Exploding. Films reviewed: Atlantics, The Mystery of Henri Pick, Waves

Posted in Africa, African-Americans, Books, Death, Drama, France, High School, Movies, Mystery, Poverty, Romance by CulturalMining.com on November 22, 2019

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

Toronto Fall film festivals this weekend include Blood in the Snow, featuring Canadian horror and genre films, with the festival’s first short film from Newfoundland called New Woman. And CineFranco features French-language films from Ontario and around the world.

This week I’m looking at three new movies about metaphoric explosions. There’s a literary explosion in France, spontaneous combustion of a marital bed in Senegal, and a highschool wr3stle4 in Florida who feels ready to explode.

Atlantics

Wri/Dir Mati Diop

It’s Dakar, Senegal.

Ada (Mame Bineta Sane) is a pretty young woman set to marry a guy named Omar. He drives a swank car, lives in an expensive apartment and comes from a rich family. So why isn’t she happy? Because she’s in love with Suleiman (Traore) a handsome construction worker, building a monstrous tower in the city. She made out with him in the sand just yesterday – they’re a committed couple. Ada wants to hang with her friends Fanta and Dior at a beachside bar, not cooped up in a kitchen as a good pious wife.

But what she doesn’t realize is Suleiman has disappeared. None of the construction workers ever got paid, so they all hopped aboard a sailboat for a chance at better work in Europe. This means the kiss on the beach may have been their last one. So she goes ahead with the wedding, until… weird things start to happen. Their marital bed burst into flames. Strange-looking people appear inside high-security condos demanding retribution. And a diligent police inspector thinks Ada and Suleiman are behind it all. Will Ada marry her true love or the arranged marriage? And what is the cause of these supernatural events in downtown Dakar?

Atlantics is a fascinating study of life in urban west Africa seen through the eyes of a young woman. It combines contemporary problems – wealth distribution, the spread of viruses, and migrant workers – with a dose of magic realism. It’s shot around the Atlantic beaches of Dakar giving it all a glowing and haunting feel, an entirely new image unseen in west African films.

Atlantics is Senegal’s choice for best foreign film Oscar.

The Mystery of Henri Pick

Wri/Dir: Rémi Bezançon

Daphné and Fred are a young couple in Brittany with a literary bent. Daphné works for a major publisher and Fred is promoting his first novel. They have high hopes. So when Jean Michel Rouche (Fabrice Luchini) – the hugely popular TV literary critic – skips the promised review of his book (sorry, we’re out of time) they are both deeply disappointed. To pull herself out of the dumps, she visits a unique bookstore only for the “refusée”. That is, manuscripts that have been rejected by publishers.

And after looking at shelf after shelf of terrible writing she finds a masterpiece, a passionate love story about the dying days of Russian poet Alexander Pushkin! It’s erotic and sublime, a literary gem. She rushes it to her publisher, an instant bestseller. What’s especially intriguing is it was written by a certain Henri Pick, a pizza maker who died two years earlier. To promote the book, Daphné brings Henri’s widow and his adult daughter Joséphine (Camille Cottin) to Paris for an interview with the book critic, live on TV.

But things go awry when Rouche says he doesn’t believe a pizza maker – who owns no books and has never written a word in his life – could have penned such a masterpiece. In the mayhem that ensues he’s fired from the TV show and his wife leaves him. But he won’t let it drop. Soon he’s travelling across the country to find out who really wrote the novel. Was it Henri Pick? And will Jean Michel’s obsession lead to his ruin?

They Mystery of Henri Pick is a light comedy with a literary twist. It’s cute, somewhat funny, and well acted, with lots of cameos by greats like Hanna Schygulla. And it gives you a peek into the complex and arcane world of the French literary obsession.

Entertaining movie.

Waves

Wri/Dir: Trey Edward Shults

Tyler (Kelvin Harrison Jr) is a Florida high school senior headed for glory. He’s a champion wrestler, a top student and in love with his girlfriend Alexis. He lives in a beautiful upper middle class home with his father (Sterling K Brown) his mom (Renée Elise Goldsberry) and his sister Emily (Taylor Russell). Hhis doctor tells him to take it easy – he’s straining his body to the point of permanent injury, and the pain is getting worse. But his dad is pressuring him to win! win! win! for ultimate success. And the opiates he’s popping to stop the pain are messing up his mind. Until…he can’t take it anymore and it all explodes in a terrible event.

But wait… the movie is only half over!

Waves is basically two short films played back to back. The second film takes place later on, this one focussing on Tyler’s sister Emily. Emily is still at a school where her brother’s name is a pariah. She’s pursued by the sympathetic Luke (Lucas Hedges), one of Tyler’s wrestling teammates. What does he want from her?

Meanwhile her father finally opens up to his neglected daughter: was everything his fault for pushing his son too hard?

Waves is an unusual family drama, told in two related stories. Does its two-part structure work? Ultimately yes, though at first it left me feeling confused and puzzled. Beautifully shot with nice music, Waves also has a uniformly good cast, but Kelvin Harrison Jr in particular is terrific. Following his great performances in It Comes at Night and Luce, Harrison is once again playing a teenaged boy with a dark side, each time creating an entirely different (and almost unrecognizable) new character.

Shults with Harrison is a force to be reckoned with.

Waves opens today in Toronto; check your local lostings; Atlantics starts at the TIFF Bell Lightbox, and The Mystery of Henri Pick is playing at the Hotdocs Cinema as part of Cinefranco.

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

Birth, Death, Birth. Films reviewed: Dead Dicks, In Safe Hands, The Report

Posted in Adoption, Bipolar, Canada, Family, France, Horror, Politics, Suspense, Suspicion, Terrorism, Torture, US by CulturalMining.com on November 15, 2019

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

Fall festival season continues in Toronto, with ReelAsian ending tonight and the EU Film Fest still going strong. Coming soon are Blood in the Snow (aka BITS), featuring Canadian Horror and Genre movies, and CineFranco with French language movies, from Canada and around the world.

