Skool Daze. Movies reviewed: Boychoir, It Follows, The Riot Club
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Are school days the best days of our lives? Or a journey through the nine stages of hell? This week I’m looking at three movies: a drama about a choir school for boys, a horror movie about high school students, and a dark tale set at Oxford University.
Boychoir
Dir: Francois Girard (The Red Violin)
Stet (Garret Wareing) is a dirt-poor kid in Odessa, Texas. His mom’s an addict and the boy runs rampant at school, picking fights and acting out his frustrations. Mom ODs, Stet’s an orphan, so he’s taken under the wing of his school principal (Debra Winger). She recognizes his musical talent and angelic voice, and convinces his biological father to send him to American Boy Choir an elite music school on the east coast.
He may be talented, but he has no training – he’s musically 
illiterate. Other kids bully him, and he retreats farther and farther into himself. The teachers at the school react differently. Drake (Eddie Izzard) is a priggish snot – he thinks Stet’s challenging his own protégé, the prize soloist Devon, so he offers no help; Master Carvelle (Dustin Hoffman) is a egotistical tyrant, but he sees himself in young Stet. He gets more sympathy from Wooly, a young teacher (Kevin McHale) and the pragmatic schoolmistress (Kathy Bates). Stet’s father (Josh Lucas) supports him financially, but keeps his existence a secret – is he ashamed of his own son?
It’s up to Stet himself to study and practice if he ever wants to sing solo in the travelling choir and reveal his amazing talent. He can reach and hold a high “D” – the holy grail for young singers. But time is ticking. He’s twelve years old, and his voice may change at any moment.
Boychoir is heavy-duty weeper, but I liked it. My eyes teared up at least 5 times over the course of the movie. I realize it’s intentionally pulling all the sentimental strings but it still works. Aside from a few acting missteps and bungled scenes, Stet and the rest of the kids play their roles naturally and sing very well. Boychoir shows how young kids can be both innocent and cruel.
It Follows
Dir: David Robert Mitchell
Jay (Maika Monroe) is a teenager who lives a quiet and dull suburban life with her sister and her friends. She’s dating Hugh (Jake Weary) an older guy. He’s pretty nice, if a bit weird. One night they drive out to a deserted area and have sweet sex in the back seat of his car.
Next thing you know she’s tied to a chair in an abandoned 
parking lot! It gets worse: Hugh says he infected her with an incurable STI. And not just that: this “infection” means someone or something will always be following her, and if it catches her she’s dead. And only she can see it but it’s real, and can change its appearance at will. An old lady in a hospital gown. A naked, middle-aged guy on a roof. A feral kid. You can outrun it, but it never stops coming.
Your only cure is to pass it on to the next person by having sex. As long as they’re still alive, you’re safe. When they’re gone, you’re next in line again.
So Jay and her friends (basically there are no adults in this movie) – her sister, a shy boy with a crush, a smart girl, the dude across the street – together they try to keep her, and themselves, safe from this thing.
This movie is oddly calm, but terrifying. It’s filled with white suburban fear and angst… and lots of casual sex. This is not your regular Hollywood teen horror movie; it feels more like an indie pic with its unconventional characters and normcore aesthetic. But it’s the plainness, the ordinariness of the creature that will scare your pants off.
The Riot Club
Dir: Lone Scherfig
When Miles (Max Irons) starts at Oxford, he’s a hellofa nice guy. He’s smart, personable and good-looking. He’s also filthy rich, complete with stately mansion and Westminster education. He’s paired up with Alistair (Sam Claflin) for their two-person tutorials, and it’s a study in contrasts. Alistair is an insufferable snob, a stuck-up, disagreeable prick. The two of them are chosen to join a secret fraternal organization of ten young men; notably no women, since this club thinks of females as comodities, not 
people. It’s known as the Riot Club. More than two centuries old, it’s devoted to the best eating, drinking and debauchery money can buy. Its members are all handsome, witty, self-confident and well connected. The ten of them will go on to rule the finances and government of the UK and the world.
