Hollywood movies. Films reviewed: Glass Onion, The Fabelmans
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s Thanksgiving weekend south of the border, so movies are being released midweek. This week I’m looking at two new, big-ticket Hollywood movies, you might want to watch this weekend. There’s a mystery/comedy set on a private Greek island, and a coming-of-age drama set in postwar America.
Glass Onion: A Knives Out Mystery
Wri/Dir: Rian Johnson
Miles Bron (Edward Norton) is a conceited, ultra-rich tycoon who made his fortune in the tech sector. Now he amuses himself by throwing elaborate parties on his private Greek Island, where his select guests try to solve a mystery during their stay. But this year, there’s a surprise visitor — the famous detective Benoit Blanc (Daniel Craig). He’s there on the invitation of one of the party guests — Bron’s former business partner — who was secretly murdered, with her identical sister (Janelle Monáe) a meek introvert, impersonating the flamboyant victim. (She invites Benoit as her guest to find her sister’s killer.)
Benoit Blanc, of course, is the famous gay private investigator known for his dapper suits, southern drawl, and legendary detective skills. Other guests include a flaky fashion designer (Kate Hudson), an insufferable online celebrity (Dave Bautista), a devious politician (Kathryn Hahn), and a shady scientist 
(Leslie Odom, Jr.), among others. But the week-long game is spoiled when Benoit guesses the answer almost immediately, to the host’s displeasure. But, soon after, the real mystery begins, when one of the guests is murdered in plain sight without anyone knowing whodunnit. It becomes a race against time, as other guests start to disappear, one by one. Can Benoit identify the killer, uncover their motive, prevent any more murders, and solve the bigger mystery of why these particular people were invited to this party?
The Glass Onion is a brilliant sequel to Ryan Johnson’s Knives Out from a few years ago, with Daniel Craig repeating the role of Benoit Blanc. It’s hard to review a mystery without giving away the plot, but I’ll do my best. This movie is very cleverly done: like any good Agatha Christie-style mystery, all the different characters — both potential killer or killers and victims — are introduced at the beginning, with no surprises
Glass Onion: A Knives Out Mystery (2022). (L-R) Jessica Henwick as Peg, Kate Hudson as Birdie, and Janelle Monáe as Andi. Cr. John Wilson/Netflix © 2022.
parachuting onto the Island. It’s also good because each character has their own quirks, back stories, secrets and motives, all of which are gradually revealed. It’s even more fun because many of them are satirically modelled after certain celebrities. On top of that, there are a number of intricate clues hidden within clockwork-type devices featured in the film.
I’ve been watching Rian Johnson’s work since his first film, Brick, came out almost 20 years ago, as he gradually honed his skills. I loved Knives Out, but was worried that a sequel might 
be a let down. But have no fear, Glass Onion is as good as or better than Knives Out. It’s hard to find movies these days that are there just for the viewers’ pleasure without ever pandering, dumbing down a plot, trying to sell you stuff or stealing ideas. Glass Onion avoids all that, concentrating instead on giving you a really fun night out.
The Fabelmans
Dir: Steven Spielberg
Written by Spielberg and Tony Kushner.
It’s Christmastime in the 1950s. Sammy Fabelman (Gabriel LaBelle) is a little boy who lives with his parents and sisters in New Jersey. Mitzi his mom (Michelle Williams) is a former concert pianist forced to adjust to suburban family life. But she manages to keep her sense of creativity front and centre. She refuses to do dishes, insisting instead on paper plates and plastic forks. She’s the kind of woman who doesn’t hide from tornados, she chases them… and reads music scores in bed. She has a blonde pixie haircut and loves diaphanous white gowns.
Burt (Paul Dano) his dad, is an engineer and part-time inventor who works for RCA and repairs old TV sets as a side job. He thinks science is superior, while art and movies are just for fun… but he worships the ground Mitzi walks on. And always close at hand is Burt’s best friend and workmate Bennie (Seth Rogan) who the kids all call Uncle.
The story begins with the parents taking Sammy to his first movie, Cecil B DeMille’s The Greatest Show on Earth. Sammy is frightened but also mesmerized by a trainwreck in the movie where circus cars are derailed and wild animals run free. 
Sammy wants to film it. He manages to duplicate it on 8 mm film, repeatedly using his model train set seen from all the angles used in the movie. Sammy’s love of film is ignited — now he’s making silent monster movies at home starring his sisters. Later the family moves to Colorado, where Burt has a new position developing computers for General Electric.
