run into trouble with Putin and the Russian Orthodox church; another’s about a whistleblower in the US military who gets charged with murder; and a third is about some ambitious bodybuilders who want their slice of the pie – and will do whatever is necessary to get it.
Dir: Dan Krauss
When the photos of Abu Ghraib hit the papers, people were shocked at the torture and humiliation of Iraqi prisoners by US soldiers. But a series of incidents in Afghanistan , even more shocking than Abu Ghraib are the subject of a new expose. Here’s what happened.
Winfield, a young skinny marine, the smallest in his unit, notices a strange shift in his unit when a new commanding officer, Gibbs, arrives. Gibbs has a reputation for violence during his term in Iraq. And now he was demanding his soldiers take down Afghan civilians – boys and yound men — in their area. Gibbs forms an elite squad, a “Kill Team”, who are sent out on “drop weapon” missions. This means they would surprise someone, kill him, and then drop a weapon they had brought for that purpose beside the dead body to justify the killing. And then pose for smiling souvenir photos.
So Winfield becomes a whistleblower, sending out word of these heinous murders to his family, asking them to report it. But, through a series of events that the film reveals, the whistleblower ends up being arrested and charged with murder for the very events he was trying to prevent. The movie tells the story of the various marines involved in this particular unit, as the trials and court-martials are prepared. This disturbing documentary also suggests that these practices were not restricted to that one unit but are common practice among soldiers in Afghanistan. They were just the only ones caught. While mainly talking heads – the various soldiers telling their stories – and with a few too many scenes involving negotiatins with lawyers – it is a serious, important film. The Kill Team puts the integrity of the entire Afghan mission into question.
Dir: Maxim Pozdorovkin, Mike Lerner
Pussy Riot is a Russian feminist punk band. They perform their protest pieces wearing neon-coloured balaclavas to cover their faces, playing guitar and singing about government corruption, human rights and freedom of expression. But something happened when they choose to sing about Putin’s ties to the Russian Orthodox church’s patriarchy on the actual altar of a famous cathedral. Within seconds police swarm the stage and arrest three of them for trespassing and defaming religion.
And so begins a lengthy trial followed around the world. The movie interviews the three prisoners – Nadia, Maria and Ekatarina – their families, co-performers and friends. Performance art, public satire and the avant garde, while familiar in the west (where it’s met with yawns or raised eyebrows) are new and genuinely revolutionary in Russia. Somehow, the filmmakers got their cameras and microphones into the trial itself, with perfect views of the three women boxed into a glass cage, as if they were Hannibal Lecters on trial for mass murder. It’s a rare glimpse into the Russian justice system, where playing a simple protest tune still holds the threat of a term in a Siberian prison camp.
Pussy Riot is a must-see at Hotdocs.
Dir: Michael Bay
Danny Lugo (Mark Wahlberg) is a musclehead personal trainer. He’s given to mindless slogans to inspire him. He’s all about the American dream, being a doer not a don’t-er, and yo, bitches, his body is his temple, his muscles a shrine to physical power (“no homo!”). It’s Miami in the 90’s. This is America — a buff, pimpin’ nation! Or so say the men with fake orange tans at Sun Gym.
But Danny just isn’t making enough money – and he wants to have it all. So he gathers a team of ex-cons to kidnap his client Pepe, an obnoxious, middle-aged Jewish guy from Colombia. After some trouble and some violent episodes, their scheme pays off – they’re rich! They have everything now: a mansion, a sportscar, a yacht, cocaine, a Romanian girlfriend, penile implants… But a persistent P.I. (Peter Weller) is on their trail. Will he catch them in the act?
Pain & Gain is a mildly interesting comedy /action movie. It’s just not that funny, or that interesting, and without much action. The main characters are all caricatures – Dwayne Johnson (“the Rock”) is OK as a sub-normal, born-again body-builder; Tony Shalhoub is great as the world’s most annoying kidnappee; and Mark Wahlberg does his wannabe criminal mastermind very well. But the characters seem to be there just so the audience can laugh at how stupid they all are. (It’s also a weirdly structured movie. The plot repeatedly screeches to a halt to give each character a freeze-frame and an extended voiceover explaining their backstory, out loud. Why?) Pain & Gain is intentionally kitschy, mildly offensive and aims for the lowest common denominator… but it still entertains.
Pain and Gain opens today, check your listings; and Hot Docs is on now: for showtimes of movies like Pussy Riot (screening today) and Kill Team, go to hotdocs.ca.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
Hi, this is Daniel Garber at the Movies, for culturalmining.com and
CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult,
foreign, festival, genre and mainstream movies, helping you see movies
with good taste, and movies that taste good, and what the difference
With the closing of this year’s TIFF — with all of its orgiastic
excess of filmic stimulation, eye candy, and brain prods — you may be
suffering from withdrawal. But have no fear — there’s no need to go
cold turkey, because Toronto’s Fall festival season is positively
brimming with good smaller film festival to keep your addiction alive.
