Leaving a mark. Films reviewed: Charlotte, Marvellous and the Black Hole, The Bad Guys
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring festival season is on now, with Hot Docs, Toronto’s international documentary film festival, right around the corner.
But this week, I’m looking at three new movies, one live and two animated, about people trying to leave a mark on society. There’s a gang of criminal animals offered a chance to go straight; an angry 13-year-old girl who looks for solace in magic tricks; and a young artist who decides to chronicle her life in Nazi Germany in the form of hundreds of paintings.
Dir: Tahir Rana, Éric Warin
It’s the 1930s in Nazi Berlin. Charlotte Salomon , known as Lotte, is a young woman living with her father and stepmother. On a trip to Rome with her grandparents she meets a a kindly American heiress named Ottlie. She liked Lotte’s drawings and invites her to stay in her expansive villa in Cote D’zur in southern France. But Lotte is accepted at the prestigious art academy, despite the fact she is Jewish, so doesn’t want to leave Berlin. But under the harsh rules, only symmetry and precision are acceptable in art, while “deviant artistic expression”, like Charlotte’s, was considered degenerate. She is eventually expelled, and when her father is arrested and tortured by the Gestapo she decides it’s time to leave her home. She joins her grandparents at Ottlie’s mansion. And she’s delighted to learn there is a studio set up for her so she can create her paintings. She also finds love, in the form of Alexander, a refugee from Austria who works as a groundskeeper on the estate. But she has to put up with her deeply disapproving and domineering grandfather, who has become bitter in his old age. But as the Nazi’s encircle southern France, she knows her time is limited. So she starts to document her life in a series of hundreds of gouache paintings on paper. Will Lotte and her lover survive the war? And what about her art?
Charlotte is an exquisitely made animated historical drama, based primarily on the stories told in the actual paintings of Charlotte Salomon, titled Life or Theatre, that included both memories she witnessed and things she thought about. Some describe her art as the first graphic novel, since her paintings (there were over a thousand) often include words and ideas. The movie is quite troubling in parts, as people are forced to do terrible things under the stress of war. But it’s set in such beautiful locations — the Vatican in Rome, her home in Berlin, swimming in lakes, or nestled among the rolling hills of southern France — that its beauty mitigates its tension. And the paintings themselves appear on the screen in blobs of coloured paint that gradually transform into her own art. Keira Knightly provides Charlotte’s voice, with Brenda Blethyn, Jim Broadbent as her grandparents. I’ve seen it twice now, and still find it moving, tragic, and inspiring, and visually very pleasing.
Wri/Dir: Kate Tsang
Sammy (Miya Cech) is a moody and truculent 13 year old girl who lives with her domineering father and computer geek sister. Ever since her mother died she lashes out at anyone who comes near her. She smokes cigarettes, talks back, and uses a needle to secretly tattoo herself. But her busy father gets tired of her anger and attitude, and tells her if she doesn’t pass a class in entrepreneurship at the local community college he’ll send her off to summer camp (which Sammy considers a fate worse than death.) So she takes the course which she hates. One day, while sneaking a smoke in the college washroom, she meets Margot the Marvellous (Rhea Perlman), a professional magician with a hidden past. She press-gangs Sammy into serving as her assistant at a kids’ birthday party. She is secretly impressed by Margot’s ability to make flowers bloom on her sleeves, and somehow can grab a real, live white rabbit out of thin air. So they make a pact: Sammy will help Margot with her show in exchange for teaching her magic tricks and helping her pass the course. But will Sammy ever learn to control her anger and escape from the black hole she’s been stuck in since the death of her mother?
Marvellous and the Black Hole is an excellent coming-of-age story about a troubled girl taken under the wing of a sympathetic magician. Miya Cech is terrific as tough-girl Sammy, and Rhea Perlman (best known for playing Carla, the surly barmaid on Cheers) shows a softer side here. There’s a real beauty to this film — from the integration of classic silent film, to the jerky stop-motion animation used for special effects, to the nicely compact sets used in class, at home, and on a stage — that gives it an extra oomph you don’t find in your usual teen drama. This is a good, indie YA movie.
Dir: Pierre Perifel
It’s a time like the present in a city like Los Angeles where a criminal gang (known as the “Bad Guys”) runs rampant, robbing banks, wreaking havoc and scaring the hell out of locals. The group consists of five members: Wolf, their charismatic leader; Snake, his second in command; Shark, a master of disguises; Piranha, a crazed tough guy; and Tarantula, a computer geek who can break into anything. Together they’re unbeatable. But they’re finally caught when a difficult heist at a gala event goes wrong. The police want to send them to prison, but a local pundit and inventor — a guinea pig named Prof Marmalade — says he can turn them from bad guys into good guys using his powers of persuasion. But can a leopard change its spots?
