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.

Hereafter
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.

LA Zombie
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.

Finally,

Cold Fish
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

Boy
Director/Writer: Taika Waititi
The Canadian premier of a popular, new New Zealand movie.

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:

A Windigo Tale
Dir: Armand Garnet Ruffo.

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:

Score: a Hockey Musical
Director/Writer: Michael McGowan

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,

Conviction
Dir: Tony Goldwyn

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.

%d bloggers like this: