Mommies and Dollies. Films Reviewed: Mommy, Annabelle

Posted in 1960s, Academy Awards, Acting, Canada, Cultural Mining, Family, Horror, Mental Illness, Movies, Quebec by CulturalMining.com on October 3, 2014

ncr_not_criminally_responsible_1Hi, 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.

This week is Mental Health Awareness week – John Kastner’s NFB documentary NCR: Not Criminally Responsible (listen to my interview with John here) is playing at the Bloor Cinema, and Rendezvous the-maze-poster-courtesy-of-nick-youngwith Madness and the Psychiatry Department at U of T is showing William Kurelek’s: the Maze by filmmakers Nick and Zack Young (listen to my interview with Zack Young here), at the TIFF Bell Lightbox.

This week, though, I’m talking about innocent-sounding movies about mommies and pretty dollies. But they’re not as innocent as you might think. One’s a Quebec drama about a mother trying to control her ADHD son; the other’s an American chiller about a mother trying to save her baby from an evil doll.

64634-MOMMY_Poster_27x39_EnglishMommy
Dir: Xavier Dolan

Diane (Anne Dorval) is enjoying her life as a single woman in suburban Montreal. Her son’s away at boarding school, she has a steady job, and she’s flirting with that rich lawyer who lives around the corner. She dresses for flash-effect, with lots of shiny and pink. But calamity strikes. Her son Steve is kicked out of school after a violent incident and she loses her job.

Steve-o (Antoine-Olivier Pilon) is a foul-mouthed teenager with ADHD. He wears his blond hair in a retro style, with a neck chain, T-shirt and jeans. He’s hyper-sexualized with pale skin and rubbery features. The kind of guy who looks as likely to punch you in the face as to kiss you. He’s a foul-mouthed, socially misfit, sexually charged and violent. But you can see where he 62558-000060890018 MOMMY_AOPilon1-CreditPhoto_Shayne Laverdièregets it from – Diane is as gutter-friendly as he is. It’s up to her to get him to settle down and pass his tests. Trouble is he’s virtually uncontrollable, and she’s not big on parenting skills, so their lessons end up in violent fights.

In walks the psychologically-damaged ex-school teacher who lives next door. Kyla (Suzanne Clement) is shy, withdrawn and speaks with a severe stammer due to something bad in her past. Her husband’s a dull computer programmer, her daughter equally reserved. But she soon finds her place as the 65106-ADorval1 MOMMY_ADorval1_CreditPhoto_Shayne Laverdièrethird element in Diane and Steve’s dysfunctional family. She becomes his teacher and dog trainer. But can the fragile bonds holding them together last?

Mommy is a reworking of Xavier Dolan’s simple, perfect, and highly personal first film J’ai Tue Ma Mere, made when he was still a teenager. Four films later, Mommy is far more sophisticated and complex in plot, script and character. Dorval replays the mother, but in a performance that is more three-dimensional, less camp. Dolan was sympathetic playing a bullied gay teen, but, with Pillon as the teenager, we get a kid who is as much misunderstood victim as bully. I get the feeling Dolan the director (necessarily) restrains Dolan the actor, but when he’s just behind the camera, he can let his characters loose. Steve is free to forge forth, like a river bursting a dam. This movie has dynamic, shocking and hilarious performances from all three actors. It’s a great film.

Mommy is Canada’s choice for Best Foreign Language movie at the Oscars, and I hope it wins — it really deserves it.

Annabelle-movie-posterAnnabelle
Dir: John R. Leonetti

It’s the late 1960s in central California. Mia and John (Annabelle Wallis, Ward Horton) are a perfect-looking, church-going blond couple. New home, new car, he’s finishing medical school, she’s expecting their baby really soon. Mia collects antique dolls, so John buys her one to complete her set. And everything is just perfect, until…

…their lives are shockingly disrupted by an unexpected visit by Annabelle, their next door neighbours’ daughter. Anabelle ran away from home and joined a Charles Manson-style satanic cult. After that horrific incident, Mia says she tumblr_naxuq2kn0J1tgg8wlo1_500no longer feels safe there with the new baby. And the huge doll she used to like so much is creeping her out. Strange things start to happen around it, involving a sewing machine, a rocking chair, and a package of jiffy pop. So they move out of the suburbs and into a downtown apartment.

Hubby is away most of the time, so he’s oblivious but accommodating. He thinks his wife’s gone whack from post-partum depression, but Mia knows there’s evil tumblr_nckmr45Wtb1tgg8wlo1_1280around her. And it wants her baby. She sees scary things everywhere: strange noises… the sign of the bull… a girl in a white nightgown… a rocking chair… an old-fashioned elevator… and that damned doll that keeps coming back! It seems to turn everything bad, somehow. So she turns for advice to kindly Father Perez (Tony Amendola) and Evelyn, a mysterious bookstore owner, with a penchant for the occult (Alfre Woodard). But are they all too late? And is Mia strong enough to overcome the evil forces that have invaded her once-happy life?tumblr_ncs2p2jlcH1tgg8wlo1_1280

I saw this movie because it’s a prequel to The Conjuring, a movie that scared my pants off last year. So how does it copmpare? Not as scary, the acting not as compelling, the plot has lots of holes in it, and the script is weak with some unintentionally awful lines. It has few visual effects (though the sound effects are fantastic, one of the scariest things about the movie). And the story is a bit too Jesus-y for my taste. But is Annabelle scary? You bet it is.