The Bad Guys is a very cute and enjoyable animated crowd-pleaser, aimed primarily at kids, but interesting enough that grown-ups can enjoy it, too. It’s also a feel-good movie about the value of friendship and the pleasure we can get from doing good things for others. And there are cool subplots involving a meteorite, lab tests, computer-operated zombies, and much more. But mainly, it’s an action-packed comedy thriller, with lots of chase scenes, twists and turns, and a fair amount of suspense.
One quibble: all the main characters (except the chief of police) are animals — including fish and insects — and have all the best lines. Most of the humans rarely speak. But there are also pets — like cats and guinea pigs — that don’t talk either. Which makes the logic a bit confusing, but enjoyable nonetheless. It stars the voices of Sam Rockwell, Awkwafina, Anthony Ramos, Zazie Beetz, Alex Borstein, and the inimitable Richard Ayoade as Prof Marmalade.
The Bad Guys is a very cute, fun movie that’ll leave you smiling.
The Bad Guys and Charlotte both open this weekend in Toronto; check your local listings. And Marvellous and the Black Hole is opening in select cities; look out for it.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Against the Grain. Films reviewed: Judy vs Capitalism, Monkey Beach, The Trial of the Chicago 7
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Toronto’s Fall Film Festival Season continues with ImagineNative Film + Media Arts Festival, the world’s largets indigenous film festival, and Rendezvous with Madness, the first and largest arts and mental health festival in the world, both running through Sunday, the 25th.
This week I’m talking about three new movies – a doc, a drama and a courtroom pic – about people who go against the grain. There’s a young woman resisting ghosts, another woman fighting anti-abortion activists; and boomers protesting the war in Vietnam.
Dir: Mike Holboom
Judy Rebick is a well-known activist and writer in Toronto. As a former Trotskyite revolutionary turned writer and TV commentator, she’s a pro-choice feminist and socialist known for slogans like “Radical is Practical”. She can be seen everywhere, from CBC panels to tent-city protests. A new documentary looking at her life divides it into six stages: Family – her dad was a baseball player quick to pick fights; Weight – she says she has a pair of hips “like two battleships”; Feminism – women’s bodies and the violence they face; Abortion – her hands-on role in legalizing reproductive rights in Canada; Others – her struggles with depression and mental health; and End Notes – her views on various political topics, like the rise of neo-liberalism, the war in Gaza, and as head of NAC, the National Action Committee on the Status of Women.
Did you know she single-handedly fought off a man trying to stab Dr Henry Morgantaler with a pair of garden shears? This film includes footage of that in slow motion. Each section begins with a speech – some mundane talks in lecture halls, others shouted through a bullhorn at a rally. Judy vs Capitalism is directed by artist/filmmaker Mike Holboom in his patented style: clear sound and straightforward narration, combined with avant-garde images: slow motion, high speed, underwater photography, blurred and melting visuals, random faces… basically Holboom’s interpretations of Rebick’s moods, memories, thoughts and ideas rather than the typical clips you might expect in a conventional biography. Judy vs Capitalism is an experimental look at a Canadian icon.
Dir: Loretta Todd (Based on the novel by Eden Robinson)
Lisa (Grace Dove) is a young woman who lives in East Vancouver. She’s been there for the past two years with nothing to show for it but a bad hangover. Till her friend Tab tells her it’s time to go home, back to her family in the Haisla community in Kitimat. So she does. Her family is shocked but delighted to to see her – they weren’t even sure she was still alive. There’s her mom and dad, her little brother Jimmy (Joel Oulette) a swimming champ, and her Uncle Mick (Adam Beach) who told her at an early age to say “f*ck the oppressors!” Then there’s her grandma Ma-Ma-Oo (Tina Lameman) who taught Lisa everything she knows… including things she doesn’t want to know. Like why a little man with red hair keeps appearing. A crow talks to her, and ghosts (people who should be dead) appear to her in real, human form. (Tab, for example, was murdered but she’s still around.) Worst of all are the dreams and premonitions she keeps having – that her brother Jimmy, the swimmer – is going to drown. Are her powers a gift or a curse? Can she ever live normally? And can she keep Jimmy out of the water?
Monkey Beach is a good YA drama filmed in the gorgeous forests and waters of Kitimat in the pacific northwest, with a uniformly good indigenous cast. It incorporates traditional Haisla culture and practices with contemporary, realistic social problems, sprinkled with the supernatural. And it flashes back and forth between the present day and Lisa’s childhood. I like this movie but I can’t help but compare it to the CBC TV series Trickster, which is edgier, faster-moving and more complex. They’re both based on Eden Robinson’s novels – Monkey Beach was her first, showing many of the themes later explored in Son of a Trickster. That said, if you’re a fan of Trickster, you’ll want to see Monkey Beach, too.