This week I’m looking at three movies, two about births and two about deaths. We’ve got mysterious rebirths wanted by no one, a newborn infant wanted by everyone, and a horrifying CIA program they want no one to know anything about.

Dead Dicks

Wri/Dir: Chris Bavota, Lee Paula Springer

Becca (Jillian Harris) is a young bartender who works downtown. But much of her time is filled with taking care of her big brother Richie (Heston Horwin). Richie is a depressed artist with anger issues given to playing music full blast while scribbling in his sketchbook. When there parents died he served as the adult in the family, but now the roles are reversed. She’s forced to deal with his angry neighbours and make sure he takes his meds. So when she she is called away from her job by frantic texts, she thinks this is just another one of Richie’s episodes. But it’s not.

She arrives to see an apartment in disarray, with a huge mouldy patch formed above his bed, and Richie wandering around naked, in a daze. His brain feels fuzzy he says. Turns out he killed himself just a few minutes before. And almost immediately expelled, fully grown, through a hole in the wall. But the dead body he left behind is still there, hanging in the closet. And another one in the bathtub, and another one in the kitchen. Living Richie is surrounded by all the dead Dicks from his repeated suicide attempts. He’s experimenting, he says.

But that leaves Richie and Becka with a pile of dead Dicks to get rid of, a mysterious birth canal on his wall and an angry neighbour (Matt Keyes) who could get them arrested by threatening to call the cops. What is causing all these rebirths? What does it mean? And what are the unanticipated consequences?

Dead Dicks is a bizarre, low budget film, part horror, part mystery, part comedy. The film does not encourage death by suicide. Rather, It deals with issues of family and mental illness, within a weird fantasy setting. It manages to be grotesque and gruesome, with very few special effects, and an absurd humorous streak running through it.

In Safe Hands (Pupille)

Dir: Jeanne Herry

It’s present-day Brest, in French Brittany.

A young woman arrives at a hospital in labour. She’s a college student and says the pregnancy is the result of a one-night stand, and says she doesn’t want the baby. This starts a dozen gears spinning into action, notifying dozens of doctors, nurses, psychiatrists, midwives, social workers, foster parents, and adoption agencies. And little Theo, the baby, is the centre of attention. He is transferred to an incubator, with lots of faces peering down at him. But can his lack of contact with his birth mother damage him for life? Or will a concerted effort place this baby into safe loving hands?

In Safe Hands is mainly a dramatization of the process of birth and adoption, but there are a few interestingside plots along the way. Jean (Gilles Lellouche) is a married dad who takes care ofhis own daughter and two troubled foster boys who takes care of Theo as he awaits adoption. Karine (Sandine Kiberlain) works for the adoption and fostering program and has a thing for Jean… but will an affair upset the adoption process? Alice Langlois (Élodie Bouchez) is single and works describing action at live plays for the visually impaired. She applied for adoption when she was attached. A social worker is concerned both for the privacy of the birth mother and of the baby who might one day wish to get in contact with her. And many, many others, all centred around a wordless, Yodalike baby who seems to take everything in. It was interesting from a parenting and adoption point of view, exposing all the hidden parts of the mechanism of adoption, but isn’t very satisfying as a dramatic or romantic movie, more just as an educational docudrama, as acted by famous French movie stars.

The Report

Wri/Dir: Scott Z. Burns

It’s post 9-11 Washington, DC.

Dan Jones (Adam Driver) is a young college grad appointed to a group to write a bipartisan internal report on the CIA for the Senate Intelligence Committee. The committee is headed b Sen. Diane Feinstein (Annette Bening). Dan is locked up in a dark basement in a nameless bureaucratic and told to find out what the CIA has done since 9/11. It turns out their practices, supposedly enacted to stop terrorism, were immoral, illegal and of no value whatsoever for intelligence. Specifically, he uncovers the practice of “enhanced interrogation techniques,” a policy previously known as torture and banned by the Geneva Convention.

They were under the direction of two psychologists, James Mitchell and John Bruce Jessen (Douglas Hodge and T Ryder Smith) working on contract with no experience in interrogation. They stripped prisoners naked, chained them to walls, waterboarded them and nailed them – live – into wooden coffins, covering their skin with crawling insects. The torture yielded no intel, yet was repeated for many years in blacksites around the world.

Dan outlines these heinous war crimes in a long report to the committee, shocking senators by its findings. But instead of offering support and investgating their own lawbreakers, the CIA initiates a coverup, threatening Dan himself with jail time if he releases his findings. And the CIA sends operatives to spy on the Senate itself in order to coverup the findings. Will Dan Jones’s report ever see the light of day? And will the war criminals be punished?

The Report is a good political drama about the illegal use of torture by the CIA, but a thriller it’s not. It incorporates elements of All the President’s Men, and is nicely shot with lots of fluorescent lights and stark, brutalist architecture. Driver is great as the persistent policy geek, with an understated Bening as a veteran Senator. Warning: there are a few highly disturbing reenactments of the torture itself, which are extremely hard to watch. Much more common are the reenactments of the culprits – John Yoo, Jose Rodrigues, John Brennan (Ted Levine), Cheney, and the psychologists – war criminals who leave a very bad taste in one’s mouth.

I liked this one.

Dead Dicks will be playing at Blood in the Snow, In Safe Hands at Cinefranco, and The Report at the Tiff Bell Lightbox all starting one week from today.

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

Not Marvel Movies. Films reviewed: The Irishman, Last Christmas, Midway

Posted in 1940s, 1960s, 1970s, Christmas, Corruption, Crime, Cuba, Hawaii, Romantic Comedy, UK, Unions, War, Woody Harrelson, WWII by CulturalMining.com on November 8, 2019

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

Martin Scorsese recently wrote that tentpole movies, like ones that Marvel makes, are hogging a disproportionate share of Hollywood bucks. This squeezes traditional, medium-budget, one-off films out of the picture. Luckilly, they’re not all gone.  This week, I’m looking at three films – a crime drama, a war movie and a rom-com – without superheroes.