And Uncle Bennie moves with them.
Teenage Sammy is now a boy scout, and, with his new friends, starts shooting and editing elaborate westerns and war movies to everyone’s delight. But in editing family films he discovers a hidden secret that threatens to pull them apart.
Years later, they move to northern California where Burt now works for IBM. But Mitzi feels depressed and alienated and Sammy is bullied at school by guys who, he says, look like giant Sequoia trees. Can he still find solace making films? Will Mitzi adjust to a strange new environment? Or is the family heading for disaster?
The Fabelmans (meaning storytellers) is Steven Spielberg’s first fictionalized, semi-autobiographical look at how his childhood and adolescence led to his career as a filmmaker. I usually dislike movies about movies — they tend to be overly nostalgic and sentimental, and mainly there as Oscar-bait, to get people in the industry to vote for them. But this one is surprisingly good. And while there are many scenes of people staring at movie screens, there’s way more to it. It’s a 
bittersweet coming of age story, it’s a family story, and it’s a rare mother-son story: Sammy and Mitzi are both obsessive artists driven by their craft, but facing constant roadblocks put up by the conventional world. The film also incorporates the southwest, circuses, evangelism, folk singing, secular Judaism, family camping trips, and baby boom youth culture.
Michelle Williams is excellent as Mitzi, a complex character with many regrets. Canadian newcomer Gabriel LaBelle as Sammy is also great. And Judd Hirsch totally steals the scene as crazy Uncle Boris (Judd Hirsch), a lion tamer who wants Sammy to understand that following your artistic dreams is like sticking your head into a lion’s mouth: it takes guts, drive and determination… and might hurt a lot.
The Fabelmans is a very enjoyable movie.
Glass Oinion is on at the TIFF Bell Lightbox for one week only, while The Fabelmans is playing across North America; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks with Winnie Jong, Connie Wang and Ryan Allen about Tokens
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Acting is a tough profession in Toronto, what with agents, auditions, and landing roles. But it’s even harder when all the parts out there are white… and you’re not. You end up taking stereotypical roles like “Gang Member” if you’re Black, “Taxi Driver” if you’re South Asian, or “Angry Dim Sum Customer” if you’re Chinese. Sometimes it seem like they only call you is when they have to fill a quota. But things seem to be changing, with big-budget Hollywood action movies and rom coms featuring Black
and Asian casts. Is this a sea change? Or will most actors remain just tokens?
Tokens is a satirical web series about actors of colour and what they have to go through just to get a role. Now in its second season, it brings in new controversial 
topics like white fragility, diversity quotas, and BLM protests, but dealt with in a humorous, tongue in cheek manner. With a large cast and just 8 minutes per episode, this fast-moving series keeps you guessing between laughs. The series was created by Writer/Director Winnie Jong, and stars Connie Wang as Sammie, a woman trying to make it big, and Ryan Allen as DeMar, her friend, competitor and erstwhile romantic interest. 
Winnie is an award-winning filmmaker and alumna of the Women In the Director’s Chair, and is known for TV shows like Coroner. Connie has had multiple screen nominations including the Canadian Screen Award for Best Lead Performance, and TV roles in shows like the The Boys. And Ryan is a star of stage and screen, with a leading part on Broadway in The Book of Mormon, and on TV in Titans, Star Trek and Between.
I spoke with Winnie, Connie and Ryan in Toronto via ZOOM.
Tokens Season 2 will be launched on iTunes on Nov 29th, 2022.
A donkey and a wolf. Films reviewed: Eo, She Said
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall Film Festival Season continues in Toronto with the EU film festival, offering free screenings from across Europe from now till Dec 2 at the Alliance Française. The Ekran film festival is also on now, showing the latest Polish movies at the Revue Cinema on Roncevalles; and Blood in the Snow or B.I.T.S. features made-in-Canada horror movies next week at the Elizabeth Bader Theatre from November 24-26th.
But this week I’m looking at two new movies about animals. There’s a defenceless donkey in Poland, and a dangerous wolf in Hollywood.