Coming soon are: Toronto After Dark, the Toronto Palestinian Film
Festival, Planet in Focus, the Real Asian Film Festival, and the
European Union Film Festival, among others. And TIFF itself continues
on all year, showing their programmed films at the Lightbox. So if you
missed a good movie at TIFF, even if it doesn’t get a wide release,
you may be able to catch it later on in the year.
But first, the awards. Phillipe Felardeau won the Toronto Best
Canadian feature prize for Monsieur Falardeau — and it’s already gone
on to become Canada’s entry for a Best Foreign language Film Oscar.
The People’s Choice Award at TIFF is often used as an indicator of
who’s going to win a Golden Globe and later get nominated for an
Oscar. Past years’ winners include Slumdog Millionaire, The King’s
Speech, and Precious. It’s voted on not by a panel of judges, but by
the moviegoers at the festival themselves. What this also means is
that sometimes a completely unknown movie — one with no “buzz” at all– can come out of left field, and take this award.
This year’s surprise is a film out of Lebanon, called:
The movie takes place in a small village, a town divided equally
between Muslims and Catholics. It’s surrounded by landmines, and all
too often, people get shot or blown up. Up at the top of a hill is the
graveyard where women dressed in black from both sides meet to bury
the dead. The town itself is peaceful, and after some brave kids
weather the landmines to set up an antenna, the mayor declares it’s TV
night in the town square, and everyone gathers to watch the blurry
The danger, though, is that the fragile peace will break, and the men
will start killing each other again in reprisals. So the women of the
village formulate a plan: anytime news about violence reaches the
village, they will hide it or distract the men. Gradually — with the
cooperation of the Priest and the Imam — their plans escalate and
their schemes get more and more elaborate. They stage religious
miracles, and even secretly bring in Eastern European strippers –
anything to hide the fact that someone in the village was killed in an
Will it work? Can they create an island of piece in turbulent Lebanon?
And will their final, shocking surprise serve to jolt the men away
from their never-ending violence?
I thought the movie had an extremely slow beginning, with a handmade
feel to it – sort of like an even-lower-budget Big Fat Greek Wedding
meets Little Mosque on the Prairie. It’s a comedy, but a lot of the
jokes fell flat. And it’s a musical, but some of the songs just don’t
translate well. The ensemble plot, with dozens of characters, leaves
you confused until you can figure out who everyone is.
That said, in the second half, when the pace picks up and the story
gets interesting, it becomes good. And the ending is just great –
clever and imaginative, and leaves you with a much better feeling
than you came with. Nadine Labaki – who is also a member of the cast – is
the first female director to win the TIFF People’s Choice award, and
it’s nice to see her touching story about an important topic given a
boost. I’m curious as to where the movie will go now.
Another movie that opened at the festival is
Ryan Gosling plays this guy in a satin jacket who drives cars around,
plain-looking cars but with souped-up engines that can outgun any
police car. He can tumble a car, flip it over on a highway, and
still remain absolutely calm, a Japanese toothpick still in his mouth. He’s the
strong silent type, good at heart. By day, he works in a garage, and
is sent out by his shady boss Shannon (Brian Cranston) to do movie
stunts. (This is LA, so, of course, it’s always about the movies.) And by night, he
serves as the driver for bank heists and robberies.
He falls into almost a family relationship with pretty waitress Irene
(Carey Mulligan), and her son, little Benicio, and takes them for
drives around the city. But when her husband, Standard, is released
from prison, his good life starts to fall apart and the violence
builds. He becomes embroiled in a scheme involving sinister gangsters
Rose and Nino (Albert Brooks and the great, neanderthalic Ron
Perlman). He ends up holding a dufflebag with a million dollars in
stolen money. What should he do with it? Will he settle down as a
champion stock car racer? Or will violence rule the day?
This is a fantastic — though sometimes horrifically violent, and
weird – movie. (Every once in a while you think – what is this? Is
this for real? Who are they trying to kid? You lose the connection for a moment, but then you slip right back into it.) It looks like a rejig of an 80’s movie like Thief,
with the driving bass (bubbadubba dubbadubba bubbadubba…) background music, and the
night scenes with glowing lights all around. The movie titles are
scribbled, Andy Warhol-style, in hot pink, and strange Eurodisco
dominates the soundtrack. The violence is almost comical, though
bloody. This is NOT your usual action thriller, but a clever, Danish
take on LA film noir. Great movie.
Next, another look at the louche underculture, this time in Manhattan
in the 90’s. A documentary
Peter Gatien, a Canadian nightclub promoter who lost an eye in a
hockey game as a kid, was known for his black eye patch, his canny
business practices, and how he had his hand on the pulse of all of New
York clublife in the 80’s and 90’s. He was a behind-the-scenes guy,
but he brought in demimonde celebs – the club kids – to bring in the
cool crowd. He opened famous places like Tunnel, the Palladium and
Limelight (not so affectionately known as slimelight by clubgoers) a
club opened inside of a church.
selfish and driven, to touchy-feelie, to insane. Giuliani vowed to
“clean up” the city. And he despised nightclubs, sex and dancing as
musch as drugs. Used to be the people in the burrows and New Jersey
would travel into the city on weekends for fun. By the end of his
reign, the term bridge and tunnel crowd seemed to be a better
description of the people in Manhattan who were so desperate they’d
migrate out of the city just to dance all night.