The Irishman

Dir: Martin Scorsese

It’s the 1950s.

Frank Sheeran (Robert De Niro) is a truck driver who delivers beef hindquarters. When his truck breaks down on the highway, a strange man offers advice on how to fix it. He’s Russell Buffalino (Joe Pesci) a mob boss in Pennsylvania. When Sheeran is caught stealing beef, Russell supplies a lawyer, thus starting a longtime relationship between the trucker and the Mafia. And Teamsters, the truckers union, stands with them all the way. Soon Frank is doing a different kind of work for Russell: he paints houses. Which really means he’s a hitman for the mob. Despite his Irish background, he speaks Italian: he served in the Army in Anzio in WWII. Soon they’re thick as thieves, and Frank enjoys the benefits, but Russell is always the boss.

Eventually he’s sent to Jimmy Hoffa (Al Pacino), the head of Teamsters as a bodyguard, as well as the middleman between Hoffa and the mob. Hoffa is a brash firebrand, an old-school union organizer with legions of loyal members. He’s also an extremely powerful leader, and he controls the union’s pension. This means he can finance Las Vegas casinos with cash, something banks refuse to do. And he gives money to the Nixon campaign, a rare instance of a labour union officially supporting a Republican. But friction grows between Hoffa and the mafia until the day Hoffa mysteriously disappears without a trace, his body never found. What happened to Jimmy Hoffa?

The Irishman is narrated by Frank in an old age home, which gives it the feel of an old man’s movie. It’s a Forest Gump for gangsters, with Frank somehow tied to all the major events of the 60s and 70s: The Kennedies, Bay of Pigs, Jimmy Hoffa disappearance, to name just a few. This film has some problems: the CGI de-aged faces look wooden; female characters have virtually no lines – they just scowl and disapprove; and it’s missing the sharp edges and sexual zing of Scorsese’s early movies.

That said, I was never bored; I was glued to the screen the whole time. Pacino is fantastic as Jimmie Hoffa, and Scorsese’s movies are always superior.

The quality of filmmaking is superb and The Irishman tells a great story.

Last Christmas

Dir: Paul Feig

Kate (Emilia Clarke) is an quirky, aspiring young singer in London. By day she’s a cute little green elf, working in a kitschy, Christmas-themed gift shop run by a prickly boss named Santa (Michelle Yeoh). By night, she’s a barfly, sleeping with any guy she fancies, a different one each night. Ever since her operation, she’s been depressed. She’s embarrassed by her Yugoslavian family, and her singing career is going nowhere fast. She’s on a downward spiral of self-pity and self desctruction… until she meets Tom (Henry Golding).

Tom is everything Kate is not. He’s saintly, altruistic and generous. While Kate looks down and sees garbage tips, Tom looks up and sees tropical birds and quaint old signs. He takes her on a walk to show her the hidden side of London – a secret garden where people go to be alone; a soup kitchen for the homeless (he’s a volunteer), a deserted skating rink. Is it love? But he disappears for days at a time. What secret is he hiding? Is this true love? And can their relationship keep them together?

Last Christmas is a cute Romcom about a depressed woman coming out of her shell and her happy-go-lucky, would-be boyfriend. Emma Thompson plays Kate’s weepy Croatian mom and she also co-wrote the script. It’s cute and heartwarming… but not that funny.

Michelle Yeoh is terrific as a middle-aged woman still on the hunt, and Clarke and Golding make an appealing romantic couple. There is a totally surprising twist which brought tears to my eyes – No Spoiler – which left me with a bit more than I expected.

Midway

Dir: Roland Emmerich

It’s 1941, with war raging across Europe, China and the Pacific. But the US is cautiously viewing it from the sidelines. Dick Best (Ed Screin) is a gum chewing pilot based in Pearl Harbour. He’s a daredevil dive bomber, showing off his new techniques. Also on board the aircraft carrier is his rival, a by-the-books officer named McClusky (Luke Evans). He says Dick is a cowboy who should stop showing off. But while their aircraft carrier is out at sea, all the ships in Pearl Harbour are wiped out in a surprise attack by the Japanese, pulling the US into WWII.

Only Edwin Layton (Patrick Wilson) – the intel expert on Japan – predicted it. And he thinks a crucial battle up ahead: the Battle of Midway, an island in the South Pacific. Midway is a point crucial for control of the Pacific: if Layton is right, whoever wins the battle will win the war; it’s just a matter of time.

Midway is a dramatization of the years leading up to the naval battle of Midway, and the intense fight that follow: in submarines, on aircraft carriers and in planes overhead. It’s filtered through the eyes of lantern-jawed military figures like Jimmy Doolittle ( Aaron Eckhardt), Admiral Nimitz (Woody Harrelson) Vice Adm Bull Halsey (Dennis Quaid), and many semi-fictional sailors and pilots in various acts of bravery… like Bruno Gaido (Nick Jonas, of the Jonas brothers!). The story also switches back and forth to the Japanese side, with Admirals Nagumo, Yamaguchi and Yamamoto plotting to defeat the Americans.

Midway is exactly the sort of movie I can’t stand – yet another tired war pic about a long-forgotten battle, filled with smarmy patriotism. But I went to the press screening, and guess what? I actually really liked Midway! Fantastic special effects, complex battles shown in an easy-to-follow way, good acting, and great characters. Japanese are portrayed respectfully, not as hokey villains, but without covering up their war crimes in Eastern China. Like The Irishman, women are there mainly to worry about their husbands. It’s two hours, twenty minutes long, but the thrills keep you staring, rapt, till it’s over. I’m sure a lot of critics are going to compare it (unfavourably) with Dunkirk, but to me Midway is more thrilling, less ponderous.

Midway and Last Christmas both start today in Toronto; check your local listings. And The Irishman is screening at the TIFF Bell Lightbox, also beginning today.