EO
Co-Wri/Dir: Jerzy Skolimowski
Eo is an adorable miniature donkey who works at a one-ring circus. He is lovingly cared for by a woman dressed in red, who performs with him on stage. But when animal rights activists close the circus down, Eo finds himself pulling a wooden cart full of scrap metal at a junk yard. Later he is trucked off to an elegant estate that raises championship horses. From there he’s sold to a farmer, wanders through a wolf-filled forest on his own, and fights off dangerous football hooligans. His journeys take him across Europe, among the rich and poor, the kind and cruel, but will he ever be reunited with his long lost love?
Eo is an incredibly beautiful and tender film about an adorable 
donkey and the people — both good and bad — he encounters. Oe never speaks, but conveys his emotions through tear-filled eyes, cuddling gestures and loud angry wails. This is not a cutesy animal movie, it’s about adult emotions — like lust, betrayal, cruelty and violence. Stunningly cinematic, the film tells its story in an impressionistic manner, as seen through a donkey’s eyes. Periodically the entire screen is blood red; but there are also breathtaking, panoramic views of palazzi in Italy, manors in Poland, magnificent white horses, ancient, arched bridges, 
green fields, flowing rivers, and dark skies: gorgeous images that can only be appreciated on a big screen. There’s very little dialogue, in Polish, English, French and Italian, with most of the meaning conveyed visually. There are cameo appearances by actors like Isabelle Huppert, but Eo (and the donkeys who play him) is the real star.
Jerzy Skolimowski, who attended the Łódź Film School, is not as well known as fellow alumni Andrzej Wajda, Roman Polanski and Krzysztof Kieślowski, but I think his films are just as amazing, with a dream-like quality.
OE must not be missed.
She Said
Dir: Maria Schrader
It’s 2015, in New York City. Meghan Twohey and Jodi Kantor are two investigative reporters within the juggernaut of that Gray Lady, the New York Times. Meghan (Grey Mulligan) is following a string of women all of whom say the Republican candidate for president, Donald Trump, sexually harassed them in the past. But they are all afraid to come forward in public. When she finally does get a woman willing to reveal her name in print, she suffers terribly, sent packages of human excrement in the mail, while Meghan gets death threats. So she takes maternal leave to care for her first baby.
Meanwhile, cub reporter Jodi Kantor (Zoe Kazan), also married with two young kids, is pursuing a very different story. Hollywood actress Rose McGowan is hinting that someone at Miramax, that extraordinarily successful independent movie studio, sexually harassed her in the past. Jodi wants to find out whodunnit — Rose isn’t saying — and to get her to commit to details on the record. So she turns to Meghan for help. How do I get women to talk? The two of them join forces, doing extensive research stretching back decades, using legal documents, withdrawn lawsuits, secret payments, and 
clandestine Non-disclosure agreements. They discover there are women as far away as London and Hong Kong who suffered from horrible incidents of bullying, abuse, and sexual assault, all of which were later covered up. And the arrows pointed toward one man: Harvey Weinstein. Can the reporters get even one woman to commit using her name in an article against the formidable and frightening Hollywood powerbroker? Or will the paper be forced to retract it’s allegations?
She Said is a fascinating retelling of two journalists pursuing a major story just a few years ago. It takes us deep into the weeds of investigative journalism. And it’s told like a police procedural, as the journalists slowly uncover the facts. The thing is, computer screens and cel phones do not make for good cinema. Hollywood seems to churn out these newsroom dramas every couple years, including Spotlight about the Boston Globe’s revelation of pedophile priests, and The Post about the Washington Post and the Pentagon Papers. This is one is about the New York Times. So we sit through lots of dull editorial meetings.
Luckily, most of the story takes us out of the office and into the real world, with the reporters knocking on doors and approaching victims who haven’t spoken of the incidents for 30 years. This — and the victims’ own stories, always spoken verbally, never reenacted— is where it gets interesting and moving. The film faces problems telling a history that’s still happening (Although convicted and in prison, Weinstein has yet to be tried for many other alleged crimes.) And it’s all about real, living people, so it runs the risk of anodyne (if truthful) portrayals of the characters. Luckily the acting is terrific, and the characters — not just the reporters, but the sources — are believable. And Maria Schrader is an excellent German director (she did last year’s I’m Your Man), who knows how to avoid those excessive blubbery, gushing “Hollywood moments” that ruin so many movies. She Said might not be a great movie, but it is the first one about this major issue, and projects it on a wider screen. As they keep saying in the movie, it’s not about one man, it’s about an entire system that protects and supports the powerful and persecutes their victims.
