Get away. Films reviewed: The Jump, See For Me

Posted in Blindness, Canada, Cold War, Crime, documentary, Lithuania, Politics, Thriller, USSR by CulturalMining.com on January 15, 2022

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

Today is CIUT’s 35th anniversary and we plan to  be around for at least 35 years more.  

This week I’m looking at two movies — one from Lithuania and one from Canada, now playing in virtual cinemas or Video on Demand. There’s a sailor who jumps off a ship to escape Soviet domination, and a blind cat-sitter who uses a phone app to escape from a gang of thieves.

But first, to celebrate CIUT’s 35th anniversary, here’s a clip of two of my earliest reviews, originally broadcast in January, 2010, where I talk about two films by Québec directors Xavier Dolan and Denis Villeneuve, early in their careers.  

(listen)

And now back to the future in 2022!

The Jump

Dir: Giedre Zickyte

It’s November, 1970.  Simas Kudirka is a Lithunian sailor who is married with children. He works aboard a huge ship, the Sovetskaya Litva. Simas has been enchanted by the idea of going to sea since he was young man, picturing swaying palms and exotic tropical climes. Instead he ends up in the drab grey, north Atlantic.  But his life turns upside down when the ship, seeking shelter from bad weather, anchors near Martha’s Vineyard, in Massachusetts. They are approached by the Vigilant, a US Coast Guard boat, and in a sudden, spontaneous decision, Simas jumps from the deck of his ship onto the Coast Guard boat. He says he’s defecting from the Soviet Union and seeking asylum in the US. But in a surprising decision, when KGB officers board the Vigilant, the Americans turn down his plea and hand him back. Remember this is during the cold war, when relations between the US and the USSR are tenuous at best, with both countries fighting proxy wars in countries around the world. And both have enough ready-to-launch nuclear weapons to destroy the world many times over. 

Simas is sentenced to prison for treason. But that’s not the end of the story. He becomes a political hot potato in the US, where widespread protests by Lithuanian Americans turn him into a cause celebre about the Baltic states. Will he be released from prison? And will he ever reach the United States?

The Jump is a Lithuanian documentary that revisits the case 50 years later. It incorporates contemporary news stories, footage from a TV movie made about him (played by Alan Arkin) and new interviews with all the main people involved; from former KGB agents to Henry Kissinger, retired coast guard sailors, politicians and the American women who tirelessly worked toward his release. And of course, Simas Kudirka himself. The Jump is a fascinating story about how one man can lead to monumental changes. It doesn’t go deeply into political critiques; this is more of a personal story coloured with a nationalist point of view. But it’s a good story.

See For Me

Dir: Randall Okita

Sophie (Skyler Davenport) was once a young, competitive alpine skier with Olympic ambitions. But her athletic career was cut short when she lost her vision. Now she now lives with her mother and earns a meagre living as a cat-sitter. She’s angry and frustrated. But she takes a job in a remote glass and wooden house deep in a forest. It’s luxurious and well paying, because the recently-divorced owner is heading abroad on vacation. It’s also her first time using a new app on her phone her overprotective mom gave her. It’s called  See for Me, and it hooks up visually-impaired people with random helpers around the world. The user holds up the phone and the helper tells her which way to turn, where to pickup a lost item, or read directions on a table. And when Sophie finds herself locked out and alone on a cold winter’s day, it proves invaluable.

The helper, Kelly (Jessica Parker Kennedy) is a former marine and video game enthusiast. She teaches Sophie how to break in through a sliding door. But that’s small potatoes compared with what happens that evening. She awakens to strange voices in the house. They’re professional thieves trying to break into a safe, in a building they assumed would be empty. And it turns out they’re armed and dangerous. And escape is impossible — there’s nowhere to go in the middle of a snowy forest. It’s up to Kelly to to help Sophie navigate her way around the house away from danger. But can a far-off ex-marine help a blind woman shoot to kill?

See for Me is a good Canadian thriller about a seemingly helpless woman in a battle with nefarious criminals. It has a fair level of tension with a few unexpected twists. And the two main characters — Sophie and Kelly, played by Davenport and Kenedy — are great. My biggest problem with it is, it reduces much of the conflict down to a series of shootouts like in an old western. Guns to the rescue! Even a blind woman (gasp!) can kill mean men as long as she has a handgun. Kelly seems really eager to kill people, even by proxy, and Sophie is less than blameless herself (no spoilers). Still, if you’re itching to see a wintertime, cabin-in-the-woods thriller, this one’s not bad. 

See For Me is now available on VOD, and The Jump opens this weekend in virtual cinemas in cities like Sudbury, Montreal, and London — 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

Potential explosions. Films reviewed: House of Gucci, Resident Evil: Welcome to Raccoon City, Drive My Car

Posted in 1970s, 1980s, Acting, Action, Crime, Family, Fashion, Hong Kong, Italy, Japan, Theatre, video games, Zombie by CulturalMining.com on November 27, 2021

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

With all the stress in people’s lives these days, movies are a good place to purge personal tensions by watching other people’s explosive disasters. This week I’m looking at three new movies about potential explosions.

There’s a zombie-infested city about to be bombed to oblivion, a Hiroshima theatre festival facing an explosive personal conflict; and a bombshell in Italy who threatens a powerful family.

House of Gucci

Wri/Dir: Ridley Scott

It’s the 1970s in northern Italy. Gucci is a major luxury brand specializing in leather goods. Founded 50 years earlier, it is now in the hands of the second generation. Rodolfo Gucci (Jeremy Irons), an ailing but piss-elegant man who surrounds himself with priceless art, works behind the scenes, He is grooming his smart but nerdish son Maurizio (Adam Driver) to take over. But the law school student shows little interest in the company or the family. The other half is headed by Aldo (Al Pacino) a hands-on guy who heads the company’s American branch, and wants to expand into the Asian market. But he considers his hapless son Paolo (Jared Leto) an idiot. Enter Patrizia Reggiani (Lady Gaga). She’s an accountant at her dad’s trucking business, but has greater ambitions. She meets Maurizio at a party, when she mistakes him for the bartender, but when she hears the name Gucci, her ears perk up. She wants in. After a few dates it’s true love, but Rodolfo doesn’t want his family name besmirched by a trucker’s daughter (forgetting that his own father who founded the company was not a rich man.) So Maurizzio marries into her family gives up his inheritance, and starts hosing down trucks — the best job he’s ever had, he says. But not for long. Following her TV psychic’s instructions Patricia manipulates and manoeuvres Maurizzio’s family to bring him back into the fold (with her at his side) to claw his way back to the top. And she’ll stop at nothing to get what she wants. But can they survive the troubles yet to come?

