Sagas. Films reviewed: All My Puny Sorrows, The Northman

Posted in Adventure, Canada, Family, Iceland, Music, Religion, Secrets, Suicide, violence, Women by CulturalMining.com on April 16, 2022

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

If you’re looking for new opportunities to see movies in Toronto, there are a lot of opportunities coming up. This coming Wednesday is the annual Canada Film Day, with great Canadian movies playing for free across the country, and at embassies around the world. Whether you’re in Arviat, Saskatoon, or downtown Toronto, go to canfilmday.ca to find the movie closest to you. Also free, if you’re under 25, is the Next Wave Festival at TIFF with workshops, competitions and a well-curated slate of screenings for you to watch. 

This week, I’m looking at two new movies — one from the US, the other from Canada. There’s a brooding Mennonite drama, and a swashbuckling Icelandic saga.

All My Puny Sorrows

Co-Wri/Dir: Michael McGowan (Based on the novel by Miriam Toews)

Elf and Yoli are sisters who grew up in a small Mennonite community in Canada. Elf (Sarah Gadon) is a world-renowned concert pianist, rich famous and glamorous. Her loving husband is always there to lend a hand. Yoli (Alison Pill), the black sheep of the family, was pregnant at 18, and lives with her daughter in Toronto. She’s a published writer but her last novel sold just a few hundred copies. And now she has writer’s block, her husband is divorcing her, and she’s sleeping with a lawyer named Finbar she doesn’t even like. So when their  Mom (Mare Winningham) gets a late night phone call that her daughter had attempted suicide, she’s not surprised. The thing is, it’s Elf, not Yoli, who wants to die. 

So Yoli flies back to her hometown to visit Elf in hospital and to convince her that life is worth living. But the visit awakens lost memories of their childhood, including gossipy small-town life, and various encounters with the repressive church leadership. They never wanted Elf to study music or for their father to open a public library. And she’s not the first one in the family with suicidal tendencies — the movie starts with their dad walking in front of a train a decade earlier.

All My Puny Sorrows is a literary look at the lives of two sisters. By “literary” I mean they literally talk like characters in a book, with witty bon mots spilling off their tongues. I mean, why say hey Elf, how’s it going? when you can quote Coleridge and Virginia Woolf instead? The problem is some of the dialogue and voice-overs come across as stilted and wooden, not how real people talk.  There are some great scenes in the movie — like a flashback, where their mom expresses her anger at the Elders’ interference by loudly pounding a chicken breast in the kitchen while Elf plays Rachmaninoff on the piano, full blast, to drown out their voices. And I also liked some of the interactions among Elf, Yoli, their mom and their aunt.

But as a whole, the movie doesn’t quite cut it, with too many parts that fall flat. 

The Northman

Co-Wri/Dir: Robert Eggers (read my 2019 interview with Eggers here)

It’s the middle ages in Scandinavia. Amleth (Alexander Skarsgård) is a little prince who lives a quiet life with his mother, the Queen (Nicole Kidman) in a seaside village. But when his father the king returns home, everything changes. He leads the prince into a secret cave to perform sacred rituals. Between farts and belches, Amleth becomes an adult, receives an amulet, and is inducted into the order of the wolves by howling at the moon. But his new status is interrupted by his insidious uncle Fjölnir (Claes Bang). He witness his uncle murdering the king, kidnapping the queen, and ordering the prince’s death, too. His father’s last words: avenge my death by killing my brother and rescuing the Queen. The little boy fights off his killer by slicing off his nose, and flees in a small boat across the seas. 

Years later, he’s a fierce warrior, raiding coastal and riverside towns dressed as a wolf berserker, massacring, looting and pillaging as his team passes through. But a mystical soothsayer orders him to fulfil her predictions and leave the vikings for a new voyage. So he disguises himself as a slave, and climbs aboard a ship destined for Iceland. On board he meets Olga (Anya Taylor-Joy) the blonde slave warrior from his visions, and together they make a pact. But will he ever fulfill his destiny?