While not a rebel, Miles doesn’t think much about class and status and is dating a pretty girl, Lauren (Holliday Grainger), from a decidedly non-posh background. But things take a sinister 
turn at a dinner initiation. Anything is permitted at the country pub, and any damages are paid off in cash. The ten of them arrive in white ties and tails, but their behavior is anything but formal. In this movie, the upper class is less Downton Abbey, more Clockwork Orange (with ordinary people as their victims). Will both Miles and Alistair take part these excesses? Or will Miles stay true to his girlfriend Lauren?
I can’t say I loved this movie – it’s quite disturbing. It’s the opposite of a feel-good movie. It’s a feel bad movie. Sadly, the story is modelled on an actual group, the Bullingdon Club. They say its cynical, aristocratic members still rule Britannia, including London’s Mayor Boris Johnson, the Chancellor of the 
Exchequer and even UK Prime Minister David Cameron.
Excellent acting, great script (based on the play POSH) The Riot Club is a well-made, powerful film… but not a nice one.
Boychoir, It Follows and The Riot Club all open today in Toronto: check your local listings. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website culturalmining.com
Daniel Garber talks with filmmaker Saul Pincus and actor Knickoy Robinson about their film Nocturne
Hi, This is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Cindy is a shy woman on meds who works at a cubical job at her aunt’s company. Her parents had high hopes for her when she published a kids’ book at age 8, but now she’s fallen on hard times and can barely take care of herself. At work she encounters Armen, a much younger man, with a strange condition. When he falls into a deep sleep he can walk, eat, use the bathroom — perhaps even drive a car. All with no memory of anything he does. Armen may be just the sort of boyfriend Cindy needs. Talk about a dysfunctional 
relationship; he doesn’t even know who she is. And neither of them realizes theres a criminal conspiracy going on all around them. Will they ever meet for real? Or will they forever be separated by a nocturnal divide? 
Nocturne is the name of an unusual, new Canadian movie showing in Toronto as part of the Canadian Film Fest. It was co-written and directed by Saul Pincus and stars Mary Krohnert as Cindy and Knickoy Robinson as the sleepwalking Armen. I spoke to Saul and Knickoy in Toronto. They talked about Australia, introversion vs extroversion, film editing, acting, consciousness, souvlaki, sleepwalking, “blindness”, animation, dreaming, Niagara Falls, Toronto, co-writer Mitch Magonet, international appeal… and more! Nocturne premiers at the Canadian Film Fest on Saturday, March 28th at 6 pm.
Film noir. Ball of Fire: The Films of Barbara Stanwyck. Films Reviewed: Double Indemnity, The Strange Love of Martha Ivers PLUS Tracers
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Film Noir. Those dark, mysterious B&W thrillers from the 1940s, full of intrigue, lies, murder, and adultery. They abound with low-lifes, power-hungry toughs, private eyes and femmes fatales. And one of the key players was Barbara Stanwyck. Strong, sexy and smart, she ruled the Hollywood screen. A retrospective, Ball of Fire: The Films of Barbara Stanwyck is now playing at TIFF. I’ll admit I’d heard her name but hadn’t seen her films until now. Wow! I get her now: She played powerful women in an era when that meant you’re either evil, immoral, or psychotic.
So this week I’m going to look at two of her film noir movies from the 1940s: there’s a seedy seductress testing the waters of insurance fraud, and a female industrialist with a secret past who might have an affair; and a new release, a noir-ish crime thriller about a young bike courier who jumps, feet first, into organized crime.
Double Indemnity
Dir: Billy Wilder, Wri: Raymond Chandler
Walter Neff (Fred MacMurray) is an insurance agent in L.A. He’s a bachelor, devoted to his job. The one man he looks up to is the firm’s investigator Barton Keyes (Edward G Robinson). Keyes is the one who uncovers the crooked scammers trying to push through dubious claims on their accounts. He says “the little man inside” him can always detect when something’s fishy.
One day, when Neff visits an oil man to renew his insurance policy, he instead encounters the man’s wife. Phyllis Dietrichson (Barbara Stanwyck) is a vivacious blonde in a bathrobe who isn’t shy about her good looks. She flirts openly with him, but he smells a scam brewing so he brushes her off. But soon enough they’re together again, making love and plotting an insurance scheme. It would pay her “double indemnity” — a huge amount of money — if the husband dies accidentally in a particular way. He goes for it like a dumb dog, blinded by lust. But after the deed is done, he finds himself in a double bind as the result of his actions. Keyes is suspicious, so Neff can’t see the woman he wants to be with. And Neff begins to suspect there is more to Phyllis than meets the eye.