House of Gucci is a true crime/corporate family drama about the rise and fall of a rich family… which isn’t that interesting on its own. And I can’t stand an entire movie of American actors putting on vaguely foreign euro accents — we’re supposed to imagine them speaking their native Italian — why the awful accents? But that’s not why the movie is so much fun. What makes this movie work are two things. One is the amazing fashion and design of the whole movie. Everyone is constantly dressing up— more dresses and purses and tuxes and jewelry than you can shake a stick at.. Even more than this are all the campy, over-the-top characters, chewing the scenery as each one tries to out-do the others. Effete Jeremy Irons, a dazed Salma Hayek, a wonderful Al Pacino, and best of all, Jared Leto, as the hilarious Paolo. Lady Gaga is OK, but can’t compare to the masterful performers all around her. And Adam Driver is the dull straight man who steps back and lets the others shine. House of Gucci is a very enjoyable feast of high-fashion schlock.

Resident Evil: Welcome to Raccoon City

Wri/Dir: Johannes Roberts

It’s the 1990s, somewhere in the US. Chris and Claire Redfield are an estranged brother and sister.  They grew up in the Racoon City Orphanage, a creepy place filled with weird dolls and strange creatures that appear late at night. It is run by the Umbrella corporation the worlds largest pharmaceutical company. But Claire (Kaya Scodelario) runs away when she sees something terrible, while Chris (Robbie Amell) joins the local police force. But now she’s back… to warn Chris that something terrible is about to happen. A leak at the lab has let loose a horrible epidemic infecting nearly everyone in the town. But rather than getting sick, this virus makes your eyes bleed, your hair fall out and you turn into a flesh eating zombie. Or worse (no spoilers). They have until 6 am to fight off these monsters and escape from this hell-hole, or else they, and the rest of the town will be wiped off the face of the earth. They split up; Chris, and fellow cops Wesker and Valentine (Tom Hopper, Hannah John-Kamen) investigate the Spencer mansion, while Claire, the Police Chief, and Leon, a newby on his first day of work (Avan Jogia) set out from the police station. Will they ever get together? Who will live and who will die? And what secrets do these labs hold?

Resident Evil: Welcome to Raccoon City is a movie based on a video game, plain and simple. There are some good laughs, and a threadbare plot line, but it’s mainly reenacting the game, from the long dark hallways where zombies run towards you, to the dark and scary Spencer mansion. Even some of the camera angles and pans duplicate the game itself.  But it’s very cool to see on the big screen scary pitch-black scenes lit only by a lighter and the flash of gunfire revealing zombie faces. That said, it’s more eerie than scary, more action than horror. Not bad, but not much to it.

Drive My Car

Dir: Hamaguchi Ryusuke

Kafuku and Oto are a happily married couple in Tokyo. Kafuku (Hidetoshi Nishijima) is an actor and director in theatres, while Oto (Reika Kirishima) is a famous scriptwriter for TV and film. Oto’s ideas come to her at an unexpected time — while they’re having sex. Her bizarre stories are generated in the throws of orgasmic bliss, recited aloud to her husband, so it’s up to him to listen and remind her the next morning of what she said. But everything changes one day when he comes back early from a cancelled flight to Vladivostok. He catches sight of her making love to another, much younger, man in their bedroom. He sneaks away instead of barging in, but before they have a chance to talk about it, she dies of an unexpected cerebral hemorrhage.  

Years later he’s invited to direct a play — Chekhov’s Uncle Vanya — for a festival in Hiroshima. Kafuku’s trademark method is to cast his plays with actors who speak other languages and can’t understand each other. In this one the actors speak Japanese, Korean, Chinese, and even signs language. So they practice under his exacting direction, forced to keep each line perfectly timed. But there’s a twist: the most famous actor in the play is Takatsuki (Masaki Okada) a handsome and arrogant star who says he idolizes Kafuku and his late wife Oto. And he’s the one Kafuku thinks he saw having sex with his wife before she died. Meanwhile, in line with the theatre company’s rules, all directors must be driven to and from the theatre each day. So Kafuku gets to know the introverted Misaki (Tôko Miura), a young female driver from Hokkaido with a strange story. But as the production nears its premier date something terrible happens, forcing all the main players to reevaluate their priorities. 

Drive My Car is a beautiful drama about love, loss, jealousy, and guilt. The movie builds slowly in an exacting manner, as the director and the various actors get to know one another. And the excerpts from Uncle Vanya we see as they rehearse exactly mirror the feelings and thoughts of the characters in the movie. That’s not the only story. There’s also Oto’s own stories she told her husband, and the personal confessions from the driver herself about her dark past. The acting is superb, and the panoramic views, ranging from drives on causeways and through tunnels to footage of a vast municipal incinerator, are breathtaking. The film is based on a Murakami story, with all the weird quirky fantasy combined with mundane realism you’d expect from him. Drive My Car is a long movie but one that is deeply, emotionally satisfying.

House of Gucci and Resident Evil: Welcome to Racoon City are now playing theatrically in Toronto; check your local listings; and Drive My Car has just opened at the Tiff Bell Lightbox.

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

Gangsters and gangstas. Films reviewed: Yakuza Princess, Mogul Mowgli

Posted in Action, Brazil, Crime, Family, Fighting, Islam, Japan, Music, Yakuza by CulturalMining.com on September 4, 2021

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

TIFF starts in less than a week, but it’s a bit different this year. The press is under a total embargo, even for capsule reviews. But I can tell you about some of the changes. Unlike last year which was totally digital, this year they’re showing movies both on the big screen and digitally (at home). They also claim there will be no tickets, no badges, and no line-ups. No line ups? Unless they’ve mastered the art of teleportation, I’m not sure how they’ll get people into theatres without queues… but we shall see.       

This week I’m looking at two new movies — an action thriller and a musical drama. There’s a young woman in Brazil pursued by Japanese gangsters; and a Pakistani-British rapper in London chased by visions in his head.

Yakuza Princess

Co-Wri/Dir:Vicente Amorim

(based on the graphic novel by Danilo Beyruth)

Liberdade is the Japanese-Brazilian section of Sao Paolo, one of the largest communities of ethnic Japanese in the world, outside of Japan.  Akemi (Masumi) is there to improve her Portuguese. She has a part-time job selling LED lighting at a booth in the market working for a strict boss. In her free time, she practices Kendo, a martial art using bamboo swords. She’s devoted to her sensei, who stresses the importance of these lessons. And she loves singing at the local karaoke bar. 