Well, Giuliani chose Peter Gatien, as his nemesis, and launched a
full-scale attack, an elaborate scheme to paint him as a drug dealer
and criminal. This movie traces, in minute detail, all the players
involved in his trial – the rats, the dealers, the feds, the femme
fatale, and the legendary club kids like murderer Michael Alig.
It’s an interesting movie, about a fascinating topic, with a great
segment giving a history of the evolution of music, nightclubs, and
drugs, worth seeing, but it’s just too long. It gets bogged down with way too many
talking heads against acid-green lighting.
Drive is playing now, Limelife opens today, and Where Do We Go Now?
won the 2011 People’s Choice Award at TIFF.
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web
site, Cultural Mining . com.
Fighters! Hotdocs Documentaries Reviewed, 2011. Better This World, Fightville, Open Secret, The Greatest Movie Ever Sold, Recessionize! For Fun and Profit! PLUS Alan Zweig
Hey, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM.
Toronto’s Hotdocs, which starts today, is one of the best documentary festivals in the world.
It features recent docs, including Canadian and world premiers, as well as exceptional films from the past. This year the festival is running a retrospective of Toronto filmmaker Alan Zweig’s work, including favourites like I, Curmudgeon and Vinyl, as well as the excellent and moving A Hard Name which follows the difficult lives of seven ex-cons released back into the city.
Many documentaries are about people facing a conflict; they choose either to fight it or to learn to accept it. Today I’m going to talk about movies playing at Hotdocs — films about fighters, people who like to fight, and people who are fighting the Powers That Be; and others who take the opposite route, the path of least resistance.
Dir: Katie Galloway and Kelly Duane de la Vega
When I read about stories like the seven guys in Miami who were arrested for conspiring to blow up the Sears Tower in Chicago for Osama bin Laden – even though they’ve never even been to Chicago and have no connection with Al Qaeda; or the Somali-American kid in Portland Oregon labeled as a Christmas Tree Bomber; or the Toronto 18 who were accused of plotting to blow up the Parliament building, I start to wonder how big a role did the government informants play in these stories, and whether anything at all would have happened had it not been for the government instigator.
Two young, idealistic best friends David McKay and Brad Crowder, who grew up in Midland, Texas, went to Minneapolis to protest the Republican Convention two years ago. You might have seen the footage of the police there clubbing, tear gassing and arresting hundreds of protestors, students and even journalists, while, inside the buildings, people like Sarah Palin were talking to sea of middle-aged, white, soon-to-be tea-partiers. Well, within the crowd outside were three guys – the two young best friends, and a supposed radical, Brandon Darby. The two friends were arrested by the FBI and called criminals and anarchist-terrorists, mainly by the much older FBI informant, Darby, who claimed they were there to blow up people – including sleeping policemen – using Molotov cocktails as part of their anti-war demonstrations.
This movie explores the events leading up to Brad and David’s arrests and the subsequent trials, including the use of government informants to create the supposed conspiracy, push it toward some yet-to-happen act of violence, and to entrap them into saying aloud some hypothetical phrase of intention.
This is an excellent — though at times extremely disheartening – documentary about how governments manufacture to order “criminals” where none previously existed, merely to fit into their quota of “War on Terror” political prisoners. Makes you want to cry…
Another type of fighter are the ones featured in the movie
Dir: Petra Epperlein and Michael Tucker
Directors of the fantastic Iraq War documentary Gunner Palace and its good sequel How to Fold a Flag are again dealing with young, poor American men; in this case, aspiring Mixed Martial Arts fighters from Lousiana.
Also called cage fighting or Ultimate Fighting, MMA has a reputation as an extremely violent sport akin to pro wrestling, without any referees, where the two fighters kick, punch, and beat each other up until one is nearly dead. This is its mythology, but none of it’s true. It’s actually safer than heavyweight boxing – the fighters wear smaller, lighter gloves, though because of the nature of the sport, does lead to small cuts and bruises, but not to the head injuries you get in boxing. It’s played in closely refereed rounds, with a match ending with a knockout, one player’s submission, or by a judgement. It looks like a combination of boxing, grappling, Brazilian jujitsu, muai thai kick boxing, and traditional wrestling down on the mat. In my opinion it’s the most interesting kind of fighting to watch, since it involves so many skills and so much training and strategy on the parts of the fighters.
This beautifully shot movie dispels the myths about Mixed martial arts, as it follows two amateur fighters, Dustin and Albert, as they try to make it from an amateur farm team to professional status. Will either of them make it to the pros? While not that dramatic a sports story, Fightville takes you behind the scenes, through all the stages of training and preparation for a fight, and shows Dustin and Albert both in their ordinary lives, and within the ring, with all the glamour and excitement that comes from an actual match.