This is a fantastic, dark story told by a dying man.
The Strange Love of Martha Ivers
Dir: Lewis Milestone
Martha Ivers is a teenaged orphan in Iverstown, a city that bears her family name. She lives with her rich and powerful aunt and an ineffectual boy named Walter, her tutor’s obedient son. Her only friend is a blustering ruffian itching for a fight. Sam is from the wrong side of town but Martha’s attraction transcends class. She tries to run away with him but is brought back by her cruel aunt. But on the very night that they plan to escape Iverstown forever, something happens. In a fit of anger Martha strikes and kills her aunt. Walter sees it happen, but helps her cover up the crime. And in return for his silence she later marries him.
Flash forward 20 years. Sam (Van Heflin) comes back to Iverstown, almost by accident. He discovers his old love Martha (Barbara Stanwyck) now rules the place. She’s a powerful woman who turned her aunt’s small fortune into a huge legacy. Her husband, Walter (Kirk Douglas – his first film), is the District Attorney. Walter is a depressed alcoholic, still madly in love with Martha, who merely puts up with him. They live in separate wings of her mansion. Sam, meanwhile, meets a pretty ex-con on parole named Toni (Lizabeth Scott) and vows to help her out. He asks Walter for a hand, for old times sake.
But when Martha and Sam meet again, an old love is rekindled. Walter attempts to nip it in the bud by having Sam roughed up and driven out of town. But nobody kicks Sam around without paying the consequences. This menage a quatre, involving the highest of the high and the lowest of the low, is played out in a rough urban setting. This is an amazing film, largely forgotten, from an era where the poor and downtrodden were more sympathetic than the rich and powerful. Barbara Stanwyck is amazing, as this self-made powerful woman… and potential psychopath.
Tracers
Dir: Daniel Benmayor
Cam (Taylor Lautner, the wolf-boy in the Twilight series) is an orphan in New York City who works as a bike courier. One day on a ride, he notices some ninja-types bouncing on top of the buildings he zooms past. But when one of them, a woman named Nikki (Marie Avgeropoulos) jumps down from a rooftop, he ends up in an accident. He flies through the air,
landing right on top of her. It totals his bike, which puts his sole income in jeopardy: he holds a debt to a loan shark. He needs money … and he really likes Nikki.
After passing a complex test he ends up joining her secretive gang. Turns out they work freelance, pulling off carefully-planned jewel heists and drug deals. Their secret weapon? They’re all skilled in parkour, the French sport of running, climbing and jumping of buildings, which renders them unbeatable. 
But they all have to answer to Miller (Adam Rayner), the self-proclaimed “alpha dog” of this pack. And he doesn’t want anybody messing with his plans… or his girlfriend Nikki. Can Cam pay off his debt, escape this criminal life, and get together with his new true love?
Tracers is a feeble action-thriller, with plot holes so big you could drive a convoy of trucks through them. Teen idol Taylor Lautner is as one-dimensional as always, though Rayner and Avgeropoulos (and some of the actors in smaller roles) are better. A silly movie for sure but I really liked the jumping, climbing and the rest of the parkour chase scenes, They’re great! And I hear Lautner did his own stunts. Is Tracers worth seeing? If you like parkour, definitely. If not, don’t bother.
Ball of Fire: The Films of Barbara Stanwyck is playing at TIFF through the month. And Tracers opens today in Toronto and on Pay on Demand. Check your local listings. Also opening today is the Water Docs Festival at Jackman Hall at the AGO – a documentary series… about water!
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks to director Majdi El-Omari about his new film STANDSTILL
Hi, This is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Karhiio is a Mohawk science student in Toronto who steals some offensive nicknacks he sees in a souvenir shop and goes to jail. His Dad, John, a war photographer, drives out from Montreal to meet him there. He owes his son a debt for breaking up with his ex-wife, an artist. But he also has a responsibility to his neighbour in Montreal: Widad, a Palestinian woman who is hiding in plain sight after a crime. Until he addresses his obligations, his life is at a stand still.