The Northman is a brilliant new Icelandic saga about a hero’s wars, battles, magic and family lines. It blends pre-christian legends and rituals with sacred swords, Dwarves, animism and nordic gods. It’s also about reclaiming masculinity, including a spectacularly homoerotic sword fight fought in the nude over flowing lava. (Not joking.) It also has proto-football matches, magical crows and wolves, and psychedelic mushroom. 

In order to appreciate The Northman you have to buy into the whole concept, otherwise you’ll reject it as ludicrous (there are a few moments where you wonder what the hell are you watching.) But it’s so beautifully done and carefully crafted that it’s much more than a Game of Thrones episode. This one has depth and meaning. And knowing Robert Eggers, I’m sure he and his crew deeply researched the film — his other ones used things like dialogue taken directly from a 19th century diary. It also includes incredible images you’ve never seen before, like a three-dimensional family tree that appears to him in his visions, that looks like a cross between a Japanese ghost story and a mediaeval tapestry. Just amazing. It’s extremely violent and harshly amoral, so if that upsets you, don’t see this movie. But if you like sword fights, vikings and authentic mediaeval adventures, you’ll probably love The Northman as much as I did.

All My Puny Sorrows is now playing in Toronto; check your local listings; and The Northman opens next Friday.

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

Crime. Films reviewed: The Noise of Engines, The Last Mark, The Outfit

Posted in Canada, Chicago, Crime, Iceland, Mystery, Organized Crime, Satire, Sex, Thriller, TIFF, UK by CulturalMining.com on March 19, 2022

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 — one from the UK and two premiering at this year’s Canadian Film Fest — that look at ordinary people pulled into the world of crime. There’s a customs official accused of sexual misconduct; a dominatrix targeted by a deranged hitman; and a mild-mannered English tailor pulled into the Chicago mob.

The Noise of Engines (Le Bruit des Moteurs)

Dir: Philippe Grégoire

Alex (Robert Naylor) is a young man from a small Quebec town near the US border. It’s a village with a mothball factory a formula 1 race track, and not much else. In this post-9/11 world, the government wants formerly boring customs officers to become ruthless killers in the war on terrorism. So  to get away from his town, he takes a job as a firearms instructor at an isolated Canada Customs training school. But when he is caught in flagrante delicto with a large breasted employee he is dragged before the directrice for an interrogation. Though their sex was consensual, his co-worker had a heart attack from  a lack of oxygen due to the anti-covid face shield she was wearing (he ended up saving her life.) And when the much older Directrice’s invites him to sleep with her and her husband, he turns her down. She is furious and exiles him back to his village for punishment. But his troubles don’t stop there. The local police, in a series of Kafka-esque events, label Alex as a sexual deviant, and accuse him of increasingly absurd crimes, such as leaving lascivious drawings on post-it notes in the local church. However life isn’t all bad. At least he has one friend in the village, an Icelandic drag-racer (Tanja Björk) who wants to practice her  French and see the local sites. Can Alex survive a two week leave in small-town Quebec? Will the police ever leave him alone? And what will  become of his relationship with new Icelandic friend?

The Noise of Engines is an absurdist drama about the stultifying effect corrupt bureaucrats and policemen have in small-town Quebec. Aesthetically beautiful — from its stark scenery and retro settings to its modernistic music and elegant titles — this debut feature is a pleasure to watch. The while film is almost dreamlike (and sometimes nightmarish) to the point where you’re never quite sure whether anything is real or if it’s all in Alex’s imagination. Shot both in Quebec and in Iceland it swerves between comedy and horror, settling somewhere in between. I like this movie.

The Last Mark

Dir: Reem Morsi 

Peyton (Alexia Fast) is an escort and a professional dominatrix. One night, in a seedy motel room with a client she hears unexpected intruders entering the room. Hidden under the bed she witnesses two professional killers shoot the man she was just having sex with.  She escapes but not before they see her. It’s up to the killers to silence the unfortunate witness. Keele (Shawn Doyle) volunteers to catch and kill the witness. He is an older professional reaching the end of his career, while Palmer (Bryce Hodgson) is his new replacement, a psychotic murderer who chops off his victims heads just for the fun of it. But there’s a twist. Peyton left her ID behind, and Keele recognizes her last name — the same as a woman he had a fling with decades earlier. Is it possible that she’s his daughter? He asks Eli (Jonas Chernick)  his longtime fixer to do a bit of research — is she related to him, or just another target? In the meantime, Keele kidnaps her and locks her in an isolated cabin, far from the eyes of his head-chopping partner. Can the two if them learn to get along? Do they have anything in common? Can they trust one another? And will he save her or kill her? 