Dir: Steve Lickteig
Steve Lickteig, an NPR brodcaster, grew up on a Kansas farm and lived his whole life knowing that he was adopted… but not knowing the open secret about his birth parents. The movie investigates his search for the truth that he was never told about as a child.
His oldest brothers and sisters were sworn to secrecy, and the younger ones were kept in the dark. The movie reveals part of the open secret in the first few minutes of the movie, so it’s no spoiler to say that he was actually an older sister’s child, and his parents were really his grandparents.
The movie follows him returning to his family – his sister/mother, and his parents aka grandparents. He also wants to know the truth about who his father was, what the reasons were for the strange arrangement, and more about his actual birth parents, his background, and whether he has other relatives.
Open Secret is above all a family memoir with the various members fighting and arguing, holding grudges, or reconciling, meeting or refusing to meet. If you’re into these types of daytime TV family stories, or if you’re familiar with the NPR personality who made it, then this is a good movie for you, but I have to say it didn’t do much for me.
Let’s move away now from fighting, resisting, and quarrelling and toward the opposite spectrum, to movies about buying into the system and going with the flow.
Dir: Morgan Spurlock
I can’t stand product placement on TV or in movies – it’s a pet peeve. Whether it’s as banal as working a brand name into an answer on Jeopardy!, or the ubiquitous Mac laptop magically appearing in most movies, it’s annoying, obnoxious, and intrusive. So Morgan “Super Size Me” Spurlock decided to make a movie in which every scene, every shot, and even the movie’s title itself, would have at least one product placement in it – and he would use product placement both to pay for the movie, and to provide its plot. It’s a very amusing, fast paced, and light comic take on advertising. Some of its cleverest moments is where he interviews people like Noam Chomsky and Ralph Nader about product placement, without them realizing there’s a brand name – a shoe, an underarm deodorant, a soft drink – appearing right beside them. And just because you know it’s there, it doesn’t mean it’s not working. Honest to God, I walked out of this movie with a strange desire to buy a bottle of pomegranate juice!
In a similar vein, and just as entertaining, is the Canadian documentary
Dir: Jaime Kastner
In a tongue-in-cheek look at the present-day grim effects of the economic meltdown and the recession that followed it, Kastner decides to look at the bright side instead. There’s money to be made out there, even in bad times, so he tracks down some unusual people adapting to the new economic realities. One of the more clever ones include a smartly dressed and perfectly coiffed woman who lives in a deluxe mansion with her family. The catch? She’s only there to make it look lived-in for potential real-estate buyers, and will have t move out the moment it’s sold. What does her teenaged son think about living in a place that has to be kept spotless? He says it’s major OCD territory!
And there’s also a great French guest house where people who feel their career is a rat-race can live for a weekend like a hamster, running in a giant wheel! Recessionize! is a lot of fun – an amusing, up-beat and fast-paced, TV style variety documentary.
The Hotdocs festival runs from Thursday April 28th to May 8th, and is free – no charge! – for rush seats during the day for anyone with a Student or Senior ID. Check this out online hotdocs.ca I think everyone should try to see at least one documentary, and Hotdocs is the best place to see them.
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, Cultural Mining dot com.
Movies that make you go Hmmm… Fair Game, Client 9: the Rise and Fall of Elliot Spitzer, Inside Job, My Suicide, Golden Slumber, 127 Hours PLUS Film Festivals: Rendezvous with Madness, ReelAsian, Waterloo Animation
Movies that make you go hmmm…
If you look back at the past decade and wonder what the hell was that all about? there are three good movies that provide some explanations.
Valerie Plame is a tough cookie. She works under deep cover for the CIA, recruiting local snitches around the world to gather intelligence on those inscrutable terrorists. She’s part of the group looking into the threat of a nuclear weapons in Iraq. She’s known as the agent who can’t be broken, even by torture. She’s married to a hothead, former diplomat, Wilson, a West Africa expert, who the CIA enlists to investigate rumours about yellowcake uranium coming out of Niger.
But their conclusions (they all hate Saddam Hussein too, but there are no weapons of mass destruction) do not sit well with the conspirers Cheney, Karl Rove, and their attack dog Scooter Libby. The movie traces what happens to Valerie and her family (and the drama sticks pretty close to the true story) when they expose her cover, and start to assassinate her husband’s character.
This movie’s a good historical take on the US government’s WMD scam (which led to the invasion of Iraq, more than a hundred thousand civilians dead and 4 million refugees). It tells a story where even the CIA comes across as one of the good guys. And Naomi Watts and Sean Penn are fun to watch, and the thriller aspect – of a spy escaping her foes – is not bad either.
So… a couple years after all this happened, things were brewing in New York City, on Wall Street, to be exact. The next movie, a documentary:
… looks at the case of the former Attorney General, and later Governor of New York, who was brought down in an embarrassing scandal involving a prostitute he slept with.
So what actually happened there?