Standstill is also the name of a new Canadian movie. It’s a film where English is rarely 
spoken — not so unusual for a film from Montreal. What is unusual is that most of the characters speak Kanien’kehà:ka, the language of the Mohawk First Nations, and possibly the first such film ever made. Shot in beautiful black and white, it’s a pensive character study of three alienated and misplaced souls.
It’s directed by award-winning filmmaker Majdi El-Omari, and Standstill is his first feature. It opens in Toronto at the Royal Cinema on March 13th, 2015.
I spoke to Majdi by telephone from Montreal. The Palestinian-Canadian director talks about the Oka crisis, Quebec, indigenous people, the film’s genesis, existentialism, media stereotypes, resistance, the role of police, internal violence, cultural representations, the Mohawk language, and more!
Álex de la Iglesia: Dancing with the Devil. Dying of Laughter, A Ferpect Crime, Witching and Bitching PLUS ’71
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Alex de la Iglesia is a Spanish director known for his dark, violent comedies, many with a hint of horror and the supernatural. The battles of the sexes is his bread and butter, his stories filled with arrogant, strutting men cut down to size by cruel women. Rivalry, lust, fear and vengeance are the emotions, all seen against the setting of contemporary Spain. And the scary parts? Witches, ghosts, killer… and clowns. Hideous, scary clowns!
Álex de la Iglesia: Dancing with the Devil, a retrospective of his films is showing now at the TIFF Bell Lightbox. This week I’m talking about some of his films, looking at the rise of themes like sexual conflict and the supernatural over the course of his career. Plus a new action-thriller about The Troubles in Belfast.
Dying of Laughter
(Muertos de Risa)
… is an early film of his where the war between the sexes is played out, in proxy, by an odd couple.
Nino and Bruno (Santiago Segura, El Gran Wyoming) are like Dean Martin and Jerry Lewis – a two-man comedy team. Their act is simple: fast-talking Bruno provides the chatter, until it comes time for chubby Nino to respond. Struck with perpetual stage-fright he just stares straight ahead, unable to speak. And then comes the punchline: Bruno slaps Nino’s face. That’s their shtick and it never fails to have the audience rolling in the aisles. They 
don’t change the act, just the silly costumes they wear. (Nino insists on always wearing the same pair of socks – never washed – for good luck.) They become stars, rich and famous, and build their homes right beside each other.
The problem? They hate each other’s guts! They are consumed with rage and jealousy, each thinking the other is more talented and more attracted to women. They concoct elaborate schemes to ruin their partners and the source of their fame and fortune. And they just might die of laughter…
A bit more supernatural, and heavier on the man vs woman theme is
A Ferpect Crime
(El Crimen Ferpecto)
Raf (Guillermo Toledo) is the best salesman at the Yeyo department store. He was actually born there, and knows every nook and cranny. He treats it like his personal fiefdom – the silk bathrobes, the lobster and champagne, and kingsize beds. Loaded with self-confidence, he can charm the pants off any woman he meets – and he’s met a lot of them. He’s always surrounded by beautiful saleswomen who want to sleep him, and men who want to be him. Raf’s life is dedicated to high aesthetic values: beauty, quality and prestige. He is opposed on principle to marriage, families and suburban living. But his job and his future are in danger when, in a scuffle after closing, 
his rival, Don Antonio, ends up dead.
The death is witnessed by Lourdes (Mónica Cervera) an unattractive and shy saleswoman. She’s also the only woman he refuses to sleep with on aesthetic grounds. But she’s not as dumb as she looks. After she helps him dispose of the body (she is a former butcher) he is forced to give in to her desire… maybe even marry her. The greenish ghost of Don Antonio warns Raf of her treachery. He will need a perfect crime to get rid of her once and for all… but who will win?