The Last Mark is a classic typical, crime dramady, about an odd couple pulled together by coincidence. This is the director, Reem Morsi’s first full-length feature, and it holds together well. The cast is good all-around, even the smaller roles, especially Bryce Hodgson as a psycho-killer. This is a Canadian production and cast, but the story is set somewhere vaguely outside of Detroit (though it was shot in Sudbury). It’s violent but not gory, and even moving at times. It’s never slow or boring, and the characters are just quirky enough to keep you interested but still believable. This movie’s pretty good.

The Outfit

Co-Wri/Dir: Graham Moore

It’s the mid-1950s in Chicago. Leonard (Mark Rylance) is a bespoke tailor, originally from London. He apprenticed on Saville Row before opening his own shop. Now in Chicago he works with his assistant Mable (Zoey Deutsch), an ambitious ginger-haired young woman from the neighbourhood. She collects exotic snow globes with the idea of someday living in the cities in her glass souvenirs. And she’s dating Richie (Dylan O’Brien) a brash young gangster, on the sly. And that’s trouble. You see, the whole neighbourhood is under the thumb of Richie’s dad, a local kingpin, who is also Leonard’s best customer.  He doesn’t want Richie to mess things up. As a favour, he lets them use his shop as a safe house, leaving important messages in an innocuous wooden drop box at the back. But one day, a recorded cassette mysteriously appears in an envelope. Apparently it was recorded by the Feds… but how did it get there? Was it a secret plant in the FBI? A rival gang? Or the Outfit (a syndicate for organized crime groups) And how did they record it — is there a rat within their own ranks? Francis (John Flynn) first lieutenant in the gang, is sent in to investigate, soon followed by the kingpin himself, along with his bodyguard. As suspicion grows, and bullets start to fly, it’s up to Leonard to try to smooth the waters… but is he too late? And who is the rat? The kingpin, his son Richie, his lieutenant, or possibly even Mable or Leonard himself?

The Outfit is a clever suspense drama about loyalty, suspicion and lies within a crime gang and how it effects the people all around it. Mark Rylance is terrific as the stiff-upper-lip “cutter” (he doesn’t want to be a called a tailor)  and his behind-the-scenes machinations. Like a stage play, the whole film is set within the three rooms of his shop over the course of a single day, but doesn’t feel claustrophobic, just precisely made, like the hundreds of pieces of cloth Leonard sews together to make a single suit. Graham Moore who wrote The Imitation Game also directed this excellent period drama. No spoilers here, but this film has more twists and turns than you can shake a stick at. It’s more clever than emotional, which makes for a fun — though at times violent — mystery/drama. I like this one, too.

The Outfit opens this weekend in Toronto; check your local listings. The Noise of Engines has its Toronto premiere on March 23rd and The Last Mark its Canadian premier on April 1st, both at the Canadian Film Festival.

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

Innocent children. Films reviewed: Lamb, The Rescue, Squid Game

Posted in Animals, Class, Docudrama, documentary, Fairytales, Family, Farming, Gambling, Games, Iceland, Korea, Rural, Thailand, Thriller by CulturalMining.com on October 9, 2021

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

In movies, little kids and innocent animals are the perfect way to gain our sympathies. But what about adults who have fallen on hard times?

This week I’m looking at two new movies and a miniseries from around the world all about the innocent. There’s a childless couple on an Icelandic farm who adopt a baby lamb; a teenaged Thai soccer team trapped in a cave; and Korean ne’er-do-wells forced to compete at childish games… in a kill-or-be-killed arena. 

Lamb

Co-Wri/Dir: Valdimar Jóhannsson

Maria (Noomi Rapace) and  Ingvar (Hilmir Snær Guðnason) are a married couple who live on a sheep farm in rural Iceland at the base of a snow-capped mountain, beside a twisting brook. Their  lives are content but lonely, with just a cat, a dog and each other to keep them company.  Their only child died, leaving a gap that can’t be filled. If only they could go back in time… or somehow bring their lost child back to life. Until, one of their sheep gives birth to an angelic baby lamb. And there’s something different about this one. They immediately bring it into their home, feed it milk from a bottle and put it to sleep in their baby’s crib. They name it Ada, after their own child. 