But due to an unexpected turn of events, she meets a strange man with no name (Jonathan Rhys Meyers). He has total amnesia — he doesn’t know who he is ,where he’s from and why he’s there. His face is covered with scars; he recently evaded a police-watch at his hospital bed where the cops wanted to question him about a certain sword, found beside his nearly-lifeless body. He also wants to know about the sword — he recognizes its importance — the only thing he can remember. Akemi has to fight off three aggressive young punks who cat-call her as she performs her song. They stalk her home and threaten and break into her apartment. She fights them off using her latent skills in self-defence, but it’s three-to-one, until the sword-wielding scarface steps in to help. Then a third player enters the picture and joins in the fight. Takeshi (Ihara Tsuyoshi) is a highly ranked member of a powerful Yakuza clan. (The Yakuza refers to organized crime groups and their devoted members who are both powerful but also outcasts  within Japanese society.) He’s in Brazil on a mission: to track down Akemi, the only surviving member of a faction wiped out in a power struggle 20 years earlier when she was just a little girl. She knows nothing about any of this. Which of these two men is her ally… and which one is her killer? Takeshi, the ruthless Yakuza or the scar-faced swordsman with amnesia? And where did his strangely alluring Katana sword come from?

Yakuza Princess, as the title suggests, is an action/thriller about an ordinary young woman who discovers she’s the heiress to a faction of gangsters whose rivals are trying to kill. This is a Brazilian movie, and the script is in three languages English Japanese and Portuguese. It’s also pretty kitschy in its fetishistic version of Japanese culture, filled silent ritual bows and singing swords. But movies like this are allowed to be kitschy — they’re all about the fights: sword fights, fist-fights, jiu jitsu matches, gun battles and chase scenes. All of which are nicely choreographed. Ihara Tsuyoshi is a former stuntman, Masumi is a singer-actress, and Irish actor Jonathan Rhys Meyers has been playing dangerous pretty-boys in TV series and movies for many years. In this one though, his face is so covered in scars and blood he’s barely recognizable (probably so stuntmen can play him in the fight scenes.) Yakuza Princess may be super-cheesy and bloody with a convoluted plot,  but it’s a fun action thriller. With an ending that suggests many more sequels yet to come.

Mogul Mowgli

Dir: Bassam Tariq

Z (Riz Ahmed) is a rising South-Asian English rapper. He just finished a sold-out American tour and he’s flying high, hanging with his American girlfriend Bina and his British manager. And now he’s slated to go on a world tour, as the opening act for a superstar. This is the big break he’s been waiting for. So he decides to spend a week in London’s East End with his family who he hasn’t seen for two years. But nothing has changed.  The new dishwasher is still sitting there in a box. His bedroom is full of the  cassette tapes he rapped to as a teenager. His dad (Alyy Khan) is a failed entrepreneur full of get-rich -quick schemes that never get off the ground. And his mom (Sudha Bhuchar) has her own quirks. When the chilli peppers she chars over a burner gives off no aroma — she says it’s a bad sign. Turns out she’s right. Z is suddenly afflicted by an unidentified ailment. 

Within a day or two his muscles cease to function. He can’t walk, can barely  even stand up. But his world tour is leaving in a couple days! IN the hospital a doctor had worse news. It’s an autoimmune disorder of unknown origin. Luckly there’s a new tincture they can try on him — it just might work. But among many possible side effect is the loss of fertility.  And even worse, his manager wants to replace him own the world tour with an awful rapper wannabe. Suddenly the famous performer is emasculated and immobile, deserted by his friends and depending on his eccentric parents’ superstitions to get through the day. Under the influence of the experimental meds he slips into a twilight zone of dreams, visions and hallucinations. Will he live or will he die? Will his former powers be restored? Can his career and reputation be rescued? And will his self-confidence ever return?

Mogul Mowgli is a brilliant showcase for the great young British actor Riz Ahmed. It’s hilarious surprising, and filled with sharp self-criticism. It chronicles the fall of a famous rapper — Riz Ahmed wrote his own versus — and the loss of face that entails. It also reveals the inner-workings of the London Pakistani  community — at home, in the mosque and in the wider world. And how the children of immigrants navigate their split identities. Everything Z sees and hears makes its way into the versus he’s constantly composing in his head. It’s told in an almost surreal manner, through the inner workings of a possibly dying man’s mind. Z is haunted by a groom whose face is covered with garlands of flowers, while his hospital gown morphs into a sequinned suit.

I really liked this movie. 

Mogul Mowgli and Yakuza Princess are both opening theatrically and/or digitally across Canada 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

End of summer movies. Films reviewed: Flag Day, 499, Candyman

Posted in 1500s, 1970s, 1980s, 1990s, Art, Chicago, Crime, documentary, Family, History, Mexico by CulturalMining.com on August 28, 2021

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

I know, everyone’s still thinking about Covid-19, vaccinations and Delta, Delta, Delta… but it’s also beastly hot and horribly humid. Wouldn’t it be nice to sit in an air-conditioned movie theatre, (safely spaced away from the other moviegoers?) This week I’m talking about three new films that open this weekend — a documentary, a family drama and a horror movie. There’s a Spanish conquistador recording notes in a book; a ghostly killer whose hand is a hook; and a grifter who vows to help out his daughter… by hook or by crook. 

Flag Day

Dir: Sean Penn

It’s the 1970s in the US  midwest. Jennifer and her little brother Nick lived with both their parents, until mom (Katheryn Winnick) kicked dad (Sean Penn) out of the house. He’s a liar and I won’t put up with him anymore! But after watching their mom spiral into alcoholism, the kids only have fond memories of their dad. So they ask to spend time with him. They move into his ramshackle hut by a lake, alongside his new, young girlfriend. He teaches 11-year-old Jennifer to drive, and they spend crazy times by the lake and on the highway. It’s all like an exciting adventure… until the motorcycle gang he works for — and owes money to — start visiting the home. Dad gets beaten up and the kids move back in with mom.

Later, in the 80s they’re back in school. Jennifer (Dylan Penn) is a goth rebel and Nick (Hopper Penn) is a withdrawn teen. Mom has remarried to a creepy guy, and the kids suffer for it. But when the stepdad starts crawling into bed with Jen, that’s the last straw — she has to get out of there. She travels across the country until she finds her father. He is not in great shape — neither mentally nor financially. And his criminal tendencies start to re-emerge. Can Jennifer reconcile with her dad and mom and pursue her goal to become a journalist? Or is she doomed to follow in their footsteps?

Flag Day is a family drama (based in a true story) about the ups and downs of a father-daughter friendship. It stars a real father and daughter, Sean and Dylan Penn. The movie starts on Flag Day (an unofficial,  patriotic US holiday), with the father — an accused counterfeiter — is being pursued down a highway by a line of police cars with a helicopter overhead. The rest of the movie is about what led to this point: mainly Dad trying to get away with his crimes to help his beloved daughter.