EO is playing tonight at Ekran, Toronto’s Polish film festival, and opens next Friday at the TIFF Bell Lightbox. She Said starts this weekend; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Humans and machines. Films reviewed: L’homme Parfait, Pinocchio
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In these troubled times, many feel daunted by quickly-changing technology, and wait with trepidation the eventual coming of the Singularity: the day robots and artificial intelligence become smarter than humans. What will happen to us after the Singularity?
This week I’m looking at two new movies about the increasingly thin line separating people from machines. There’s a woodcutter in Italy who creates a puppet that acts like a boy; and a woman in France who buys a robot that acts like a man.
L’homme parfait
Co-wri/Dir: Xavier Durringer
It’s the near future, somewhere in France.
Franck and Florence (Didier Bourdon, Valérie Karsenti) are a happily unmarried middle-aged couple with two kids, Max and Victoire. Florence has an office job, while Franck works from home. He’s an actor who is writing that blockbuster screenplay which will turn his career around. But it’s been three years now with no sign of progress, and his agent isn’t exactly banging on his door with acting jobs. And even though Franck is at home all day, it’s Florence who ends up cooking, cleaning and taking care of the kids. But enough is enough. She puts in an order and two days later a large box arrives at their door. Meet Bobby (Pierre-François Martin-Laval): a realistic-looking male robot: strong, smart and friendly. He has artificially blue eyes and speaks in a monotone. With a variety of built-in options, from Salsa dancing to Krav Maga, soon Bobby is whipping up boeuf bourgognon, ironing their sheets and telling bedtime stories to the kids. And his artificial intelligence means, like Siri, he listens to — and remembers — everything he hears.
But there are side effects. Florence may love all the free time she has now, but Franck 
feels stripped of all his fatherly duties. Bobby is better at bowling. Bobby can fix a broken car engine in a flash. Bobby can select the best wine, say the right thing, buy the right gift. Franck feels increasingly left out. And when he accidentally sees Bobby’s “standard equipment” he feels second-rate and useless. Meanwhile, Florence feels sexually neglected and doesn’t understand why. Is Bobby ruining their marriage? Will Florence ever activate Bobby’s forbidden love-love button? Or can Franck reactivate their relationship?
L’homme parfait is a French comedy about robots, technology and middle-age crises. It’s also a clear knock-off of last year’s German hit I’m Your Man (they actually give it a nod by saying Bobby is manufactured in Germany). It’s conventional, predictable, and anything but subversive, in the style of those cheap-ass Hollywood comedies in the ‘80s and ‘90s. That said, it did make me laugh more than once. What can I say — no one will call L’homme parfait a great movie, but it is a funny, low-brow sex-comedy in an emerging sub-genre: humanoid robots.
Pinocchio
Dir: Guillermo del Toro and Mark Gustafson
Geppetto is a wood carver who lives with his beloved son Carlo in a small village in Tuscany. He carves everything in town from wooden clogs for Carlo, to Christ on the Cross in their local church. But when a WWI bomb drops on the village killing his son, Geppetto becomes a reclusive alcoholic, spending all his time crying by Carlo’s grave. Two decades later, in drunken rage, he chops down a knotty pine tree that grew from a pinecone Carlo found on his last day alive, and roughly carves a new boy — with wobbly knees and elbows, rough-hewn hair and a long piece of wood for a nose — all modelled on his son. He calls him little pine, or Pinocchio. What he doesn’t realize is a blue cricket (the story’s narrator) lives inside a hole in the wood the boy is made of.
After Geppetto passes out, a magical wood sprite, out of sympathy for the old man, brings Pinocchio to life. She gives the cricket responsibility of taking care of the kid and teaching him right from wrong. The new-born boy is clumsy and dangerous, a tabula rasa taking in all around him. He exalts in learning and gleefully smashes everything he sees. Soon the discovers Pinocchio with different reactions. Some call him an abomination, the work of the Devil. Podesta, a member of Mussolini’s Fascist Party, thinks Pinocchio can be the ultimate weapon, a soldier who cannot die. And a sleazy carnival barker named Count Volpe, and his sinister sidekick, a monkey named 
Spazzatura, see him as a money-maker, a living puppet he can exploit at his circus. Being pulled in all directions, can Pinocchio ever find his way back to his father and creator Gepetto?