Wri/Dir: Aaron Sorkin
It’s the summer of ‘68 in the USA, and the youth are restless. Robert Kennedy and Martin Luther King had just been killed, with demonstrations springing up across the country. The US is embroiled in an increasingly senseless war in Vietnam and it’s an election year. So droves of young people converge on the Democratic National Convention in Chicago, to have their voices heard. The protests are brutally crushed by police and state troopers. Nixon is elected in November, and the protest leaders, known as the Chicago 7, are arrested and put on trial. The defendants are from the SDS – Students for a Democratic Society, a radical group that sprung out of the labour movement – led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp); the Yippies, founded by Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin who use performance and pranks to forward their agenda; anti-war activist David Dellinger (John Carroll Lynch); and Bobby Seale (Yahya Abdul-Mateen II) co-founder of the Black Panther Party, known both for its militant image and progressive social programs. The charge? Conspiracy, even though these group leaders had never met one other.
The Trial of the Chicago 7 is two-hour film that manages to condense hundreds of days of testimony into a few key scenes. This includes a shocking re-enactment of the binding and gagging of Bobby Seale in the courtroom. The script’s pace is fast, the production values excellent, and the acting is superb, especially Baron-Cohen in an unusual funny-serious role, Mark Rylance as their lawyer, William Kunstler, Frank Langella as the unjust judge Julius Hoffman, and Lynch as the veteran pacifist. Women are invisible in this film, except as receptionists, wives-of and one undercover FBI agent. I was glued to the screen the entire time. Still, it leaves me with an uneasy feeling Aaron Sorkin has done some subtle, historic slight of hand. He portrays the anti-war movement as mainly about honouring and saving the lives of American soldiers, not Vietnamese civilians. It buries the aims of the defendants beneath petty squabbles. And somehow he takes a protest aimed squarely at Democratic politicians — the hawks and conservative Democrats in a city and state run by that party — into a Democrats vs Republican division…!
Hmm…
Judy vs Capitalism is at Rendezvous with Madness; Monkey Beach is at ImagineNative, both through Sunday; and The Trial of the Chicago 7 is now streaming on Netflix.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Shrink Brink Link? Films reviewed: Little, The Brink, Missing Link
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Toronto’s Spring Film Festival Season is in full swing right now. Images – which features art movies, videos and gallery installations — is on this weekend. And Cinefranco brings new French-language movies – this year from La Belle Province – starting next week.
But this week I’m going to spill some ink on three new popular movies that just might make you think. There’s an animated movie about a British explorer searching for the missing link; a political documentary about democracy teetering on the brink; and a comedy about a magical spell that makes a hard ass businesswoman shrink!
Dir: Tina Gordon
It’s present day Atlanta. Jordan (Regina Hall) is a successful, self-made businesswoman whose company creates games and apps. Violently bullied as a badly-dressed teenaged nerd she vows never to put up with it again as a grown up. Instead, she becomes a bully herself, taking it out on her employees, her lover, and even random strangers and kids. She even attacks a little girl with a magic wand whose father runs a food truck. But her biggest target is April (Issa Rae), her faithful personal assistant who is always there to help her. But Jordan’s status is thrown into question by two events.
First her biggest client threatens to pull his account if she doesn’t come up with a new, youthful pitch in 48 hours. And when she wakes up the next morning she’s reliving her worst nightmare: she’s been magically transferred into her teenage face and body! Her adult privileges suddenly disappear and young Jordan (Marsai Martin) is forced to enroll at the same Windsor Jr High suffered through in her youth. She is a nerd again before, long she straightened her hair and wore makeup, badly bullied and
forced to sit with the rejected kids. April has to cover for her at work, and becomes her public face. Can she survive as a bullied teenager, can her company be saved, will she ever turn back again, and can she get in touch with her inner child?
Little is a very funny, body-transformation comedy, like Freaky Friday or Big. The plot is fairly tame and predictable, and seems to suggest kids can be rescued from bullying with a few instagram photos! But Issa Rae is good as April, and Marsai Martin brilliant as the “little” Jordan, perfectly channelling an adult’s gestures and expressions into her performance. And finally, finally Hollywood seems to have figured out that movies from a black and female point of view can be enjoyed and appreciated by a general audience.
Little is an easy-to-like comedy that provides almost constant laughs.