What’s so different about Ada? Their face, shoulders and one arm are like any other lamb, but the rest of their body is human. It’s a gift from the gods, they say. They teach Ada nursery rhymes, take them for walks, and dress them like any other child. Ada can’t speak, but understands Icelandic and can nod or shake their head in response to questions. But  not everybody is happy with the new arrangement. Ada’s mother, a ewe,  wants her baby back. She waits outside their window each day longing for her lamb. And Petur (Björn Hlynur Haraldsson), Ingvar’s brother, returns to the farm after decades living in Reijkjavik as a rock musician. Can this unusual family stay to gather? Or will outside forces tear them apart?

Lamb is a very unusual movie, a combination, fairytale, love story and haunting family drama with all the complications that entails. It’s pace is slow-moving and rustic — like life on a farm — but not boring, even though the people don’t talk very much. It’s beautifully shot amidst Iceland’s stark scenery, and the acting is good and understated. (You probably recognize Noomi Rappace — best known for The Girl with the Dragon Tattoo.) And though not much happens, the ending is certainly a surprise. Lamb is a nicely understated film..

The Rescue

Dir: Jimmy Chin and Elizabeth Chai Vasarhelyi

It’s June, 2018 in Northern Thailand near the Burmese and Laotion borders.  12 young soccer players — age 11-16 — and their coach go for a day trip to explore the popular local caves. Tham Luang is a miles-long twisting tunnel filed with beautiful limestone rock formations. They are always closed during monsoon season in July, as it’s prone to flooding. But this year the rains came early, and the entire team was trapped, surrounded by rushing water, deep inside the caves. The Thai Navy seals were sent in to rescue them and bring them food, but they were trapped there too. They also recruited some of the best cave divers — a very obscure area of expertise — from

the UK, Belgium, the US, and elsewhere. But as days turn to weeks, time is running out, and the waters keep rising. Can the boys be saved?

This documentary looks in detail at the story — which held the world’s attention for weeks —  of the miraculous rescue and the hundreds of people involved in it. It uses archival TV footage, news animation, and brand new interviews. It also re-enacts many of the crucial scenes — never captured on film for obvious reasons, they were too busy saving lives — using the original divers, and some actors. The film is made by Elizabeth Chai Vasarhelyi and Jimmy Chin, known for their breathtaking docs following mountain climbers — films like Free Solo. The Rescue (which won the People’s Choice award at TIFF this year) is also exciting and gripping, but not as much as the mountain climbing. This is mainly underwater and in near darkness, plus the fact that nearly everyone still remembers the story from just 3 years ago, no spoilers needed. I would have liked to have heard more from the Thai rescuees and a bit less from the British rescuers, but I guess they didn’t want to give interviews. I enjoyed The Rescue, but I wasn’t blown away by it.

Squid Game

Wri/Dir: Hwang Dong-hyuk

It’s present day Korea. 

Seong Gi-hun (Lee Jung-jae) is a compulsive gambler who grew up in a working-class neighbourhood. He is constantly compared with his best friend from childhood Cho Sang-woo (Park Hae-soo), who made millions as a top financier, while Gi-hun spiralled deeper and deeper into debt. His wife divorced him and he rarely sees his 10 year old daughter, whose step father is taking her to The States. On top of this his elderly mother is suffering from diabetes. How can he get some cash — quick? At the racetrack, of course, But his winnings are stolen by a stealthy pickpocket (Lee Jung-jae). And that’s when he receives a mysterious card from a strange man. He is invited to play some games to earn a lot of money. He — and 500 others — say yes, and wake up in a strange uniform at an unspecified place. He remembers the games from childhood, like Freeze or Statues where you try to cross the line, but have to freeze when the caller tells you too. The difference is, if you move, you get gunned down by snipers! These games are deadly and there’s no way out. But the winner will get all the cash in a giant glass globe suspended overhead. Who will survive? Who is behind this perverse game? And why are they doing it?