Pinocchio is a dark retelling of the 19th century Italian classic. It’s masterfully-made using stop-motion animation of dolls and puppets, in the style of Rudolph the Red-Nosed Reindeer or A Nightmare Before Christmas. Gone are the cutesy Disney costumes and hats; this Pinocchio is bare-bones wood all the way, with clothing hacked onto his body. The naughty boy is made of knotty pine. It’s partly a musical, with characters spontaneously breaking into song (some good, some not), especially at the circus. But it’s also, like all of del Toro’s movies, dark, sad and scary. It deals with theft, alcoholism and death. And by transplanting the story into fascist wartime Italy (similar to Spain in Pan’s Labyrinth), he makes it even darker.
In addition to Gregory Mann, David Bradley and Ewen McGregor — as, Pinocchio, Geppetto and the cricket — other voices include Tilda Swinton, Kate Blanchett, Rob Perlman, and Finn Wolfhard as Candlewick, Pinocchio’s frenemy. But it’s the characters themselves, animated on the screen, that really make this movie. If I saw this as a little kid, I guarantee, Pinocchio would have given me nightmares. But as a grown-up, I found it a sad and very moving story, beautifully made.
Pinocchio is now playing at the TIFF Bell Lightbox, and L’homme parfait is one of many films screening at Cinefranco till Tuesday and then digitally till the end of the month.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks with Ema Kawawada about My Small Land
Edited version
Long version, 日本語 付き
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Sarya is a typical Japanese high school girl in her graduating year. She is studying hard to pass her university entrance exams, and hopes to become a school teacher. She likes playing badminton, and hanging with her best friends. And she’s starting to flirt with a guy, Sota, who works with her, part-time, at a convenience store. But her whole life falls apart overnight when her father is turned down for asylum, and all their ID cards are taken away. Sarya and her family are Kurdish refugees, and have been waiting for proper visas since she was just a little girl. But suddenly she’s 
undocumented, can’t travel, can’t go to university, can’t take paid work or even cross the invisible border into Tokyo. What has happened to her small land?
My Small Land is a thoughtful, touching and deeply moving coming-of-age story about a girl’s life in Japan whose identity is called into question. It deals with family, culture, refugees, assimilation, and how a young woman handles a double life as a Kurd in Japan. The film is produced by Hirokazu Kore-eda and written and directed by Ema Kawawada, her first feature. The film premiered at the Berlin Film Festival to great acclaim and opens soon in Canada.
I spoke with Ema Kawawada in Tokyo from Toronto via Zoom.
Interpretor: Aki Takabatake
My Small Land is playing in Toronto at the TIFF Bell Lightbox on Nov 9th and 16th.
Fall dramas. Films reviewed: The Swearing Jar, The Wonder, Armageddon Time
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall Festival Season continues in Toronto with Cinefranco showing the latest films from France, Belgium and Quebec, and Reelasian with movies from East and South Asia, and the Asian diaspora.
But this week I’m looking at three great new movies, all worth seeing. There’s a phenomenon in Victorian Ireland, a pregnancy in Ontario, and a friendship in Flushing, Queens.
The Swearing Jar
Dir: Lindsay MacKay
(Wri: Kate Hewlett)
Carey and Simon (Adelaide Clemens, Patrick J. Adams) are a couple in their thirties living in Carey’s large childhood home in in an unnamed Canadian city. She’s a school teacher who would rather be a musician, and he’s a writer who loves Shakespeare. They enjoy drinking, cussing and having fun. But when, after years of trying, Carey is finally pregnant, they decide to change their lives for the better, to be good examples for their upcoming baby (hence the swearing jar of the title). But for some reason, communication is breaking down. And when Bev, Simon’s alcoholic mom (Kathleen Turner) drops by unannounced, the tension grows. She repeatedly tells Carey that Simon is just like his dad — he’s gonna leave you, she says, they always leave you. Later, Carey sees Simon’s novel in the window of a 
bookstore, and makes friends with the guy who works there. Owen (Douglas Smith) is a musician like Carey once was… maybe they can write and play music together? But would that amount to cheating on her husband?
The Swearing Jar is a delightful musical-romance about a 
couple dealing with her pregnancy along with an unexpected twist (no spoilers here). The story is told through a series of vignettes alternating with related songs performed on stage by Carey and Owen in honour of Simon’s 40th birthday. The music is great with some catchy tunes, and the script (originally a play) is generally engaging and funny. Adelaide Clemens has a lovely voice — she and Douglas Smith show real chemistry — and I had no idea she’s actually Australian! This is good one.