Spitzer was, with great media and popular success – attacking the crooked dealers in the financial industry. He started low, but gradually worked his way into the belly of the beast. But, of course, he was getting on the nerves of some of the bigshots of Wall Street:
Crooked stock analysts at Merril Lynch; insider traders; NY Stock Exchange director Kenneth Langone; and the head of AIG, Hank Greenberg. (This documentary gets to interview everyone!)
As state governor, he added to his list of enemies – he sought out the fights and confrontations. But, of course, the bad guys fought back and cooked up an elaborate scheme using the sleazy, but fascinating, dirty trickster Roger Stone, to bring him down. Compiling published newspaper and magazine articles, interviews with the players, including the prostitutes and politicians involved, this compelling example of real investigative journalism traces the elaborate set-up to bring down the enemy of Wall Street, Albany, and Washington.
…takes up the story right where Client 9 ends. It traces the bigger picture of how the real estate and financial bubble led to the collapse of the world’s, and the later bailout and payoffs to the very men whose out-and-out conniving and fraud led to these problems. Politicos, Investment banks, and, interestingly, university professors are taken to task for their involvement. This is also a great documentary, but not as good as Client 9 in getting interviews with the players from both sides of the story.
Does all this stuff make you mad? Well, check out Rendezvous with Madness – a film festival that deals with addiction and mental health by showing some interesting movies, documentaries, and experimental films, combined with discussions right after the screenings.
One movie that caught my eye is called:
This is a fictional blog in movie form. A blog-movie. I’d call it a Bloovie.
Archie is pretty pissed off. He goes to high school, but doesn’t much like it. He has a crush on a beautiful girl named Sierra, and feels alienated from his parents. It’s a 90210-type high school, but he’s not one of the popular kids. So when his classmates are all told to make a movie (everyone in this film seems to have a video camera), he tells the class: He’s going to film his own suicide. He immediately gets driven away by a cop, and passed on to a parade of counselors, social workers and shrinks. But he also unwittingly becomes an underground antihero in the school, with lots of kids vowing to follow his example; and he finally meets up with seemingly perfect Sierra, the girl of his dreams.
This is a frenetic movie: It feels like an earnest episode of Degrassi, cranked up on a six pack of red bull. It’s also much dirtier, with sex, drugs, and some sad stuff too. It quotes TV news, commercials, educational films, and some excellent animated sequences – basically anything you can fit on a green screen behind the main character. A sad and shocking topic, but with an interesting and comic way of telling the story of teenage angst. It’s on tonight at 9; check out the details on http://www.rendezvouswithmadness.com
The Toronto ReelAsian International Film Festival shows great films from east and southeast Asia, including Japan, China, Korea, HK, and Vietnam, as well as movies from around the world.
The festival opened with the enjoyable retro kung fu flic “Gallants”. One interesting movie (that screens tonight) is:
Dir: Yoshihiro Nakamura
Aoyagi (Masato Sakai) is a friendly, ordinary, mild-mannered deliveryman. He was in the Food Culture Research Youth Group (dedicated to “friendship through fast food”) at university, lives in Sendai, and once was famous for 15 minutes when he rescued a pop star by tripping her attacker. He is bamboozled into going on a fishing trip with an old classmate which soon turns into a massive JFK/ Lee Harvey Oswald assassination plot to kill the Japanese PM. And he discovers that he’s the Oswald, and a whole lot of shady characters driving black cars are after him, as well as the even more bloodthirsty and venal press corps.
A pint-sized, teenaged serial killer becomes one of Aoyagi’s many de facto rescuers as he tries to clear his name. “Trust”, Aoyagi believes, “is mankind’s greatest strength.’
This is a neat movie: 50% paranoid conspiracy drama, 50% quirky black comedy, that follows Aoyagi and his various former college friends as the story unfolds in an unusual way. I love this kind of movie.
Another story of a man stuck in a hard place is the very enjoyable
Danny Boyle, of course, is the guy who brought us Slumdog Millionaire and Trainspotting; all his movies are fun to watch, but totally different from the last one he directed.
This one is an hour and a half of an adventurous, solo mountain climber (James Franco) who’s arm is pinned in a fissure by a big hunk o’ rock… in the middle of nowhere.
And the only way out might be by cutting off his own arm. This is a true story, so if you’ve seen pictures of the guy (Aron Ralston) you’ll know what he did in the end. So how does he keep your attention? A guy stuck in a rock for an hour and a half? Well this is a great movie, that isn’t trapped in the tiny space. I don’t like overly claustrophobic, squashed-in movies. This one reaches out, it goes wherever Aron’s mind, dreams, fantasies, hallucinations, and memories take him. There is an extended episode of extreme grotesquerie, but other than that, it’s a greatly enjoyable movie about a man attempting to overcome nature using his will and logic, without resorting to prayer and salvation.