Squid Game is an engrossing nine-part Netflix dramatic thriller about a group of people down on their luck forced to play a deadly game. Aside from Gihun, his pickpocket is also there — she’s a defector from North Korea; as is his childhood best friend who was caught with his hand in the till. Other characters include an elderly man with cancer, a disbarred doctor, a migrant worker from Pakistan, a petty gangster, and an aging, foul-mouthed sex worker with lots of moxie to spare. And an undercover cop, trying to infiltrate the organization to discover what happened to his missing brother. And they’re supervised by ruthless, nameless and faceless guards dressed in pink hooded jumpsuits. What keeps you watching this bloody and violent drama are the characters — they’re funny, quirky each with their own stories to tell.  Squid Game is an incredibly popular series out of Korea, one of Netflix’s top TV shows to date. And I can see why.  It seems silly, but it’s a great binge-watch, each chapter ending with enough of a cliff hanger to keep you hooked till the end.

This is a good one.

The Rescue and Lamb open this weekend; check your local listings. Squid Game is now streaming on Netflix.

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

TIFF18! Films reviewed: Consequences, Woman at War, Tito and the Birds

Posted in Animation, Brazil, Environmentalism, Iceland, Kids, LGBT, Politics, Prison, Skinhead, Slovenia, Women by CulturalMining.com on September 11, 2018

Hi, this is Daniel Garber at the Movies for culturalmining.com.

Tiff is here, now.

It began last night, and is filled with big-budget, glitzy premiers and movie stars  from all over the world. You can go down to King st — between Spadina and University — starting today, to take it all in. And even if you don’t have tickets, with more than two hundred movies opening there, I promise, you can still get in.

But the Hollywood stuff is getting way too much coverage, so this week I’m talking about three, lesser-known movies playing at TIFF that I really like. There’s an eco-activist in Iceland, a bird talker in Brazil and a Slovenian in the slammer.

Consequences

Wri/Dir Darko Stante

Andrej (Mate Zemlijk) is a teenager who has it made. He lives with his parents in a nice suburban home. He’s handsome, fit, with a beautiful girlfriend and a pet rat named FIFA. Fortified with bourbon he can pick up any girl in the room. But the sex he has is bad, his life is empty, and he takes out his frustrations on everyone around him.

This lands him in a reform school with strict rules. It’s run by adult men, but is actually governed by a gang of bullies, headed by Žele (Timon Sturbej) and his sidekick Niko. Žele is a tough skinhead who extorts money from the other boys by claiming they owe him. Niko is a deranged practical joker who eggs Žele on while brandishing a blowtorch. Andrej initially stands up for his pothead roommate Luka, but soon he is invited into the gang and becomes their main enforcer. He accompanies them on their weekend outings in Ljubljana.  

And as he is pulled away from the rules of his home and the reform centre he feels increasingly isolated, spending the night in a kindergarten playhouse he remembers from his childhood. Meanwhile the crime level continues to rise, as Žele grooms Andrej for shakedowns, car theft, drug trade and smuggling. But Andrej’s not in it for the money. He likes the bully – likes, as in sexually – and thinks he sees a mutual attraction. Will Zele be his rival, his friend… or his lover?

Consequences is a dark, coming of age drama set in present-day Slovenia. It probes alienated youth, crime, drugs, sexual fluidity, and relationships. This film uses unknown actors to great effect  and the interplay between Zemlijk and Sturbej is compelling. Darko Stante’s Consequences is part of TIFF’s Discovery series and it’s having to world premier tonight. Catch it if you can.

Woman at War

Dir: Benedikt Erlingsson

Halla (Halldóra Geirharðsdóttir) is a single,  middle-aged Icelandic woman with a secret. It’s not that she’s a well-liked choir head. Or that she has an identical twin named Asa. Or even that she’s been approved to adopt a Ukrainian orphan girl. Her big secret is she’s the eco activist the government has been searching for. She’s the one who takes down hydro cables, shutting down the foreign-owned smelting plants endangering Iceland’s once pristine environment.