These themes, plus a mammoth dose of the supernatural come to a head in one of his most recent films
Witching and Bitching
(Las brujas de Zugarramurdi)
Jose and Antonio – a divorced misogynist and a dumb jock — have a perfect plan. Dressed as a silver Jesus and a green plastic soldier, they knock over a pawn shop. They grab a taxi and escape with a bag of loot – thousands of abandoned wedding rings – and the divorced man’s 10 year old son. But he is hotly pursued by his fuming ex-wife and the police tracking her. After an exciting chase the motley crew – the gangsters and the people in the cab — land up a small Basque town 
country named Zugarramurdi. A town run by witches, who view men as fodder for their evil spells.
It ends up as a face off between the whole panoply of male vs women: On the men’s side are the selfish boy, the sex-crazed guy, the bitter divorced man, the wary cab driver, and the clueless, detached older guy. But they are no match for three generations of witches, plus a furious ex-wife. Only the rebel biker granddaughter witch, who’d rather sleep with men than torture and eat them, provides a chink in the armour. But can they escape the world’s largest coven and the Great Satan himself?
The films of Alex de la Iglesia provide just the right balance between sex, violence and gross-outs — and giddy laughs. They’re not for everyone, but I really like his horror-comedy combinations.
‘71
Dir: Yann Demange
It’s 1971, and Gary (Jack O’Connell: Skins, Starred Up, Unbreakable) wants to learn a skill and see the world. He hugs his little brother goodbye and sets off with the British Army for his first foreign posting. But he doesn’t get further than Belfast, Northern Ireland.
The city is in the midst of The Troubles and is divided on religious and political grounds. The IRA unionists are Catholic – they want to join the Republic to the south. The protestant loyalists want to stay within the UK. And within these groups, on both sides, 
there are militants (like the Provisional IRA and the Ulster Volunteers) who seem to relish the idea of killing some people on the way. So the streets of that city are divided by walls and twisting allies, punctuated by Molotov cocktails and ticking time bombs. And fresh out of boot camp is Jack’s squad, plunked down onto the mean streets on his very first day. As luck would have it – bad luck – his army buddy gets shot in the head and he sees the shooters’ faces. But he gets separated from his unit. So he’s all alone in this hellhole. He meets a guide – a tough, wee lad — who 
takes him in an out of windows and down deserted allies – and a father and daughter who help him hide. But both sides, and perhaps even elements of the army, want him dead. He’s seen too much.
This is a great, exciting action-thriller about a sympathetic young man who catches the brunt of horrific violence… and realizes he’s part of the forces causing all the trouble. ’71 is a war movie, but not a pro-war movie.
’71 opens today in Toronto, check your local listings, and the Álex de la Iglesia retrospective continues through March. Go to tiff.net for details. Also opening today is Harold Crook’s great documentary The Price We Pay, about off-shore banking and what it does to our economy. I interviewed him last December.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website culturalmining.com
International Mainstream Movies. Films Reviewed: Kidnapping Mr Heineken, Serial (Bad) Weddings, Wild Tales
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
I’m happy to say that Xavier Dolan’s brilliant Mommy swept up the prizes at the Canadian Screen Awards last weekend. And they’re releasing new indies, such as the Valley Below, set in the Alberta badlands. Good to know Canada is still making great movies. But what are people watching in other countries? This week I’m looking at three mainstream movies : a dark comedy from Argentina, a light comedy from France, and a crime drama from the Netherlands.
Kidnapping Mr. Heineken
Dir: Daniel Alfredson
Based on the true crime book by Pieter de Vries
It’s Amsterdam in 1983, and the economy’s in a downturn. And a business run by five guys (with names like Spike, Cat, Cor and Willem) goes bottom up. Their assets won’t get you a cup of coffee during a recession. They vow never to be a wage slave to someone else – they want to be their own bosses. But you need money to make money. What to do?
Brothers-in-law tough-guy Willem (Sam Worthington) and idea-man Cor (Jim Sturgess) come
up with a fool proof plan – the perfect crime. They’re not exactly strangers to the rougher side of life, but this will take it a whole new level. They’re going to kidnap that beer brewery billionaire Freddy Heineken (Anthony Hopkins)! And the prize? More guilders than any crime in Netherlands history. First, in a 
daring move, they knock over some Brinks trucks and escape with the cash in a uniquely Dutch way: they race through the canals of Amsterdam in a powerboat, pursued by cop cars. Next, they find an out-of-the-way location and build undetectable, soundproof rooms. Finally, in a carefully planned adventure, they grab the beer magnate and 
his driver, and truck them off to their hideaway. They speak in German and never show their faces. But as the weeks pass with still no payoff, their confidence starts to fray.