And if you’re in the Kitchener/Waterloo area, be sure to check out the 10th annual Waterloo Festival for Animated Cinema – it’s filled with animated features from places like Eastern Europe and Japan, ranging from anime, to fairy tales to psychedelia – sounds pretty cool. Look for the details on wfac.ca
Hallowe’en Special! Movies reviewed: My Soul to Take, Hereafter, The Girl who kicked the Hornet’s Nest, LA Zombie, Cold Fish
Toronto is a scary place – and I don’t just mean the city elections this week. Our new mayor is… Biff Tannen! And I saw a couple hundred zombies marching through Kensington market last Saturday. But it’s about to get even scarier — this is Hallowe’en weekend, when everyone wants to see a scary, gory, spooky, otherwordly, gripping, chilling, or thrilling movie. So today I’m going to look at five Hallowe’eny movies: a slasher-horror pic, a spooky drama, a gripping thriller, and two more that played at TIFF this year.
My Soul to Take
Dir: Wes Craven
Like the Agatha Christie classic Ten Little Indians, this slasher pic has seven seventeen-year-olds each wondering who’s going to get killed next. You see, 17 years ago a crazed, serial killer kicked the bucket just as his widow was giving birth prematurely. And at the same hospital, six others were born the same day… they became a nerd, a jock, a Jane Austen Christian, a blind guy, a snobby girl, a family kid, and one more, Bug, who is slightly whack: he periodically slips into a Tourettes-like state where he imitates the voices of the other six preemies. So which one’s the slasher? Or is he possessing someone? Or maybe the original killer’s still alive and hiding in the woods?
And you know what? It doesn’t really matter in the end; getting there is most of the fun. It’s a Wes Craven movie – (the guy who directed the Scream series and wrote A Nightmare on Elm St) so you can be there’ll be lots of bathroom mirror scenes, shadowy killers in costume, and an equal number of red herrings. It’s interesting to watch, the characters are funny, and even though it’s mainly formulaic, it’s enjoyable. It’s also bloody and violent. What it wasn’t, though, it wasn’t especially scary.
My Soul to Take is a fun one to watch with a group of friends on All Hallow’s Eve.
Dir: Clint Eastwood
What happens after you die? And if life goes on, is there any contact between life and the afterlife? This movie (very, very slowly) follows three separate story lines trying to answer this question. Matt Damon plays a San Francisco psychic who thinks his gift is a curse: every time George touches someone else skin, he is hit by a vision of the dead who want to talk to her. So he decides to work instead in a sugar warehouse. Meanwhile, Marie (C»cile De France), an intelligent Parisian tele-journalist and her producer/lover encounter disaster in the tropics, and her near-death experience leads her to explore the boundary between life and death. Finally, a pair of somber, identical twin brothers, being raised by a junky mother in London, encounter death as well. Will they ever be able to communicate again?
OK, Herafter is not a bad drama, and I’ll watch practically anything with a hint of magic or the supernatural, but its glacial pace, and lugubrious tone combined with a non-religious angel motif, make it feel mostly like a big-budget episode of Ghost Whisperer (“He says he forgives you… now, walk into the light”). The three storylines eventually come together, but at least for the first half hour, I wondered is it going to go on like this for whole movie – unfinished story after unfinished story? It’s not really scary at all, it’s Clint Eastwood, at the age of 80, telling a relaxing tale of people pondering life and death. See it if you like sipping warm cocoa on Halowe’en.
The Girl Who Kicked the Hornet’s Nest
Dir: Daniel Alfredson
Lisbeth Salander and journalist Blomkvist are back again for part three of their story. Lisbeth, is a fantastic character, a cross between Steve McQueen and Tank Girl. She’s tuff, she’s rough, she’s stone cold. She’s a punk, she’s a loner, she’s an ex-con, she’s a computer genius. And Blomkvist, the committed leftist investigative journalist at the Swedish magazine Millenium, will do anything he can to help her. The last movie ended with a bloody shoot out, and this one starts up immediately afterwards, with Lisbeth, near death in a hospital, charged with attempted murder, and Blomkvist on the verge of uncovering a cold-war era conspiracy involving government, police, and psychiatry.
So the two sides gear up for the long fight, culminating in a bug trial. On one side they’re all trying to uncover the truth about the conspiracy and get it to print before the trial. But the bad guys – mainly a bunch of old Swedish guys in suits – will stop at nothing – including murder, intimidation, and character assassination – to keep the secrets secret. The pale blue-eyed and goateed psychiatrist, Dr Teleborian, is especially sinister, with his plans to use the veneer of psychiatry to hide his true motives.
And then there’s the wildcards on both sides, including Niedermeier, the giant blond thug who can feel no pain, and Plague, the shy, secretive computer geek extraordinaire.
So, I liked it a lot, as a conclusion to the three-part movie series. I think it’s much better to see the first two before you watch this one. I also missed the beautiful cinematic camerawork of Dragon Tattoo – this one was much more indoors, with pedestrian TV-like scenes, and without all of the unexpected plot revelations of the first two.
But it’s still worth seeing. I love rooting for the heroes when they barely escape a killer, and mentally cheering when the villains mess up. (The Girl who Kicked the Hornet’s Nest feels more like a BBC detective miniseries — not a bad thing to be) This movie is two and a half hours long, so be prepared for a slow start with a good payoff. You’ll need lots of Hallowe’en popcorn for this one.