Using a simple bow and arrow, along with some metal wire, she manages to bring down a high tension wire. Her secret is known only to one person in the government – her friend and government mole Baldvin (Jörundur Ragnarsson) who is sickened by their environmental policies. The government repeatedly arrests a latino hiker in a Che Guevara T-shirt, while Halla escapes unknown.

Halla is one with nature. She knows every nook and cranny, every mound and cliff, and manages to avoid drones, helicopters and security experts. But when they close down all the roads just to catch her she seeks refuge with a sympathetic farmer, possibly a distant cousin. But with the government closing in, can she continue her one-woman fight for the environment? Or will it ruin her long awaited chance to adopt a child?

Woman at War is a brilliant satirical comedy drama about Iceland, its clans, government corruption, the environment, and its women. Geirharðsdóttir is marvellous as the twin sisters, totally believable as an underground superhero who can communicate with the environment by covering her face in lichen.

Another great movie at TIFF.

Tito and The Birds

Dir: Gabriel Bitar, André Catoto, Gustavo Steinberg

Tito is a schoolboy in a big Brazilian city like São Paulo. His dad is an inventor, specializing in steampunk contraptions filled with misshapen, pipes, dials and gewgaws sticking out at weird angles. He thinks his machine will let people talk with birds. But when it explodes, and Tito ends up in hospital, dad leaves his family for good. A few years later Tito takes up his dad’s role and enters his own invention into the school science fair. His main rival is a rich kid named Teo. But Tito’s machine,  like his dad’s, blows up, sending the audience running.

Meanwhile a strange disease has gone viral infecting more and more people in the city. It feeds on fear – fear of crime, fear of disease, fear of poor people – even though there is nothing to fear but fear itself. This fear is encouraged by a real estate developer, trying to move people out of the cities into gated communities under glass domes. Scary men in Hazmat suits have taken over spraying everyone with chemicals, but it doesn’t seem to work. So Tito and his best friends – the brave Sarah and the silent Buiu – join forces to defy fear and thus defeat this terrible disease. They are sure the city’s pigeons hold the secret. And they invite rich rival Teo – the son of the real estate mogul – to help them too. Can they save the city with birds and science? Or will fear overcome logic?

Tito and the Birds is an animated film from Brazil that looks at poverty and class difference as seen through the eyes of children. It’s a kids’ movie, for sure, but I loved it, especially the colours splashed across the big screen. Vibrant swathes of glowing green, hot pink, warm yellow, and black are everywhere, giving it an unforgettable look.

Consequences, Tito and the Birds, and Woman at War are all premiering at TIFF. Go to tiff.net for details.

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

Suburban types. Films reviewed: Eighth Grade, Under the Tree, Don’t Worry, He Won’t Get Far on Foot

Posted in Addiction, comedy, Coming of Age, Disabilities, Drama, Family, Feminism, Iceland, LGBT, Scandinavia, School, Suburbs by CulturalMining.com on July 20, 2018

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

Movies needn’t be about famous people. This week I’m looking at three domestic dramas about ordinary, suburban types. There’s a girl in 8th grade deciding what to do with her future, Icelandic neighbours fighting over a tree, and a quadriplegic alcoholic learning to draw.

Eighth Grade

Wri/Dir: Bo Burman

Kayla (Elsie Fisher) is a modern eighth grader who lives with her dad (Josh Hamilton). It’s the end of her last year of junior high and kids are looking at the time capsules they buried three years earlier, to see how much they’ve changed. On youtube and instagram she’s a success and she shares her thoughts on a vlog, ending each podcast with the word “Gucci”! But at school she’s the opposite of famous. She’s the kind of girl who shows up at a pool party in a little kid’s one piece when the rest of the girls are wearing bikinis. Kayla has zits, she doesn’t understand fashion and has no friends.

The guy she’s crushing on, Riley, just wants sex. And popular girls – like the snobby Olivia – won’t even acknowledge she exists. But things look up when she’s invited to Olivia’s birthday party, and even better when a much older highschool girl agrees to be her mentor. Can Kayla create a new personality, make friends and find a boyfriend? Or will high school just bring more of the countless humiliations a 12-year-old girl faces each day?