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

Record/Erase. Films reviewed: Synonyms, News from Home

Posted in Belgium, Clash of Cultures, comedy, documentary, France, Israel, New York City, soldier by CulturalMining.com on November 1, 2019

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

It’s November now and Toronto’s fall film festival season is in full swing. ReelAsian is showing films from Asia – including Japan, Korea, China, Philippines in the Pacific, South Asian, and from the Asian diaspora from around the world, including Canada and the US. Films include dramas, comedies, anime, documentaries, art and again this year virtual reality, with a piece based on the work of Joy Kogawa. Cinefranco shows French language films, this year featuring movies by Franco-Ontarian directors. The EU Film Fest, which started last night, shows one film from each country in the European Union. This still includes the U.K., in case you’re wondering, despite all the Brexit craziness. And more to the point, all films are showing for free at the Royal Cinema!

This week, I’m looking at two movies, one from the 1970s and one from right now. There’s a filmmaker from Bruxelles who moves to New York to record what she sees; and a man from Israel who moves to Paris to erase who he is.

Synonyms

Dir: Nadav Lapid

Yoav (Tom Mercier) is a traveller who arrives in Paris with a plan: learn French, blend in with the culture, recreate himself. life. He’s originally from Israel, a sniper in the army, and wants to get rid of his past. And he’s helped toward his goal by a series of unexpected events, both good and bad. Good news: He arrives at a B’n’B with a key to an empty apartment. Bad news: When he takes a shower the next morning, everything he owns – all his clothes, his money, his passport – is gone stolen by a stranger. He ends up running naked through the apartment trying to catch the thief, ending up curled in a foetal position, almost frozen. Good news: an attractive young couple, Emile and Caroline (Quentin Dolmaire and Louise Chevillotte), find him and nurse him back to health. And better news, they give him some beautiful clothes to wear, help him find a place to live, andmore. Bad news: despite trying to erase his Israeli past, all his jobs seem to be with forner soldier buddies or at the embassy itself, with unexpected consequences.

What begins as simple flirtation turns into a potential love affair… but with whom: Emile or Caroline?

Synonyms is a dark comedy about conflicting identity, immigration, and clashing cultures. It’s partly a tender ménage a trois about a stranger introduced into the lives of a young couple. It’s also an absurdist comedy, satirizing Israeli military culture, its overt masculinity (verging on the homoerotic in a number of scenes), as well as a paranoid fixation on persecution, with themselves as victims. And it equally satirizes the immigration process in France, in which newcomers are instructed to assimilate, to hide their religion and ethnicity beneath a veil of loyalty to secularism, and the French way of life. The director previously brought us the equally strange and brilliant film The Kindergarten Teacher (I reviewed here) a few years back. This film, Synonyms is completely different, and much lighter in tone, but equally perplexing. And Tom Mercier, in the main role, is someone you should look out for.

News from Home

Dir: Chantal Akerman

It’s 1976 in lower Manhattan. Huge cadillacs cruise through empty alleys in the meatpacking district, leaving loose newspapers fluttering in their wake. On the subway, riders glare at the camera, or stare wide-eyed in curiosity. In the tunnels beneath Times Square, mom’s with toddlers, people commuting to work, and businessmen with their buddies walk past a stationary 16 mm camera. Through a moving car window, storefronts and gas stations and taxis and pedestrians walk up and down a West side avenue. This is a moment in time captured in architectural grandeur by avant garde filmmaker Chantal Akerman.

And over the top you can hear her voice reading the letters, largely unanswered, her mother Nelly sends her from Belgium. Her mother is worried their separation could be permanent, or worse dangerous, and sneaks twenty dollar bills into the enevelopes in case her daughter is in trouble. (Nelly’s own parents were killed in Nazi death camps.) The film itself is both drab and hypnotic, a series of ordinary, detached images of people and places that act like a time capsule; combined with deeply intimate glances into her relationship with her mom.

You may have heard Chantal Akerman’s name before but probably haven’t seen her work.

But her influence is everywhere. I was just describing one of her earliest films, News From Home. She went onto make many films, both mainstream and avant-garde. She was a pioneer in Feminist cinema, queer cinema, and experimental film.

She was also a tempestuous perfectionist and hard to work with, falling into depressed funks or driven by manic episodes. At the same time, she is hugely influential. Todd Haynes studied her work, Gus van Sant used it as a source for Last Days, his film about Kurt Cobain, and people as different as Sofia Coppola and Weerasathakul Apichatpong were shaped by Akerman’s work. You may not know this, but even films like Joker used News From Home as a model for its images of NY City in the 70s.

I am far from an expert on Chantal Akerman – I’m a movie critic not a filmmaker – but if you’re a director, a cinema studies majors, or a film festival enthusiast, the current retrospective is a rare opportunity to see her work in its entirety. And thanks to Andrea Picard, co-curator of the program: most of what I’m saying is based on cribbed notes from a talk she gave on Akerman.

Synonyms starts today in Toronto; check your local listings. The retrospective News From Home: the films of Chantal Akerman begins today at the TIFF Bell Lightbox.

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

Time. Films reviewed: Anthem of a Teenage Prophet, Jordan River Anderson: The Messenger, Pain and Glory

Posted in Canada, documentary, Indigenous, LGBT, Movies, Romance, Spain, Suburbs, Supernatural, Theatre by CulturalMining.com on October 25, 2019

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

Time is malleable. This week I’m looking at three examinations of time. There’s a Spanish drama about a director reclaiming his past, a YA drama about a teen who can see the future, and a documentary about the present-day problems of indigenous, special-needs kids.