Dir: Bruce LaBruce
A muscle bound monster emerges out of a Pacific beach like a creature from the black lagoon. All around him is violence – shootouts in the ravines, murder in drug deals gone wrong, cars spilling off the highways, and the slow violence graduaully crushing the homeless and undocumented of downtown Los Angeles. The zombie monster (porn actor Francois Sagat) is observing all and is saddened by it.
But unlike the voraciously eating- zombies we usually see, who inflict their condition on the living, this one is a sort of a messiah. Through the disgusting – but gentle – sex he has with all the newly dead corpses he encounters – and it’s always gay sex with male corpses, by the way – he brings the bodies back to life. The strangely-coloured semen that comes out of his grotesquely-shaped penis is a panacea: ejaculation equals rejuvenation.
L.A. Zombie is a violent and gory zombie movie, with very few lines, but with lots of colourful, pornographic gay sex between a gentle zombie and the spilt organs of fresh corpses. More than anything else, it’s also an experimental art film, at times quite beautiful, with extended tableaux, urban landscapes and sunsets, and some documentary-looking footage of the marginal and lost beings of Los Angeles. By the end you get the impression that the zombie scenes are just the imaginary fantasies of a destitute, muscle-bound, mentally-ill homeless guy.
L.A. Zombie turns the Hallowe’en monster-as-villain paradigm upside down, and shows that the real monster… is us.
Dir: Sono Shion
This movie also played at the Toronto Film Festival. I see a couple hundred movies every year, and I don’t normally leave a movie shaking, googly-eyed, saying “what the fuck was that?!” to total strangers. But I did after this ultimate, extreme Japanese exploitation film about a mild-mannered Shizuoka tropical fish dealer who is pulled into the sway of an aggressive entrepreneur and serial killer.
Based on a true story, Shamato is a wimpy widower who owns a tropical fish store. His young, second wife shops with her eyes closed and cooks rice in a microwave. His teenaged daughter Mitsuko is dating a hood and shoplifts for fun. He seeks solace in the peace of the local planetarium. But soon his miserable existance is altered by a hyper-enthusiastic entrepreneur, Murata, who tells him “Business is entertainment!” Soon, Mitsuko is living in his big box store dorm working as a glamour fish salesgirl wearing hotpants and a tanktop, and his wife is also on Murata’s side (after an attack/rape scene that “pulls her out of her wretched life…”) All is not well.
Shamato is soon made an unwitting accomplice in a crooked fish scam, bilking investors in a “rare”, ugly amazon fish venture. Soon he discovers Murata and his wife don’t just defraud investors, they also kill them in a most awful way, inside a tiny church. They glory in the blood and guts, sexually playing with their organs and body parts, and joyfully disposing of the remaining flesh and bones, drenching them with soy sauce and roasting them in an outdoor barbecue!
It’s up to milquetoast Shamato either to become a willing part of their awful lives or to fight back and stop it forever.
What can I say? This has got to be the most depraved exploitation film I’ve ever seen. It’s joining of sex and death makes even Miike seem tame, and LA Zombie is like a gentle glimpse of flowers and rainbows in comparison. Definitely one of the most horrific movies ever, Cold Fish retains its credibility (without sinking to the “Saw” level of pornographic torture.) The most shocking and disturbing movie of the year.
Family Ties. Movies Reviewed: Boy, A Windigo Tale, Score: a Hockey Musical, Conviction plus ImagineNative festival
This week, I’m talking about four very different movies, two dramas, a comedy drama, and a comic musical, that all deal with family members and family ties: brother/sister; father/son; parents/son; mother/daughter; grandfather/grandson.
But first, let me tell you a bit about the 11th annual ImagineNative film and media arts festival that’s on right now in downtown Toronto. It’s a cultural celebration of First Nations, Inuit, and international aboriginal and indigenous artists and filmmakers, from Canada – urban, rural, and northern – Latin America, as well as Asia and the Pacific, and Europe. There are movies – short films and features, mainstream and experimental — lectures, workshops, art exhibits, installations, and multimedia events, including radio podcasts, and online new media sites. So tons of contemporary media and current issues and artforms. Lots of free exhibits going on, and films every night in the Spadina and Bloor area. You should definitely check this out – look online at http://www.ImagineNative.org
ImagineNative started with a screening of
It’s the early 1980s, in a small town in New Zealand. Boy – that’s his name – lives there with his Nana, his little brother, Rocky, and a bunch of cousins. His mom died when he was young, and he can barely remember his dad who took off years ago with some petty hoods in a sort of a biker gang called the Crazy Horses. Boy’s waiting for his promised return to take him away from all this and to see a Michael Jackson concert in the big city. But when his grandmother leaves town for a few days to go to a funeral, who shows up but his dad – for real (played by the director, Waititi.)