Annabel Wallis is good as Mia — picture Madmen, but from Betty Draper’s point-of-view – beautiful but suspicious, lonely, paranoid and petulant. Annabelle is not perfect, but it works as a good and scary chiller-thriller — perfect for a late-night date.

sam-coleman-and-jennifer-grausman-1-art-and-craft-interview-daniel-garber-c2a9-jeff-harrisMommy and Annabelle both open today in Toronto – check your local listings. Also opening is the wonderful documentary Art and Craft about an eccentric art forger who gives his paintings away. (You can listen to my interview with filmmakers Sam Coleman and Jennifer Grausman here).

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

Stars as Commodities. Film Reviewed: The Congress PLUS TIFF14 Whiplash, Mommy, Heartbeat

Posted in Animation, Canada, Cultural Mining, LGBT, Mental Illness, Movies, Pop Art, Quebec, Queer, Science Fiction by CulturalMining.com on August 28, 2014

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.

Are movies and movie stars and their images commodities? Things that can be bought sold and traded, just like stocks and bond, like bitcoins and pork belly futures? In some ways, they are. International film festivals — like TIFF, which opens in Toronto in less than a week — are partly there to put films on the market. This week I’m going to talk about an unusual new film about movie stars as commodities, and, first, three must-see films coming to TIFF.

One movie that jumped out at me and slapped me in the face is

282f0eaa028d2851cd1689724e8a76deWhiplash
Dir: Damien Chazelle

Andrew (Miles Teller) is a 19-year-old drummer just starting at a prestigious music conservatory who is spotted by Fletcher a music teacher (JK Simmonds). He’s allowed to audition for their award- winning jazz band, and feels everything is turning out great. But he soon discovers that Fletcher is a cruel and twisted perfectionist, who brings his players up to the top, and then has them crash down into the dirt again. He treats them worse than the toughest marine sergeant in Full Metal Jacket. The acting, the passion and the relentless tension in this movie is just incredible… you gotta see it. Don’t want to say Oscar bells are already ringing, but… Whiplash definitely deserves one.

434c654375241fb0e9419d0e7af58f03Mommy

(Dir) Xavier Dolan

Another great movie is Quebecois director Xavier Dolan’s latest, Mommy. It’s a reworking of his first film J’ai Tue Ma Mere, but takes it to a new level. Steve-o (Antoine Olivier-Pilon) is a working-class, foul-mouthed teenager with ADHD. He’s kicked out of boarding school and sent home to his single mom Diane (Anne Dorval) who is as gutter-friendly, violent and sexually charged as her boy. It’s up to Kyla, the psychologically-damaged ex-school teacher next door, to try to fix things and keep Steve from being locked up. Dynamic, shocking and hilarious performances from all three actors, Mommy is not to be missed.

Also catch a gentle, quirky, musical story called

ad8a5b8174106f7e916e8a3c98a356afHeartbeat
Dir: Andrea Dorfman

Justine (Tanya Davis) is a creative soul trapped in a boring cubicle job in Halifax. Her best friend is in babyland, her artist-boyfriend-with-benefits Ben has dumped her, and she dresses in her late grandma’s wardrobe. But when she starts jamming with Ruby (Stephanie Clattenburg) she met in a music store window, things begin tot look up. Justine starts to Esty-fy her wardrobe and arts-and-crafts her love life. Heartbeat starts slowly but toasts like a marshmallow on a stick, ending strangely shaped, but crispy, gooey, warm and delicious.

Look out for Heartbeat, Whiplash and Mommy at TIFF.
Robin Wright Congress Affiche
The Congress
Dir: Ari Forman

Robin Wright (Robin Wright) is an over-the-hill movie star who just ekes out a living. She lives beside desert airport with her jaded hollywood daughter Sarah and her innocent but ill son Aaron (Kodi Smit-McFee). She needs money to keep him safe. One day her agent (Harveyt Keitel) makes her an offer she can’t refuse.

A studio wants to buy her name, face, image, voice… basically everything, to turn her back  into a superstar. And theyre giving her a huge contract and a starring role in countless big budget action movies. The catch? She’s not allowed to act or appear in public ever again. Huh?

You see, they want to scan her to make a CGI image that will take her place in all 1233023_407824875984836_624904373_ofuture roles. A star who never ages, never gets into scandals, and never has tantrums on-set. It’s all digital.

Will she do it? 20 years in the future, they up the ante.

They invite her to give a speech at a mysterious Congress, where she — like everyone else — exists only as an animated image of herself. Sort of a Second Life only more so. With the help of Dylan (Jon Hamm), a handsome cartoon character 1048616_380428355391155_743806434_owho created her image himself, she tries to escape from this strange psychedelic cartoon version of her world, and maybe save her now-adult son.

This is a super-bizarre movie, filled with glorious animation modeled on Max Fleischer-type characters from the 1920s and 30s mixed with 1960s psychedelia. At parts I’m totally into it, but other parts have dismally awful lines. Its flawed, not perfect, but worth seeing if your into mind-stretching and super-weird fantasy epics.

The Congress opens today, check your local listings, and Heartbeat, Mommy, and Whiplash are all playing at TIFF which starts up next Thursday. Details at tiff.net.

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

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