Anthem of a Teenage Prophet

Dir: Robin Hays

It’s 1997 in small-town Stokum, Michigan. Luke (Cameron Monaghan) is a highschooler in small town. He’s into skating, music and art. He lives with his straightlaced dad and flaky mom (Juliette Lewis). He used to climb towers with the tall and wiry Fang (Grayson Gabriel) his best friend since kindergarten, but they had a falling out. Now he’s hanging with Stan, a popular B-ball jock, and Stan’s girlfriend Faith (Peyton List). But everything changes when he follows Stan to a party at Fang’s place. After lots of drinking and smoking, Luke has a vision: Someone will be killed in the morning in a hit-and-run just outside their school. They dismiss this as a stoner daydream, but record it on video, just for fun. And sure enough, best friend Stan winds up dead, exactly as predicted.

Eyewitness news picks up the story and soon there are media trucks parked out on his front lawn. He’s stared at at school, and somehow blamed for Stan’s death. Only Faith stands up for him. Will his prophetic dreams continue and can he use it to save people from dying? Are Faith and Luke just mourning Stan or is their something more between them? And what happened between Luke and Fang that soured their friendship, and will they ever make up?

Anthem of a Teenage Prophet is based on a popular YA novel, and holds many of its standard features: rudderless youth looking for meaning, potential love story, friendship, bullying, and prejudice; and a hint of the supernatural. And it’s set in the late 90s, a world of Thrasher, Mortal Combat, white rap and ironic T-shirts. Beautiful scenery (it was actually shot in BC) nice soundtrack and credible acting, Anthem is a good, though not great, teen movie.

Jordan River Anderson, The Messenger

Dir: Alanis Obomsawin

Norway House is a beautiful Cree community in northern Manitoba. But, due to pregnancy complications, little Jordan River Anderson was born in a Winnipeg Children’s Hospital. There he received constant attention from doctors, therapists and experts helping the boy communicate and understand what was going on around him. He was partially paralyzed, could not speak and breathed using a respirator. But he could only spend limited time with his parents and family since he needed constant care. Most special-needs kids are eventually sent from hospital to their parents home or a halfway house with caregivers near to their family. But Jordan never left the hospital – he died there. Neither the province nor the federal government would put up the funds it required for the move, care and refurbishing.

Why? Because he’s indigenous.

Enter Cindy Blackstock, a lawyer and social worker specializing in indigenous cases. She crafts a bill, The Jordan Principle, to ensure no child would be left unfunded to to intergovernmental disputes. It is passed unanimously in the House of Commons. Jordan’s Principle says that a child of need will be cared for by the first level of governmental contacted. All is well. Sadly no. Not a single kid is helped since it’s passage. The government budgets the funds to fight Jordans Principle in court, but not a penny more in its budget to pay for care needed for indigenous special needs kids.

Jordan River Anderson The Messenger is the sixth in a series of documentaries by Alanis Obomsawin, outlining the struggles between First Nations and the Canadian government since the founding of this country. It follows Blackstocks legal battles and the very personal stories, captured in photos and home videos, by Jordan and other indigenous families with special needs kids. This is a one-hour documentary that deals with a heartbreaking story, but one that ends on a hopeful note.

Photo of Alanis Obomsawin by Jeff Harris.

Pain and Glory

Wri/Dir: Pedro Almodovar

It’s present day Madrid. Salvador (Antonio Banderas) is a celebrated Spanish director at the peak of his career. He is looking back at his old notebooks, and letters, taking stock of his life. And he finds it miserable. His body is failing him, his creative well has gone dry. No sex, no love, no pleasure aside from swimming. But as he looks at his life two periods come back to him. As a child he lives with his mother (Penelope Cruz), who takes in laundry, and his father. They are forced to make their home in whitewashed caves, underground. But young Salvador (Asier Flores) is a precocious lad, singled out for his talent by a priest at his school. He teaches a handsome teenaged bricklayer Eduardo (César Vicente) how to read and write. In return poses for a painting by Eduardo. Little Salvador idolizes Eduardo but doesn’t understand his feelings. With his parents now gone, what remains from his childhood?

The other period he reflects on is making his first movie in the early 1980s. It is being shown at the Cinematheque in Madrid, and they want him to appear alongside that films lead actor Alberto (Asier Etxeandia). The problem is Alberto is a heroin addict, hates Salvadors guts and they haven’t seen each other for more than thirty years, What was the scandal that led to such a long lasting grudge? Can it be mended? And who is the missing piece in that puzzle?

Pain and Glory is a fantastic and fascinating autobiographical film by Pedro Almodover. It is ostensibly fictional, the names have been changed, but is clearly based largely on Almodovars life. It plays with time, character and genre, flashing back to early times, and repeating short scenes with subtle differences. It starts with Salvador writing a book, but somewhere, secretly turns into him crafting a film, leaving the viewer to piece it together. Lush and colorful, moving and funny, Pain and Glory is an intricate recreation of Almodovars own life andwork.

Pain and Glory starts today, and Anthem of a Teenage Prophet starts next Friday in Toronto; check your local listings; and Jordan River Anderson, The Messenger is one of many movies at ImagineNATIVE through Sunday.

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

Daniel Garber talks with filmmaker Robert Eggers about The Lighthouse

Posted in 1800s, Art, Drama, Dreams, Fantasy, Horror, Mystery, Nova Scotia, Sex by CulturalMining.com on October 17, 2019

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

Photo of Robert Eggers by Jeff Harris

It’s the 19th century on a rocky Atlantic island. An old salt and a young jack tar share threadbare lodgings. Their job? Keep a lighthouse burning to warn all passing boats of potential danger. The old man is there for the long haul, while the younger one seems to be a temporary replacement. But as the isolation grows they become increasingly unhinged as they try to keep their senses… in the lighthouse.

The Lighthouse is a new film about life in a lighthouse as seen through the fantastical minds of the two men living there. It’s written and directed by Robert Eggers, his second feature after The VVitch.

This interview was recorded onsite during TIFF 19.

The Lighthouse opens next Friday (Oct 25, 2019) in Toronto.