I have mixed feelings about this film. I’ve seen enough to know that if it’s bad in the first 10 minutes, it will probably only get worse. (Flag Day feels wooden and slow.) But I decided to give this one a chance… and you know what? It gets much better. There’s way too much crying — every scene of the movie involving Jennifer or one of her parents leaving or coning back is punctuated by more tears. And voice-over narration  can ruin any connection you might feel to the characters on the screen. On the other hand, the whole movie is nicely shot on grainy video filled with beautiful fireworks, bonfires, flaming BBQs — (lots of fire and water!); the characters develop and get more and more interesting as you get to know them; and the whole thing (nearly) pulls together by the end. It’s set mainly in Minnesota but was shot in Manitoba, giving it an “authentic” feeling of working-class, white America. Flag Day isn’t perfect but it’s not bad either, once you give it a chance.

499

Co-Wri/Dir: Rodrigo Reyes

In 1521, Cortez and a few hundred conquistadors  invade the Aztec kingdom. They overthrow Montezuma and slaughter countless people, laying waste to the beautiful capital of Tenochtitlán in their insatiable search for El Dorado, the mythical city of gold. Later, one of the conquistadors (Eduardo San Juan) survives a shipwreck and washes to shore, complete with armour, helmet, pantaloons and sword. He walks from the beach to Tenochtitlan, but it’s not how he remembers it. Somehow he has skipped the past 499 years and is now near Mexico City, circa 2020.

499 is a documentary with a twist. It’s a travelogue through modern day Mexico as seen through the eyes of a relic from the past, a man mired in 16th century Christian morality and Spanish Imperialism. He feels he can slaughter local “Indios” with impunity. But, gradually,  as he sees what’s become of Mexico today — the drug cartels and corrupt police forces, along with the relentless crime, torture and death they bring — he is forced to rethink his beliefs. He becomes less of a soldier, and more of a passive observer, speaking with Mexicans and writing down what they say as they tell him their harrowing stories.

But it’s not all sad stuff. We also see the beauty, the splendour, the weirdness and the wonder all around him. Dance, music, acrobatics, art, culture and history are all shown in glorious panoramic cinematography.  There are bullfights and strip bars, and interviews with actual masked gangsters… as well as their victims.

499 is an eye-opening doc about contemporary Mexico disguised as a time-travel movie. 

Candyman

Dir:  Nia DaCosta

It’s present-day Chicago. 

Brianna and Anthony (Teyonah Parris, Yahya Abdul-Mateen II) are a rising young power couple in Chicago. They live in a luxury high-rise. She’s a curator at a local art gallery, and he’s an artist. But when he wants his paintings included in a group show, his gallerist says his work is getting stale. Find something new. So he sets out to explore a local urban legend to incorporate it in his work. It’s the story of Candyman, a ghostly serial killer who operated out of a public housing project called Cabrini–Green. It was a sorely neglected area, populated mainly by poor blacks, located just across a street from one of Chicago’s richest and mainly white neighbourhoods, the Gold Coast. (Looks like Bree’s apartment was built over the remains of the project.) 

Candyman tempts victims by offering  them candy, and kills them surrounded by a swarm of honeybees, using a sharp hook he has for a hand. And he can be summoned by saying his name 5 times while looking into a mirror. Anthony’s latest work is called Call My Name, a mirror that dares its viewers to summon Candyman. It gets little notice until people associated with his art start turning up dead. Suddenly, he’s a hot property and art critics say he’s important. But Anthony knows the truth. Candyman is real, he’s dangerous, and he’s Anthony’s to blame for letting him loose on the world. Can he and Bree stop the Candyman before he kills more people? Or is it too late?

Candyman is a sequel to the Wes Craven’s horror movie from the 90s, and it turns conventional slasher-horror movies on their head.  Bree’s brother Troy (Nathan Stewart-Jarrett)  is flamboyantly gay but also a credible character with a life all his own, not just a victim to be laughed out. Black characters don’t exist merely in reaction to whites — they’re the focus of the movie. Killings are usually shown from a distance or off-camera — while there’s blood, it’s not excessively gory (compared to most slasher movies). Scary but not terrifying. 

Aesthetically, Candyman is deeply satisfying with art direction way above what you normally see: minimalist composed sets, breathtaking cityscape views of Chicago filmed upside-down in black and white, and shadow puppets used to illustrate the story within the story… so cool. The filmmakers — producer Jordan Peele and co-writer/directer Nia DaCosta  — are black, as are the main characters… but not most of the victims. DaCosta skewers the cut-throat world of fine art, using razor-sharp political satire. Candyman is not a conventional slasher/horror movie, and probably won’t scare your pants off, but it offers lots of eye candy to look at and even more to think about. 

I liked this one a lot.

Candyman and Flag Day just opened this weekend in Toronto — check your local listings. And you can catch 499 at the Paradise Theatre for two days only: Aug 28-9th. 

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 Kenneth Feinberg about Playing God at Hot Docs 2017

Posted in Courtroom Drama, Crime, Disaster, documentary, Legal, Morality, Politics, Terrorism, Trial, US by CulturalMining.com on August 7, 2021

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

Photos by Jeff Harris.

The world reacted in horror when New York’s twin towers were knocked down. But after the dust settled the question was how to compensate its victims and their families. Enter US Attorney Ken Feinberg, who volunteered to handle that monumental task.

Following this, he went on to handle other disasters, in both the private and public sectors, including the BP oil spill and the shooting at Sandy Hook elementary school. Are the results always fair? How do the victims –  and Feinberg himself — deal with the enormity they face? And is this a case of one man playing God?

Playing God is a new feature length documentary that had its world premier at Toronto’s Hot Docs International documentary festival. It was directed by filmmaker Karin Jurschick and features US attorney Kenneth Feinberg.

I interviewed Kenneth Feinberg on location at Hotdocs in April, 2017.

Reasons. Films reviewed: Silent Night, Sun Children

Posted in Coming of Age, Crime, Drama, Iran, Kids, UK by CulturalMining.com on June 25, 2021

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

Toronto is finally opening up — well, kinda. Now you can see movies away from home, just not yet in theatres.  The Lavazza Drive-In Film Festival is coming to Ontario Place, showing a huge selection of crowd-pleasing international films. It also incorporates the wonderful annual Italian Contemporary Film Fest, now celebrating its 10th year. It starts this Sunday and continues through July 17th, featuring, on Canada Day, the North American premier of Peace By Chocolate — based on the inspiring, true story of a family of Syrian refugees  who start a chocolate factory in Nova Scotia.

And for those of you without cars, the Toronto Outdoor Picture Show (or TOPS & Friends, for short) is showing outdoor movies  in person at Old Fort York, incorporating special features selected from a year of Toronto film festivals, including the Geothe Institute, Real Asian, Toronto Palestine, Inside-Out film fests,  Viewers can sit on the grass, physically distanced, while watching a whole bunch of movies — for free! Details and showtimes will be released in July.