The Wonder
Dir: Sebastián Lelio (Based on the story by Emma Donoghue)
It’s rural Ireland in the 19th century, not long after the Great Famine. Lib (Florence Pugh) is a respected nurse from England who trained under Florence Nightingale in the Crimean War. She is hired to oversee an unusual patient. Her name is Anna, an 11-year-old girl who has stopped eating. She hasn’t taken a bite for months, but somehow she’s still alive. How is this possible? People arrive from all over, both penitents and tourists, to gawk at or be blessed by the saintly girl. So a local committee, headed by a doctor and a priest (Toby Jones, Ciarán Hinds), appoints a nun and a nurse (Lib) to take turns watching over Anna, one to make sure it’s a miracle, and the other that she’s not in physical danger. But something smells fishy here. So she joins with an investigative journalist from 
London, William Byrne (Tom Burke). But will their snooping around put the girl’s life on the line? And if so, what can they do to save her?
The Wonder is a wonderful historical drama, beautifully made. Pugh plays Lib as a modern woman who is serious about her career, but also takes recreational drugs and has casual sex for the pleasure of it, probably not typical in the Victorian era. But it 
also exposes dark and hidden secrets, which gives the movie a serious and disturbing undertone. It’s directed by Chilean Sebastián Lelio, who brought us other great movies with dynamic female characters like Gloria (my review here) and A Fantastic Woman (my interview with Daniela Vega). The Wonder doesn’t quite reach that level of angsty, subversive excellence (it’s more conventional), but still very good.
Armageddon Time
Wri/Dir: James Gray (my review of The Lost City of Z)
It’s Flushing, Queens, NY City in 1980. Paul Graff (Banks Repeta) is a little guy with red hair and blue eyes who wants to be a famous artist when he grows up. He lives in a small house with his bullying brother, his plumber dad, (Jeremy Strong) and Home-Ec teacher mom (Anne Hathaway). Encouraged by her and his beloved Liverpool-born grandpa (Anthony Hopkins) Paul devotes himself to reading Jansen’s History of Art and drawing everything he sees. But he has a short attention span — often drifting into daydreams — and acts up at home. On his first day of sixth grade, Paul manages to get into trouble even before his teacher, Mr Turtletaub, finishes taking attendance. His crime? Accurately drawing his teacher’s face. He’s soon relegated to chalkboard-cleaning at the front of the class alongside perpetual trouble-maker Johnny Davis (Jaylin Webb). Johnny, who lives with his grandmother, is into NASA, space ships, and Grandmaster Flash. He is repeating sixth grade for 
disobedience. They soon become best friends, with Johnny introducing Paul to hiphop and rockets, and the much shyer Paul standing up for his friend. Paul is white and Jewish, while Johnny is one of the only black kids in class.
They are both bright but are labelled as “slow”. Rejected by the school, they increasingly turn to rebelliousness to fight back. Soon the pre-teens are cutting class to smoke pot in the boys room. But when events escalate, Paul is sent to a strict, conservative prep school favoured by the Trump family, while Johnny finds himself homeless and on the run. Will their new situation make their friendship impossible?
Armageddon Time is an autobiographical, coming-of-age drama about a rebellious kid growing up in Flushing Queens, his family and his friends. It’s also a glimpse at the period, its music, attitudes and politics. Ronald Reagan is running for President, the subways are covered in graffiti and punk and 
hiphop are pushing disco away. Closely based on James Gray’s own childhood, it deals with racism, class, corporal punishment and loss, but also friendship, kinship and family. I can’t help comparing it to Stephen Spielberg’s The Fabelmans, coming out later this year, another great autobiographical movie about a future filmmaker’s childhood; but while Spielberg’s is cinematic and full of gushing music, Armageddon Time is much grittier, less idealized. This one is more about the not-so-nice aspects of growing up. Banks Repeta and Johnny Davis are both remarkable as the two kids — they don’t bother learning Flushing accents, concentrating instead on their performance. Hathaway, Hopkins and Strong were also excellent.
I was really moved by Armageddon Time.
The Wonder is now playing at the TIFF Bell Lightbox; The Swearing Jar and Armageddon Time also open this weekend; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
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