Eighth Grade is a warm and funny coming-of-age story about a girl approaching — but not yet entering — adolescence. Elsie Fisher is totally believable in the lead role. And Bo Burman, the filmmaker, started as a youtube presence himself. The thing is, a lot of the movie feels like a stereotypical boy’s coming-of-age story superimposed on a girl. Things like: whenever Kayla ogles her crush Riley she pictures him walking in slow motion to loud pop music, leaving her tongue-tied; or when her dad catches her masturbating to porn on her smartphone. (Also… what’s with all these single dad movies? In real life, 80% of single-parent families are headed by moms, not dads, but you wouldn’t know it.)

On the other hand this film deals with real contemporary issues – like consent, snobbery, bullying, sex-education and the very new, very real phenomenon of shooting drills; what kids should do if a shooter comes into the school.

Eighth Grade is a very cute and touching comedy, and one that’s worth seeing.

Under the Tree

Dir: Hafsteinn Gunnar Sigurðsson

It’s suburban Iceland. Atli (Steinþór Hróar Steinþórsson) is a married guy with a three-year-old daughter, until… his wife catches him watching porn on his computer. Not only that, it’s him in the video, with his ex girlfriend. It’s not how it looks, he says. We made the tape years before I met you – I’ve never cheated on you. No, she says, that’s exactly how it looks, and you’re out of here.

He ends up at his parents’ house, a retired couple named Baldvin and Inga (Sigurður Sigurjónsson and Edda Björgvinsdóttir). The family is already dealing with the disappearance and presumed death of his brother. They live in a big blue townhouse with a shady tree in the backyard. Inga has a silky cat, and Baldvin fills his free time with choir practice. They get along well with their neighbour – a divorced professional — but less so with his fitness-obsessed second wife. The shade from their tree interferes with her suntan. A small disagreement.

But just like Atli’s sex tape, little things left unchecked can grow into big problems. A series of unexplained incidents – slashed tires, salacious garden gnomes found in a planter, a missing cat – grow more and more dangerous. Can the feuding neighbours settle their crisis? And will Atli move back home with his family?

Under the Tree is a very dark comedy about life in contemporary Iceland . But don’t expect hotsprings and rustic fishing boats. It’s filled instead with classrooms, Ikea stores and government offices. The acting is excellent as the story progresses to its ultimate conclusion.

Don’t Worry, He Won’t Get Far On Foot

Dir: Gus Van Sant

It’s the 1970s in the Pacific Northwest. John Callahan (Joaquin Phoenix) is a redhead who likes drinking and picking up girls. An adopted kid from small town Oregon he goes to California to sow his wild oats. But his life changes dramatically when a weekend bender ends with his car wrapped around a tree. He’s left quadriplegic, with little chance of recovery. But with the help of a Swedish caregiver named Annu (Rooney Mara), he learns to operate a wheelchair and eventually how to draw with one hand. His personality stays intact and so does his alcoholism.

So he joins a 12-step AA group held in a mansion. It’s hosted by Donnie (Jonah Hill) an irreverent rich gay man with long hair and beard. Donnie always has time for his piggies what he calls the men and women he sponsors. And as John passes through the twelve steps of recovery he finds a meaning in life: drawing obscene, politically incorrect and hilarious cartoons.

Normally, if someone says a movie is about Alcoholic Anonymous meetings I’d say let me out if here. These kind of movies are both gruellingly depressing and painfully earnest. But this is a Gus Van Sant movie and he makes it work. This movie is funny, surprising, shocking and very enjoyable. Yeah, it’s sad at times, but it offers so much you rarely see. It’s refreshing to see a movie that deals with the bad sides of living with a disability, just as it’s not afraid of celebrating a disabled person’s sex life.

Joaquin Phoenix is brilliant as John, And Jonah Hill is great – and totally unrecognizable — as Donnie. Smaller roles like Jack Black as a drunk driver, Tony Greenhand as John’s caregiver and Kim Gordon, Udo Kier and Ronnie Adrian, as some of the piggies – keep the movie going, The film is done cut-up style, jumping around over a 20-year period, which makes it a bit disorienting. Even so, it leads you feeling warm and fuzzy inside.

Eighth Grade, Under the Tree and Don’t worry, He Won’t Get far on Foot, all open today in Toronto; check your local listings.

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

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