But this week I’m looking at two new movies you can watch at home: a crime flick and a coming of age story, one from the UK the other from Iran. There’s a gangster in London who agrees to kill someone in order to save his young daughter; and a 12-year-old kid in Teheran who agrees to break the law in order to save his mother.

Silent Night

Wri/Dir: Will Thorne

London in the present day. Mark (Bradley Taylor) is just out of a London prison, and looking for work. His six-year-old daughter Daisy is overjoyed tp see her dad again, but his ex-wife Rosey is skeptical. Mark insists he’s a different man now, and wants nothing to do with the gangsters he used to pal around with. He just wants to carve a wooden hobby horse to give to Daisy for Christmas. But when he gets a job trimming trees in a forest, who is the first guy he runs into? Alan (Cary Crankson) a truly sketchy character if he’s ever met one who is also his former cell-mate. More former “friends” start gathering around him, including Pete and Seamus a friendly pair of pot dealers; Toni, the gang’s matriarch; Nicky, girlfriend of the boss; and Caddy (Frank Harper), the gruff and paranoid kingpin. 

They urge, cajole, pressure and threaten Mark offering a carrot and a stick, for this, they promise will be his final job. The carrot is enough money to keep his family secure and stable (the government jobs pay terribly). The stick is they’ll kill Daisy if he doesn’t follow through. What does he have to do? Catch and kill a rival mob boss who Caddy thinks is threatening his business. But when the bodies start piling up, with no end in sight, Mark has to make some heavy decisions. Can he complete the job, save his daughter, and figure out who is really behind this scheme… before getting killed or sent back to prison first?

Silent Night — it’s set during the days leading up to Christmas — is a heavy-duty London crime drama. There’s lot’s of death and violence — some quite explicit, others comical — as Mark tries to navigate his life as a former criminal gone straight despite all the forces working against him. No spoilers, but there’s also a major twist that caught me totally by surprise, and raised my enjoyment level considerably. The acting is good and the script is punchy and fast-moving, without being stupid (like so many crime dramas.)

I like this one.

Sun Children

Co-Wri/Dir: Majid Majidi

Ali (Rouhollah Zamani) is a 12-year old boy in Teheran. His father died in an accident and the shock sent his mother to a psychiatric hospital, where she lies tied to a bed, unresponsive. He has no money and nowhere to live, but does work for a pigeon-keeper and petty criminal named Hashem, who is like Fagin in Oliver Twist. Ali is the head of a group of four young guys, with Abolfazl, Reza, and Mamad.  They make money stealing hubcaps. They also look out for Zahra, a little girl who sells trinkets on the subway. Some of them are Afghan refugees, others have fathers in prison, on drugs or dead. So when the boys are offered a chance to go back to school, and get paid for it, they jump at the opportunity. Ali and his gang may be street smart but they’re uneducated. And he’s promised a safe place to live so he can take his mom out of hospital. 

There’s just one catch. He has to enrol in a specific school — the Sun School — and do a bit of side work without getting caught. When they’re not in class, they’re supposed to be secretly digging a long underground tunnel using a pickaxe and their bare hands. At the end of the tunnel,  beneath a cemetery, there’s buried treasure beyond their wildest dreams.  So begins their new lives, studying full time but also doing hard labour between classes. Abolfazl proves to be a great math student, and Reza excels at soccer. Ali has his own skills: he head-butts two classmates and scares off a third for insulting his mother. He still has to avoid the cops and the self-important school principal, while looking after the others, and relentlessly digging, digging, digging through the walls. What lies at the other end?

Sun Children — that’s what all the boys in the school are called — is a marvellous, realistic, entertaining and deeply-moving look at the lives of street kids. (If this film doesn’t bring tears to your eyes, I don’t know what will.) The children are all non-actors but pull off amazing performances, including Rouhollah Zamani, who won a top prize at Venice. This coming-of-age drama looks at political corruption, poverty, child labour and the duplicitous  and exploitative nature of grown-ups as seen through the eyes of children.

I strongly recommend this movie.

Sun Children and Silent Night both open today on VOD and digital platforms.

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

Self-reflexive. Films reviewed: Akilla’s Escape, Truman & Tennessee, Censor

Posted in 1950s, 1980s, Canada, Crime, documentary, drugs, Gay, Horror, Jamaica, Toronto, UK, Writers by CulturalMining.com on June 18, 2021

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

This week I’m looking at three new movies — a crime drama, a horror movie and a documentary. — that also look at themselves. There’s a possible killer named Akilla, a horror movie about horror movies, and a doc about two famous gay writers… who write about themselves.

Akilla’s Escape

Co-Wri/Dir: Charles Officer

It’s present-day Toronto. Akilla (Saul Williams) is a smart and well-read guy, who was born in Jamaica, grew up in Queens NY, and ended up in Toronto as a teenager. He has built a career with a successful grow-op he calls “the farm” for twenty years, but feels it’s time for a change. There’s been a rash of gang violence and he wants out. But on the same day, he interrupts a robbery gone wrong, leaving dead bodies in its wake. Most of the remaining local gangsters get away with two bags full of cash and drugs which should be in the hands of organized crime. But one of them — whom Akilla knocks out during the robbery — is still lying unconscious on the floor. And when he pulls off his mask, he sees young Sheppard (Thamela Mpumlwana), a 15-year-old boy who reminds him of himself at that age. He doesn’t want to hand him over to the mob because they’ll kill him… but he also needs to recover the stolen cash and drugs — otherwise he’ll be the one to suffer.  Can he get Sheppard to confess, avoid a hitman from the Greek mob, and catch a fugitive killer… without dying himself?

Akilla’s Escape is a complex and engrossing crime drama set within Toronto’s Jamaican community. Through a series of flashbacks, it’s told in three parallel stories about people dragged into a life of crime largely against their own will: young Akilla in Queens, Sheppard in Toronto, and adult Akilla in the present day. It’s nicely shot in a distinctive style coloured with reds and yellows to differentiate the different time periods. Saul Williams is really good as Akilla, both thoughtful and intense; and, in a twist, Sheppard and the 15-year-old Akilla are both played by the same actor, Thamela Mpumlwana! 

Interesting movie — I like this one.