Flashbacks, Comebacks and Backlash. Films reviewed: Dolce Fine Giornata, Gemini Man, Dolemite is My Name

Posted in Action, African-Americans, comedy, Drama, Italy, Movies, Poland, Science Fiction, Suspicion by CulturalMining.com on October 11, 2019

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

This week I’m looking at three movies: a period comedy, a Euro dramedy and a sci-fi action movie. There’s a hitman facing a real-life flashback, a poet facing a public backlash, and a comedian looking for a comeback.

Dolce Fine Giornata

Dir: Jacek Borcuch

It’s the near future in Volterra, a picturesque town in Tuscany.

Maria Linde (Krystyna Janda), a Polish poet, is celebrating her 65th birthday after recently winning the Nobel Prize. All her loves and accomplishments are gathered around the town’s most illustrious member. Her docile husband, her beautiful daughter Anna (Kasia Smutniak), and her playful grandchildren are all there, along with a conceptual artist who installed a replica of poet Ezra Pound’s cage in the town square; a French journalist, and various other dignitaries. She’s especially enamoured of Nazeer (Lorenzo de Moor) a handsome young Egyptian Copt who runs a nearby taverna. And Chief of Police Lodovici (Vincent Riotta) drops by with a warning: refugees have escaped from a detention camp, so be on the lookout. Maria is on top of the world, and feels free to mention anything that crosses her mind no matter how controversial.

But xenophobia is increasing as locals blame migrants and refugees for their problems. And when fear and loathing reach a fever pitch following a bombing in Rome, Maria feels it’s time to speak up. As a child of Holocaust survivors, Maria understands the plight of refugees, so she gives an impassioned speech in the Town Hall. The speech goes viral. But poetic language reduced to sound bites means big trouble – for her family, her friends and the whole town. Can she stop the angry digital mobs before they reach her doorstep? Or has she crossed the line?

Dolce Fine Giornata is a sardonic look at contemporary Europe, both the good and the bad, as seen through the eyes of an older woman, and how dark prejudices fester even in gorgeous locations. The dialogue is in equal parts Polish and Italian, with polyglot family members switching back and forth. It looks at older people dealing with social networks and the pile-on criticism it brings. This is a lower-budget, character- and dialogue-centric story, so don’t expect thousands of angry villagers weilding pitchforks. Most of the action – arson, explosions, bullying – happens off camera. Although the film’s political standpoint left me scratching my head, the interplay between characters was subtle and pleasing.

Gemini Man

Dir: Ang Lee

Henry Brogan is a 50 year-old Georgian fond of fishing, scotch and puzzles. He’s also a legendary hitman, with over 72 kills under his belt. He works for the Defence Intelligence Agency, or DIA, killing terrorists the world over. But when he almost kills a little girl he decides it’s time to retire. Easier said than done. Almost immediately, a kill squad is sent to take Henry out.

Who is trying to kill him, andwhy? Certain corrupt members of the DIA, and the head of Gemini, a private military contractor similar to Blackwater. Clay Verris (Clive Owen) has been working for years on Gemini’s new weapon and thinks it’s ready to try out. That weapon is the Gemini Man, a killer who anticipates every move Henry makes.

His life in imminent danger, Henry enters fight-or-flight mode. He contacts his oldest friend Baron (Benedict Wong) an aviation specialist, and a newfriend Danny (Mary Elizabeth Winstead). She was sent by the DIA to spy on Henry, but is now a trusted ally. But the Gemini Man, who goes by the name Junior, is identical to Henry, only younger, faster and stronger. Who is he, and how does he work. The answer is simple – and this is not a spoiler. Junior is Henry’s clone, trained from birth by Clay himself. Can Henry outwit himself without killing him? Or is this the end?

Gemini Man is an action movie directed by the legenday Ang Lee. It’s got amazing locations, from a scenic Belgian train station, to sun-drenched Caragena, to the catacombs of Budapest, which make it gorgeous to watch. And there are some good motorcycle chases and unusual fight scenes. But it doesn’t save the movie from a fatal flaw. Junior, Henry’s clone, is not played by a younger Will Smith; he’s a CGI. And it just looks fake. There’s no soul, no brain, no emotions here… just some pixels. Our brains are still sophisticated enough to tell humans from algorthyms. Action movies can succeed without stellar actors or blockbuster scripts, but if the central special effect doesn’t work, then neither does the film.

Dolemite is my Name

Dir: Craig Brewer

It’s the 1970s in LA. Rudy Ray Moore (Eddie Murphy) is a former pop musician whose career has fizzled. He used to have hit singles on the radio, but now he loads singles onto record store shelves. And his night job is as emcee telling tired jokes at a rundown nightclub. Until he comes up with an idea. In prisons and on street corners, hoboes, panhandlers and ex-cons have for years shared stories about a mythical figure called Dolemite. He’s a man with legendary wit, guile and powers of seduction.

With a tape recorder in hand, Rudy Ray collects the jokes from local homeless men and puts together a new routine. The difference is, instead of telling Dolemite jokes, he becomes Dolemite. He’s an instant hit. With a flashy suit, pimp hat and a wooden staff, Dolemite dominates the stage with his rhythmic rap. He cuts a record but the language is too filthy for any of the big labels to handle. So he sells them wrapped in brown paper out of his trunk as he tours black nightclubs on the chitlin circuit. There he meets the voluminous Lady Reed (Da’vine Joy Randolph). He sees her deck a man who hits her, and says this is the second act I’ve been looking for. He signs her on the spot.

Dolemite is a hit, but it’s still small time. He wants something bigger. So he manages to convince a noted playwright Jerry Jones (Keegan Michael Key) and a director D’urville Martin (a googly-eyed Wesley Snipes) to come on board. Together they plan to make a blaxploitation movie. They turn a boarded up flophouse into their studio and get film students to handle the lights and cameras. But can this crew make an actual movie? And would anyone watch it?

Dolemite is a hilariously clever and brilliant look at 1970s Blaxploitation. I am not a fan of Eddie Murphy, especially after decades of abysmal comedies. He was permanently crossed off my list. But he is so good in this movie I have to rethink my preconceptions and leave them at the door. Based on a true story, Dolemite is a perfect blend of 70s music, dialogue and situations. It’s a lot like The Disaster Artist only much, much funnier.