He’s up to no good though, and Boy has to reconcile his hood-y pothead of a dad with the hero he had been expecting. Whenever reality gets too hard to handle, Boy retreats into his fantasies, and recasts things – in his mond – like visualizing a bar brawl as a Michael Jackson Beat It video. (His little brother Rocky, on the other hand, imagines he has super powers, and is laden with guilt thinking he’s the one who caused all the bad events in his life.)
This is sort of a sad story, but the tone is light enough, and there are enough very funny scenes that it’s not a downer of a movie at all. It reminded me a lot of a movie from a couple years ago called Son of Ranbow, but Boy’s a bit more serious, less comical. It also gives a realistic glimpse of Maori life in the 80‘s – something I’ve never seen before.
The actors, especially the two kids, (Te Aho Aho Eketone-Whitu, and James Rolleston), and their dad (Waititi) were great. And as a special bonus, there’s even a dance scene in the final credits that’s a mash-up of a Michael Jackson video mixed with a Maori Haka war dance (looked like the Kama Te haka usually performed by the All Blacks rugby team, but his one in full 80s video regalia!)
The closing night movie is a Toronto premier called:
The Windigo is a legendary being – it’s a starving, cannibalistic creature that you can turn into either while you’re alive or else after you die; it comes to eat you up and carries the spirits of the people it eats in its belly. Taking off its clothes will take it out of the body, and burning the bones will get rid of it.
In this movie, Joey is a high school drop-out who wears his hiphop gang colours. He’s communing with his grandfather (Gary Farmer) who tells him their family history and secrets in the form of a folktale.
Lily, and her white boyfriend, David, have driven up so she can talk to her mom, Doris. Lily was sent away from there 15 years before, and blames her mother for abandoning her. And at the same time there’s a reunion – of sorts — of Six Nations people who had been sent to the residential schools – the notorious Canadian religious and educational system that isolated, abused, and even killed natives for generations.
All these story lines are going on at the same time. Doris is sure the Windigo is in the air. Strange things start to happen. Can she fight the Windigo and the demons of her history she carries with her? The story goes back and forth between the serious, realistic family drama and Doris and Lily’s violently spiritual encounter with a Windigo. Interesting movie. It packs in a lot of stories and plotlines for a 90-minute picture, so I found it a bit confusing over what was the story, what was a flashback, and what was the story-in-the-story. But it’s a totally watchable movie with interesting characters, good acting – especially Jani Lauzon as Doris – and deals with an important, dark part of Canadian and native history that’s only coming to light very recently.
Next, a much lighter Canadian story:
A hockey musical? Yup, that’s what is, no more, no less.
Farley (Noah Reid) and Eve are next door neighbours in Toronto who communicate late at night using a clothesline running between their two houses. She has a crush in him, but he’s more interested in playing a game of shinny with his hockey buds. He gets discovered by an agent who books him as the next hockey star. But, raised by hippy parents who frown upon competition and deplore hockey violence, he’s caught between two worlds. He’s a lover not a fighter. Will he be the next Sidney Crosbie? Will he learn to fight in the rink? Will he be accepted by the hard-ass team coach? And will he ever get together with his starry-eyed neighbour Eve?
It’s a cute movie, very Canadian both in the good sense and the bad, if you know what I mean. Good in that it shows real Canadian topics, national “in” jokes, tons of can-con straight out of an old “I am Canadian” beer ad, but bad in that it’s super corny and cheesy and baaaad in a lot of places, with some real groaner punchlines, and some truly lame lyrics. (Some great ones, too.) The singing’s uneven – ranging from the clear tones of Olivia Newton-John to the sort of voices that should never leave the shower. And one of the dance scenes looks artificially sped-up. But it doesn’t matter – I laughed out loud a lot, and I just took it for what it was – a 90-minute-long, all-Canadian piss in the snow. Score is not a hockey musical, it’s the hockey musical. (And one’s enough.)
And finally, another family drama,
Betty Anne and Kevin are a brother and sister who grew up together in very hard circumstances with neglectful parents and a series of foster homes. But at least they had each other. Kevin (Sam Rockwell) is a high-spirited class-clown type guy, but he also is in and out of trouble with the cops, usually just for mischief. But he gets charged and later convicted of a heinous, vile rape and murder and is sent off to prison for life. His wife testifies against him, and she takes their little daughter away. Betty Anne (Hilary Swank) is sure he didn’t do it, so she makes it her life goal to set him free. She goes to law school and, twenty years later, with the help of a friend, Abra (Minnie Driver) she tries to bring his case back to court. Will she succeed and save her brother? And was he innocent or guilty?
Based on a true story, this has a movie-of-the-week feel to it. It is a tear jerker, got a couple of tears, and it’s an uplifting story, but it’s not the kinda movie I normally go to see. I should also say the acting is all great, including an almost unrecognizable Juliette Lewis as a shady trial witness – she’s fantastic.
Just to review, today I talked about Boy, and A Windigo Tale, two of the many cool movies playing at ImagineNative, which is happening now through Sunday: look online at http://www.imaginenative.org/ ; Conviction (now playing), and Score: the Hockey Musical – which opens tomorrow.