Truman & Tennessee: an intimate conversation

Dir: Lisa Immordino Vreeland 

Truman Capote and Tennessee Williams first met in the 1940s when they both were rising stars.  Capote was still a teenager while Williams was in his late twenties. And they both were gay authors.  Tennessee was a compulsive writer dedicated to his craft, while Truman yearned for celebrity, not just success. Tennessee wrote a series of incredibly successful plays, most of which were later turned into hit movies, all about the lives, loves  and tragedies of southern woman. You’ve probably seen at least some of them: The Glass Menagerie, Cat on a Hot Tin Roof, A Streetcar Named Desire, to name just a few. Truman Capote wrote novels, memoirs and true crime reports, like In Cold Blood, Breakfast at Tiffany’s, and Other Voices, Other Rooms. They went on vacations together, along with their long-term lovers, to exotic locales in Italy and Morocco.

They both drank heavily and popped pills supplied by the notorious “Doctor Feelgood”. But by the 1970s their fractious friendship ended in bitter rivalries.  Truman wrote a story with a character based on Tennessee, whom he described as “a chunky, paunchy, booze puffed runt with a play moustache glued above laconic lips who has a corn-pone voice.” In response, Truman is said to have “gone so far in his shtick that all his work will be seen now in the shimmer of a poised stiletto”. 

This documentary is composed of scenes from their films, still photos (by photographers like Richard Avedon and Cecil Beaton), and a few key TV interviews (with David Frost and Dick Cavett). Visually it’s experimental, with lush green leaves, trees and rippling water superimposed kaleidoscopically on much of the period footage, giving the film a drifting, ethereal feel.

It’s narrated by the authors themselves, as voiced by actors Zachary Quinto (Star Trek) as Tennessee Williams and Jim Parsons (Big Bang Theory) as Truman Capote. It’s full of personal details of their superstitions, phobias, addictions, jealousy, loneliness and lust. Did you know that Truman Capote wanted Marilyn Monroe, not Audrey Hepburn, to play Holly Golightly in Breakfast at Tiffany’s (which was based on an actual friend of his)? And Tennessee Williams tells all his viewers to walk out of his movies just before they’re over, because, he says, Hollywood’s happy endings ruin them all. These just give you a taste of all the secrets revealed in this movie.

If you like these two writers, you must see this doc.

Censor

Co-Wri/Dir: Prano Bailey-Bond

It’s the mid-1980s in Thatcher’s Britain. Enid (Niamh Algar) works for the censor board. In teams of two they rate, classify, cut or ban the many videos flooding the country. She’s meticulous in her work, logging frame by frame any images she thinks show too much. Scenes that don’t make the grade include a gouged eyeball that “looks too realistic”, or “excessively visible genitalia”. Pressure is especially strong these days because the tabloid press blames a rise in crime on the prevalence of “video nasties” — low-budget horror movies washing up on the sacred shores of Albion.

Things get worse when a gruesome real-life murder seems to mimic a scene from a horror movie she once approved. And once the papers print her name, she is inundated by paparazzi, journalists and non-stop anonymous obscene phone calls to her home. Meanwhile, at work, she is visited by a particularly sleazy and salacious film producer, who says she would be perfect to star in his next movie. Turns out his past video nasties include a film about two teenaged sisters, one of whom was violently killed. Thing is, Enid’s own sister disappeared after a walk in the woods when they were both still little girls, and she has made it her life-long goal either to find her or find out what happened to her. Is this film somehow related to her and her sister? Is the film studio a murder machine, making snuff films? Or is it all in her head?

Censor is a psychological horror pic that traces a bureaucrat’s slide from proper office worker into the depths of violence and depravity. It’s about the making and censoring of those low-budget horror movies in the 80s, but it’s also a horror movie in its own right. Its style matches the videos it’s sampling —  the music, sound effects, costumes — giving the whole film a surreal feeling.

This is good, over-the-top horror.

Akilla’s Escape is now playing on VOD; Truman & Tennessee: an intimate conversation opens today digitally at the Rogers HotDocs cinema; and Censor also opens today on your favourite VOD platform.

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

Travelling for love. Films reviewed: Make Up, Identifying Features, Preparations to Be Together for an Unknown Period of Time

Posted in Coming of Age, Corruption, Crime, Family, Hungary, LGBT, Mexico, Obsession, Psychology, Romance, Rural, UK, Women by CulturalMining.com on January 22, 2021

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

They say love is true, and some people travel far and wide to keep that love alive. This week I’m looking at three new movies, directed by women in Hungary, England, and Mexico, that explore this theme. There’s a teenaged girl who moves to Cornwall to spend time with her boyfriend; an American surgeon who moves to Budapest to be reunited with her lover, and a Mexican farmer who crosses the country in search of her missing son.

Preparations to Be Together for an Unknown Period of Time

Dir: Lili Horvát

Marta (Natasa Stork) is a 39-year-old, successful surgeon from New Jersey.  So what is she doing at a run-down hospital in Budapest? She moved there, spontaneously to join up with a man she met a conference. They shared a night of passion and swore to meet up again  on a bridge in Budapest at a specific time and date. (Marta is originally from Hungary but immigrated to the U.S.) But when she sees her bearded lover Janos (Viktor Bodó) he says he has ever seen her before in his life. She faints on a downtown street, where a young man named Alex (Benett Vilmányi) comes to her rescue. Marta is overcome with emotions. Is she going crazy? Was it all a dream? Or is Janos gaslighting her for some unknown reason? 

She gets a job at the hospital where Janos works to be close to him. Meanwhile Alex turns out to be a young medical student who develops an infatuation with Marta. So this turns into a three way stalk fest with Marta spying on Janos and Alex following her. Where is love? IS it real or imaginary? And can Marta come to terms with her new strange life?

Preparations to Be Together for an Unknown Period of Time is an intriguing mystery-romance-psychological drama about passion and illusion, alienation and obsession. Marta deals with sexist colleagues and petty bureaucrats, as she  tries to navigate a culture she’s not quite familiar with. It’s filmed on the lovely streets of Budapest with a fair amount of unexpectedly strange sex (no spoilers). The movie is a bit confusing in its tone, with, rather than a huge dramatic turning point, it culminates in an oddly absurdist, anticlimactic finish. Preparations is a good movie, but probably not what you expect. 

This is Hungary’s nominee for best Foreign Language  Film Oscar.

Make Up

Dir: Claire Oakley

It’s winter in Cornwall, England. Ruth (Molly Windsor) is an 18 year old woman, staying at a deserted summer holiday park so she can spend time with her boyfriend. She’s been dating Tom (Joseph Quinn) for 3 years. But rather than a romantic getaway, she’s staying in a grey, gloomy collection of jerry-built cottages near the sea. Everything is covered in plastic sheeting. And her relation with Tom is fraught with tension and jealousy. When she finds a hair in her sheets, that clearly isn’t hers, she takes the bedding to the laundry to wash it clean. There she meets an older taller woman named Jade (Stephanie Martini). Jane makes hair pieces for a local hospital — it takes 30,000 knots to make a single wig, she says. 