If you like the 70s, you’ve gotta see Dolemite.

Dolemite is my Name, Dolce Fine Giornata, both open today at the TIFF Bell Lightbox. And Gemini Man also open today in Toronto; check your local listings

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

 

Solving problems. Films reviewed: Sometimes Always Never, The Laundromat, Chiko

Posted in Berlin, comedy, Corruption, Crime, Drama, Family, Games, Scandal, UK by CulturalMining.com on October 8, 2019

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

Toronto’s Fall Festival Season is in full swing this October. Look out for Toronto After Dark – scary and fantastic films; Rendezvous with Madness – films on addiction and mental health; Planet in Focus focussing on environmental films for its 20th anniversary; ImagineNative with movies by and about indigenous peoples around the world… and many more.

But this week I’m looking at three movies, from Germany, the U.K. and the US. There’s a gangster who turns to drugs to find success, a grandpa who turns to word games to find his missing son, and an older woman who turns to amateur sluething to find the bad guys.

Sometimes Always Never

Dir: Carl Hunter

Alan (Bill Nighy) is a dapper businessman in small town England. He likes Marmite, tea and scrabble. He’s meeting his estranged, adult son Peter (Sam Riley) to view a body at a remote village morgue. Alan’s other son ran away decades ago, disappearing without a trace. Could this be him? When the body turns out be the son of another couple, Margaret and Arthur (Jenny Agutter, Tim McInnerney), Alan follows Peter home. It’s an excuse to finally meet his daughter-in-law Sue (Alice Lowe) and grandson Jack (Louis Healy). Won’t you stay for dinner? The evening turns into an extended visit as Alan insinuates himself into their homelife, sharing a bunk bed in Jack’s room. The teenager is a shy introvert who spends all his time gaming online. To change his life, his grandfather gets him a haircut and a custom-made suit. He’s a tailor, you see. The movie’s title refers to which buttons to button on a three-button suit. Top to bottom: sometimes, always, never.

Alan’s obsession with Scrabble has a lot to do with his missing son, who ran away in the middle of a game. It’s what separates him from his son – but will it bring them back together? – and influences his relations with Margaret and Arthur, the couple he met at the bed & breakfast. But can a board game bring his missing son home again?

Sometimes Always Never is a clever, funny and touching look at family life in small-town, northern England. Lots of twists in the plot, and enough wordplay to make the whole script feel like an ongoing Scrabble game. It does walk the fine line between charming and twee. The movie, though set in the present day, is drenched in sets, props, costumes, and style from an earlier era. But Bill Nighy, Alice Lowe and the rest are so good you can excuse a bit of excess quirky cuteness.

I like this movie.

The Laundromat

Dir: Steven Soderbergh

Mossack and Fonseca (Gary Oldman, Antonio Banderas) are a pair of rich lawyers who operate out of Panama. They like flashy tuxedos, palm trees and vodka martinis. Why are they so rich? Their firm holds the secrets of dictators, billionaires, drug dealers, corporations, celebrities and politicians the world over. Through the use of off-shore banking, shell corporations and absolute secrecy, they launder untold billions.

Enter Ellen (Meryl Streep), an everywoman who loses her husband in a freak accident on their wedding anniversary. Turns out the accident insurance on the boat tour they took (it sank) was bogus. Later the condo she buys in Las Vegas with her husband’s life insurance is snatched away by some Russian oligarchs. So she begins to investigate. All these companies – real estate, insurance, banking – seem to operate out of offices in the Caribbean. But when she goes to confront the CEO of the company giving her the runaround, she discovers it’s just a series of post office boxes. Can she follow their trail to Panama? And will the villains ever pay?

The Laundromat is a series of fables to explain the money laundering and tax evasion brought to light by the Panama Papers, a mammoth data haul leaked to the press by an anonymous whistleblower. Mossack and Fonseca themselves tell the story in episodic form, regularly turning toward the camera to look right at you. At the beginning of the movie I was giggling at its audacity and unexpected form – I couldn’t wait to see Soderbergh’s next trick. The trouble is, that were no other gimmicks. He flogs the same dead horse – this is just a movie, they’re all actors, that’s a green screen behind them – for the whole 90 minutes! Just when you start caring a bit, Soderbergh makes sure to remind you it’s not real, it’s just a game. I admit there’s one surprising twist near the end.… but it’s immediately followed by a slice of earnest Americana so cringe-worthy it would make a nine-year-old squirm in embarrassment.

The Laudromat just doesn’t work.

Chiko

Wri/Dir: Özgür Yildirim

Chiko (Denis Moschitto) is a young Berliner trying to get ahead. His parents came to Germany from Turkey as Gastarbeiters in the 60s, and he still hangs with other Turkish Germans. Especially his two best friend, Tibet (Volkan Özcan) and Curly. Together they beat up and rob a local cannabis dealer. But instead of running away, Chiko asks to meet his boss.

Brownie (Moritz Bleibtreu — he’s in Bye Bye Germany, The Fifth Estate, My Best Enemy) is a crime boss living a comfortable middle-class life. He ends up hiring the scrappy Chiko on a trial run, moving ten keys of cannabis. Chiko exalts in his new wealth and woos the Turkish-German prostitite Meryam (Reyhan Sahin) in the apartment next door. Is it true love or just a financial transaction?

Meanwhile, Tibet, trying to save money for his mom’s kidney operation, short-changes customers. Brownie’s thugs arrive to punish him… by hammering a nail through his foot!  This leads to a series of escalating events. Chiko graduates to coke dealing, and buys a white Mercedes with gold hubcaps to match his new image. As Chiko rises to the top like Scarface, Tibet’s falls into a downward spiral, his seething anger getting worse and worse. Finally Chiko has to choose: kingpin Brownie or his former best friend Tibet? Which commands his loyalty – friendship or business?