Will they get the money and keep it? Can the five men trust each other or is there a snitch? And will there be blood spilled on the way? This is an OK crime movie, shot in English in Amsterdam with a British and Dutch cast. Hopkins is barely in it, he’s locked up in a cell, so the film depends on Worthington and Sturgess. They’re not bad but not terrific. The movie itself is enjoyable – with thrills, chases, shootouts – but it didn’t really grab me. The regular-guy criminals just weren’t that compelling, even in a true crime story.
Serial (Bad) Weddings
(Qu’est-ce qu’on a fait au Bon Dieu?)
Dir: Philippe de Chauveron
The upper-class Verneuil Family consists of Claude and Marie (Christian Clavier and Chantal Lauby) and their four lovely daughters. They live on a palatial estate in Chinon, France. They are devout Catholics who still pine for old France, and the days of Charles De Gaulle. They duly send their lovely daughters off to Paris to be educated. But imagine the parents’ surprise when three of them get married: to Rachid, an Arab Muslim (Ooh la la), David, a Jew (mon dieu) and Chau Ling, a Chinese man (aaaarghh!). But they aren’t even French, the parents say – they are the sons of immigrants. Things come to a head when the parents show up for their grandson’s circumcision. Claude shows his bigotry and the family is torn apart. But time heals all wounds, and a few years later things have smoothed out. Claude and Marie joyously await the arrival of their fourth son-in-law-to-be: Charles! He’s French and he’s Catholic…at last.
But guess who’s coming to dinner? Charles is actually Ivorian, from West Africa. And his dad, an 
old school military man (Pascal N’Zonzi) is as conservative and bigoted as Claude. He arrives in France looking for a fight, and Clause is ready and willing. Can the fourth wedding ever take place? Or is this the straw that will break the camel’s back, and will the wedding ruin the Verneuil clan forever? And can different ethnic groups ever get along in a new France?
For some reason – perhaps because all the ethnic tension – this comedy is a smash hit in France and Quebec. And it’s a cute and gentle crowd-pleaser. Unlike most Hollywood comedies there’s no nudity, puking or potty humour. But doesn’t take any risks either. The ethnic stereotypes are tired, and the characters are mainly bland. The daughters have barely sketched characters, and the sons, while slightly more developed, their insults to one another stick to groaner stereotypes: muslims are angry, Chinese eat dogs, Jews are good with money. Luckily, the parents, especially the dads are funny enough to save the movie. And who doesn’t hope for racial harmony? A cute, but safe movie from France.
Wild Tales
Dir: Damian Szifron
Strangers on a plane ride discover they have something in common. An heir to a fortune is caught in a hit-and-run. A demolitions expert is furious when his car is towed from a valid parking spot. A waitress in a small town diner discovers the man she’s serving is the gangster who drove her father to suicide. A bride at a Jewish wedding suspects her new husband is already having an affair. A macho douche
in a Lamborghini locks horns with a redneck thug in a junk heap in an act of road rage on a rural highway. What do these short dramas all share?
They’re all ripping stories — almost urban legends — about ordinary people vowing revenge and retribution. Each of the six, separate segments in Wild Tales functions as its own short film. But it’s not just a random grouping of short films, shot in a Hollywood 
style. No. In Wild Tales the whole is more than just the sum of its parts. The tension grows as the movie rolls on to a series of unexpected climaxes. Wild Tales is a compilation of funny, absurd looks at extreme consequences caused by small actions.
This is an amazing, exciting and hilarious movie, a dark comedy out of Argentina. The production values – including full-scale disasters — are top-notch. And so is the acting, with some of the top stars, including Ricardo Darin are first class.
Wild Tales, Serial Bad Wedings and Kidnapping Mr Heineken all open today in Toronto: check your local listings.
This is Daniel Garber at the Movies, each Froday Morning for CIUT 89.5 FM and on my website culturalmining.com
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