Now Ruth has someone she can hang around with, talk to, and tell her secrets, none of which she’s getting from Tom. But her obsession with her boyfriend’s possible mistress drives Ruth into an unexpected situation. Can her relationship last? Or will she find a new path among the windswept sand dunes?

Make Up is an impressionistic coming-of-age story about a young woman looking for love while trapped in an almost surreal setting. It’s full of the screeching foxes, detached sexual sounds and  blurry vistas set against the banality of service jobs. Molly Windsor is really good as the bewildered Ruth. The movie itself is a straightforward drama but shot almost like an eerie ghost story. This is an excellent first feature from a young filmmaker.

Identifying Features

Dir: Fernanda Valadez

Chuya (Laura Elena Ibarra) is a farmer in Guanajuato, Mexico. She’s a single mom who’s raising her teenaged son Jesus in a small farmhouse. But when he suddenly tells her he’s heading north with his best friend to take a job in Arizona, she packs his bag and says goodbye. And that’s the last she hears from him and his friend. Are they kidnapped? Lost? Or dead? She reports it to the police to no avail. His best friend is found but nothing is found of Jesus except the bag Chuya had packed.  And when a woman she meets tells her not to give up, she sets out on a journey to try to find her son, or else confirmation that he’s dead.

On the way she falls in with a young man named Miguel (David Illescas)  who was recently deported from the US. He is looking for his mom who lives in Ocampo a region plagued with crime. It’s also where Chuya thinks she can find the answers to her son’s disappearance. Will she ever find out what happened to him? And can an ordinary, kind woman survive in a society filled with greed, suspicion, and murder? 

Identifying Features is a deeply moving and gripping mystery/drama that looks at the lives of Mexicans, trapped within larger forces — el migra, organized crime, and a corrupt police force — over which they have no control. It takes you into fascinating places, rarely portrayed — like indigenous villages, hostels for migrants — that tell an unforgettable story with a shocking ending.  Stunning cinematography, and natural acting combined with compelling drama, makes for a terrific film.

Make Up just opened on VOD across North America.  Preparations to Be Together for an Unknown Period of Time, and Identifying Features both open today at the digital TIFF Bell Lightbox.

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

Two Ladies and a Gentleman. Films Reviewed: Love Sarah, Promising Young Woman, Lupin

Posted in Crime, Disguise, Family, Food, France, Movies, Mystery, Psychology, Thriller, UK, US, Vengeance by CulturalMining.com on January 15, 2021

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

Doug Ford’s latest rules  to fight the pandemic say don’t leave home… except when you do But don’t worry, there’s lots to see without going outside. This week I’m looking at two new movies and a TV series. There’s three woman in London opening a bakery, a Parisian thief who’s a master of fakery, and a vengeful woman exposing predators by pretending to be drunk when she’s actually wide-awakery.

Love Sarah

Dir: Eliza Schroeder

It’s present-day London, in Notting Hill (before the pandemic). Sarah is a chef who comes from a family of very talented women. Her daughter Clarissa (Shannon Tarbet) is a professional dancer, and her mum, Mimi (Celia Imrie), is a retired trapeze artist. She plans to open a gourmet bakery/cafe  with her best friend Isabella (Shelley Conn). They studied cooking together in Paris. But right after they secure the property, Sarah is killed in a bicycle accident, and her whole family is in disarray. Depressed Clarissa can’t dance anymore, and her dancer-boyfriend kicks her out. Mimi was already estranged from Sarah before she died. And Isabella without a real chef, is forced to go back to her office job. The three manage to overcome their differences and open the cafe in Sarah’s name. But where will they find a baker? In walks Matthew (Rupert Penry-Jones). He’s a two star Michelin chef who studied with Sarah and Isabella in Paris and slept with each of them (he’s a notorious womanizer.) Perhaps he’s also Clarissa’s birth father… And does he still carry a torch for Isabella? 

Love Sarah is a charming, low-key drama about the joys and trepidations of running a business in honour of someone who died. It’s full of vignettes about cooking and baking in a quaint and colourful neighbourhood. There are also chances of romance for each of the three women. The plot is threadbare but the characters — and the actors who portray them —  are quite endearing, in that understated English way. Love Sarah is a cute, but inoffensive, picture.

Promising Young Woman

Wri/Dir: Emerald Fennell

Cassandra (Carey Mulligan) is a promising young woman at med school with her best friend Mimi. They’ve planned to become doctors since they were kids. But then something terrible happens. Mimi gets drunk at a party and is raped by another student and the university sides with the man. Mimi commits suicide and a despondent Cassandra quits school, moves in with her parents   and drops out of life. She works by day at a dead end job, while her nights are spent in a drunken stupor at tawdry pick-up bars, going home with whatever guy asks her. But things aren’t what they seem. Whenever her “date” inevitably throws

Carey Mulligan stars as “Cassandra” in director Emerald Fennell’s PROMISING YOUNG WOMAN, a Focus Features release.
Credit: Courtesy of Focus Features

himself on this seemingly drunken woman, she jumps into action to teach the predator a lesson. This secret heroin will never be a victim. But can she single-handedly avenge all the people to blame for Nina’s suicide? And will she ever start living a normal life again?

Promising Young Woman is a vengeance thriller that’s full of shocks surprises. Carey Mulligan is fantastic as Clarissa, a multi-leveled character who is both depressing, and funny with a dark, deranged streak running through her. Bo Burnham plays a self-effacing nerd — and potential boyfriend — who challenges her theory that all men are douches; and comic relief is provided by Jennifer Coolidge as her mom, and Laverne Cox as her boss. Promising Young Woman is shocking and deeply disturbing while also reassuringly moralistic. This movie keeps you guessing — and your heart pumping — till the very end.

Lupin

Assan Diop (Omar Sy) is a young boy who lives with his Senegalese father in  a palatial estate in Paris. His dad’s a chauffeur for the Pellegrinis, a very rich  but ruthless family. He gives Assan a book — classic stories of Arsene Lupin, the eponymous gentleman thief and master of disguises — and tells him to read it carefully and learn from it. Lupin is ingenious and conniving but always a gentleman (they use the English word in this French drama) But when his father is arrested for stealing priceless jewels, Assan is left alone, penniless and orphaned. Luckily an anonymous donor pays for his education at an elite academy. Years later he emerges as a modern day Lupin, reenacting his most audacious thefts and reaping its rewards. He’s married now and has a teenaged son. But when the jewels his father was accused of stealing reappear at an auction, he is determined to get the necklace, prove his father’s innocence and get revenge on Pellegrini, whom he believes set his dad up. But to do this he must outsmart the police, evade Pellegrini’s hired killers, even while he continues to carry out his intricately planned heists.