Chiko is a cool and violent crime drama set in urban Germany. It’s a melodrama in the best sense. Moschitto is terrific as Chiko: the criminal, the lover, the anti-hero. I liked this film and found it very moving, both the acting and the realistic, almost documentary-like peek inside the mosques, corner-stores and restaurants of Berlin. Of course it also has what you expect from a good crime drama: chase scenes, shootouts, and fights. And it’s playing as part of the Goethe Film’s Stronger than Blood, a series of crime dramas.

Sometimes Always Never opens today in Toronto; check your local listings. The Laundromat starts today, with Chiko playing one night only, October 8th, also at the TIFF Bell Lightbox.

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

Climb every mountain. Films reviewed: Abominable, Monos

Posted in Animation, Canada, China, Colombia, Kids, Tibet, Uncategorized, violence, War by CulturalMining.com on September 27, 2019

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

The majesty and beauty of mountains makes some people stare in awe, while others see it as a personal goal – something to climb, claim or conquer. This week I’m looking at two new movies about mountains. There’s a group of kids in China on their way to a mountain as they protect a mythical beast; and a group of kids in Colombia holding a hostage on top of a mountain as they fight an inner beast.

Abominable

Dir: Jill Culton, Todd Wilderman

Yi is a teen who lives with her mom and her grandmother Nai-Nai in a downtown Shanghai apartment. She’s saving the money from three parttime jobs to travel across China in the path of her late father, a musician. But her life is turned upside down when an enormous furry creature appeared on her roof. He has white hair, a huge mouth and pale blue eyes that stare longingly at a nearby billboard advertising Mount Everest. It’s his home, and he wants to go back.

Standing in his path are Mr Burnish a billionaire CEO, and a zoological scientist named Zara. Everest is a Yeti, the legendary Tibetan creature, never captured until Beamish enterprizes nabbed him. They want their specimen back, dead or alive. But Yi has other plans. Along with her two neighbours – the selfie-obsessed Jin and the basketball dribbler Peng – they set out on a journey across China. Can they save Everest and bring him back to his homeleand? Or will they all end up captives in a corporate lab in Shanghai?

Abominable is a fun and exciting animated movie for little kids. It’s full of cultural references, from the classic Ming Dynasty novel Journey to the West (西遊記), to the classic ’80s film ET: Yi lures the creature with a trail of steamed dumplings instead of Reece’s Pieces, and the alien creature is “Yeti” not “E.T.”. But it’s also fun and original in its own right, with exciting magic, humour, action and the sentimental bits you need to make it worthwhile. I saw it with an audience of small children and they loved most of it, but were frightened when it looked like the heroes were going to die (Spoiler Alert: they don’t die… ’cause it’s a kids movie!)

Voices include Chloe Bennet (Crazy Rich Asians) as Yi, and Tenzing Norgay Trainor as Jin. Fun fact: if the name sounds familiar it’s because he’s the grandson of Tenzing Norgay, the Nepali-Tibetan Sherpa who climbed Mt Everest with Edmond Hillary.

Abominable is fun movie for kids that grown ups can enjoy too.

Monos

Dir: Alejandro Landes

On a mountaintop somewhere in Colombia a multi-ethnic, multi-gendered group of “monos” – cool, cute teenagers – are fooling around. They’re stylin’ with hip hairstyles and military outfits. They play games like blindfolded soccer, where you kick a ball with bells attached, into a net that makes noise. Or one-on-one wrestling matches, combining martial arts, modern dance and Capoeira. Everyone has a nickname reflecting something about them: Smurf is young and cute, Lady is pretty, Rambo’s a fighter, Swede is light-skinned, Lobo is wolflike… plus Dog, Bigfoot, and Boom Boom. Some even pair off as couples.

Their only contact with the outside world is a staticky two-way radio and a diminutive, muscular man who visits them every so often. He’s from The Organization, a cryptic paramilitary group fighting the government. Their assignment is to guard an American woman they call Doctora. The girls braid her hair and the boys invite her to play in their games. The problem is she’s a hostage of The Organization, and a potential source of power and money. So when things go wrong, the monos take sides and start fighting each other. And when the enemy bombards them with missiles. things turn into a co-ed Lord Of The Flies. Can they stick together in peace and harmony? Or will outside pressure, internal divisions, and harsh military culture lead to harm and even death?

Monos is an aesthetically beautiful look at a period of violence and death in Colombia. The ensemble cast play it as part melodrama, part dance performance, plotted against breathtakingly lush scenery. From sexualized wrestling, to scenes of struggle filmed underwater, to an exquisite pantomime of soldiers walking in the jungle covered in different colours of mud, this highly-stylized movie is as pretty as a Vogue fashion spread, but just realistic enough that you care about the kids and their fate.

Good movie.

Monos starts today at the TIFF Bell Lightbox, and Abominable also opens in Toronto; check your local listings.

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

Daniel Garber talks with Yaron Zilberman and Yehuda Nahari Levi about Incitement at #TIFF19

Posted in 1990s, Docudrama, Israel, Palestine, Politics, Psychological Thriller, Religion by CulturalMining.com on September 20, 2019

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

Photos by Jeff Harris.

In September, 1994, Israeli Prime Minister Yitzhak Rabin and PLO Chairman Yasser Arafat sign an historic peace treaty between Israel and Palestine. On November 4, 1995 he is assassinated by an Israeli at a peace rally in Tel Aviv. Was it a lone wolf terrorist? A deranged fanatic? Or a young man given widespread support at the highest levels, urging him – and those like him – to commit murder?

Incitement is an enthralling, bold and deeply disturbing new docudrama that traces the steps of a law student leading to his shocking crime. It’s directed and co-written by Yaron Zilberman previously known for his gentle drama A Late Quartet; and stars Yehuda Nahari Halevi in a crucial performance as the assassin Yigal Amir.

Incitement had its world premier at TIFF19 and is opening soon in Toronto.

I spoke with Yaron and Yehuda on location at TIFF.

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