Lupin is a delightful new TV series full of capers and adventures, a new take on a classic character. It follows multiple sub-plots: his relationship with his wife and son; his various capers; his war against Pellegrini, and the cat & mouse game he plays with the police. Omar Sy is wonderful in the main role, so much so that there’s little screen time given to the supporting actors — the buffoonish cops and naive millionaires are mainly there as foils for his exploits. Yes, it’s an unbelievable fantasy, and yes, it’s purely light entertainment, but I like it a lot. And after one week with only 5 episodes, it is already trending at #1.

Lupin is now streaming on Netflix. And Love Sarah and Promising Young Woman both open today digitally and on VOD.

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

Not about the US election. Films reviewed: The Crossing, The Kid Detective, Major Arcana

Posted in 1940s, Addiction, Canada, Coming of Age, Crime, Drama, Homelessness, Kids, Mystery, Norway, Romance, Rural, Thriller, WWII by CulturalMining.com on November 6, 2020

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

I’m recording this on Thursday before the US election has been settled. So with all the tension and stress, it’s a perfect time to watch some entertainment entirely unrelated to politics. This week I’m looking at three new movies about growing up. There are Norwegian children facing adult responsibilities; a grown-up kid detective fighting real crime; and a man trying to grow up and act his age.

The Crossing (Flukten over grensen)

Dir: Johanne Helgeland

It’s Christmastime in 1942. Norway is occupied by Nazi Germany with the blessings of the Quisling government. Food is rationed and times are tough but life goes on. Gerda (Anna Sofie Skarholt) is a little girl with rosy cheeks and blond hair. She’s obsessed with the Three Musketeers and wears a floppy hat, a cloak (made from an old apron) and brandishes a pie cutter: en garde, rogue! But one day she spies her older brother Otto (Bo Lindquist-Ellingsen) through a window –he’s at a Nazi meeting! Their parents are firmly opposed to the occupation… why is Otto there? Meanwhile, strange things are happening at home –the cocoa is disappearing… and their arents keep talking about sacks of potatoes. Things come to a head when the police bang on the door in the middle of the night. As they’re taken away their parents shout the Christmas presents are in the basement! Take them to your aunt Vigdis! What do they mean? Turns out there are two kids their age hidden behind a wall. Daniel (Samson Steine) and Sarah (Bianca Ghilardi-Hellsten) a brother and sister just like Otto and Gerda except they’re Jewish. With their parents in jail, now it’s up to Gerda and Otto to take them across the border to neutral Sweden. Can they take Daniel and Sarah to safety? Or will they be caught?

The Crossing is an adventure story about friendship and family in a wartime setting. It’s a kids-against-grown-ups situation – most of the good adults have been arrested, while the bad ones – Nazi and local collaborators – seem to be everywhere. They are real life villains, almost witches and monsters in the children’s eyes. There are good people too, but it’s hard to know who to trust. Gerda is excited by their journey, Otto is reluctant to join them, while for proud Daniel and innocent Sarah it’s a matter of life and death. Though made for children, the movie is full of action, close calls and near escapes. It’s also a tear jerker, with some every emotional scenes. Though fictional and clean-scrubbed, it’s an exciting look back at adventures in occupied Norway.

The Kid Detective

Wri/Dir: Evan Morgan

When Abe Applebaum was little (Adam Brodie) he was the smartest kid in town. He solved mysteries at school, figuring out who broke into a locker or cheated on a test. He worked out of his treehouse. His fame grew – the pop shop owner promised him free icecream for life, and the town chipped in to get him a real detective’s office. But people grow up and things change. A 10 year old caught snooping for clues in a little girl’s closet is adorable; for a man in his thirties it’s not cute at all. His reputation tanked when he failed to solve the mystery of a missing girl. Now, Abe is an alcoholic detective, eating alone in neon-lit diners, and addicted to anti-depressants. But things take a turn when he is approached by an innocent student named Caroline (Sophie Nélisse). They soon uncover clues – a photo of a naked woman in a tiger mask and some origami roses – that harken back to the disappearance 20 years earlier. Is he just a wash out? Or will the former kid detective solve this new, terrible mystery and regain his self worth?

The Kid Detective is a totally watchable and cute comedy drama. It starts as a high concept movie – what happens to heroes from kids’ books (like Encyclopedia Brown) – when they grow up? It’s full of kid-ified versions of cinema noir clichés, seen through a mist of bittersweet adult nostalgia and small town life. It starts out a bit slow and silly, but picks up quite nicely. I saw this at TIFF immediately after a shockingly violent horror movie, and it left me with just the right combination of watchable entertainment and warm feelings (with an unexpected and shocking twist). I thought I’d hate it, but I actually liked this movie.

Major Arcana

Wri/Dir: Josh Melrod

Dink (Ujon Tokarski), who is far from dinky, is a tall and rangy alcoholic drifter travelling across America looking for work as a carpenter. He’s a fit man in his thirties, with long hair, a scraggly blond beard; sort of a homeless Jesus. Four years ago, he left his depressed town in rural Vermont under a dark cloud, vowing never to come back. But like the prodigal son, here he is again. His father died leaving him a broken-down shack, some cash and 50 acres of forest. And he’s off drugs and alcohol now, living clean and sober. So he decides to turn his life around.

He pitches a tent and thinks about his future. In the morning he begins, spontaneously, to build a wooden home from scratch with his bare hands. He fells trees with an axe and chainsaw, cuts beams and clears a field dragging lumber across the forest floor. He survives on aerosol cheese and uncooked hotdogs. But his past still haunts him: his shrewish, gambling mom (Lane Bradbury) and his former lover, Sierra (Tara Summers). She’s voluptuous but tough, slapping his face for past transgressions on one night, but showing up at his tent on another. And Dink is still helplessly in love with her. Will he complete his task? Will Sierra leave her boyfriend? And can he show his face in a town that hates him?

Major Arcana — the title refers to a tarot card reading that Sierra does for Dink – is about major changes, life lessons and destiny. It’s a bumpy love story, and a drama about a man trying to redeem himself. While there are some revelations and conflicts this is mainly a meditative look at a man building a cabin in the woods. It sounds kinda dull, but it’s actually a really soothing, healing and life-affirming film. There are hints at spirituality, but it’s not sanctimonious or heavy handed. There’s enough nudity, sex, pain and misery — this is no Sunday school – to keep you watching. The measured pace and natural beauty makes this movie an incredibly relaxing and pleasant experience.

Not my normal choice of film, but I quite liked it.

The Crossing is one of many movies that played digitally at the Toronto Jewish Film Festival, Fall edition; The Kid Detective opens theatrically today across Canada; and Major Arcana is available for viewing on VOD.

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

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