Dir: Alison Klayman
Steve Bannon is an extreme right-wing nationalist ideologue. He allies online fake-news site Breitbart with the so-called Alt Right. He goes on to lead Donald Trump’s successful presidential campaign. But Bannon is fired soon after the Unite the Right riots in Charlotteville North Carolina which resulted in violence and death. This documentary follows Bannon’s daily life from that time until last fall’s US election. In between, Bannon tours Europe with Belgian Mischäel Modrikamed in an attempt to unite the extreme right within the EU. He thinks he can pull together disparate nationalists, islamophobes, populists, neo-fascists, and Euroskeptics into a unified bloc. This includes questionable figures like ultra-nationalis Viktor Orban, Nigel Farage, French Front National, the nazi-affiliated Swedish Democrats, an Italian party with fascist roots, and Belgium’s extremist Parti Populaire.
Can an American extremist successfully steer the rise in populism into a unified Europes Front? Or are is the American right – and the much reviled Trump – too different from their euro counterparts?
The Brink is a capable documentary about a player in the extreme right. It reveals the source of his funds – a Chinese billionaire – and his political ties. It even includes footage of his visit to Toronto for a debate between the right and the extreme right where he is dismayed by the widespread protests and his lack of support. The Brink clearly exposes how his racist, antisemitic, anti-immigration and islamophpbic ideology has led directly to right-wing terrorism.
But it also humanizes and normalizes him as just a guy who wears two shirts and wonders whether he looked OK or said the right thing in his last interview. As Bannon says, any publicity is good publicity.
Dir: Chris Butler
It’s Victorian England. Sir Lionel Frost is an international explorer looking for fame and adventure. He survives an encounter with the Loch Ness Monster but fails to reach his real goal – membership in a prestigious gentleman’s club. But his luck changes with a letter from America, telling him where to find Sasquatch, a mythical, missing link between man and ape. He makes a wager with the club’s leader, Lord Piggit: if he brings back a live sasquatch, they will let him join the club.
But when he encounters Big Foot he is shocked to discover he’s just like you and me. He speaks english, reads and writes, and is an all around nice guy, just much bigger and hairier. He’s the last of his species and longs for a friend like himself. He agrees to travel with Lionel to England, as long as he first visits his people – the Yetis – who are said to live in Tibet. With the help of Adelina, a willful widow (and former lover of Lionel) the three set out on an adventure around the world. Will they find the Yeti, complete their missions, and avoid a murderous hitman sent to stifle thir voyage at all costs? And will
Mr Link – or “Susan” as he prefers to be called – ever find a true friend?
Missing Link is a wonderfully made animated film using stylized puppets for its characters. It’s from Laika studio that also brought us Boxtrolls, Caroline and Paranorman, also by director Chris Butler. Much of the humour comes from the naïve but nice Susan as a fish out of water experiencing the outside world for the first time. It features the voices of Zach Galafianakis, Zoe Saldana, and Hugh Jackman.
Missing Link is funny, surprising, beautiful, quirky and heartwarming. If you like animation (but without any treackly Disney princesses) this is the one to see.
The Brink, Missing Link and Little all open today in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber talks with Daniel Zuckerbrot about The Science of Magic
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Magic.
The word conjures up visions of magic wands and abracadabra, Harry Houdini and Harry Potter, legerdemain and prestidigitation. It’s mysterious, it’s uncanny, it’s… supernatural. But what if I told you there is a scientific basis to magic?
The Science of Magic is a new documentary that looks at just that — the psychology and neuroscience that lurks behind even the simplest card trick. This fascinating documentary goes right to the source: the magicians (and magicienne) doing their tricks, with white-coated scientists watching them intently.
It’s written and directed by documentary filmmakers Donna Zuckerbrot and Daniel Zuckerbrot, known for their deft handling of magical themes.
I spoke with Daniel Zuckerbrot in studio at CIUT. He talked about magic, magicians, Julie Eng, change blindness, Deception, filmmaking, eye movement… and more!
The Science of Magic premiers on Sunday, March 18th on CBC’s The Nature of Things.
Back to the Future? Films Reviewed: The Visitor, The Secret Life of Walter Mitty.
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
I’m taping this a week in advance, during the Toronto Ice Storm, when the power’s still off, the sidewalks still icy and Rob Ford is still mayor. But who knows what it will be like by the time you’re listening to this. Back to the future? Fittingly, I’m looking at a couple oddball fantasy movies — a remake and a rerelease — both pointless but watchable froth to bring in the new year. The remake is an American comedy about a day-dreaming adult, the rerelease an Italian horror movie (from the 1970’s) about a brat with secret powers.
Dir: Giulio Paradisi
Presented by Drafthouse Films and Fangoria
Barbara Collins (Joanne Nail) is a modern woman who values her freedom. She lives in a mansion in Atlanta with her sweet little daughter Katy (Paige Conner) and Katy’s pet bird. She’s being wooed by Raymond (Lance Henrickson) a slick-but-secretive basketball promoter. What she doesn’t realize is that Raymond reports to a cabal of identically dressed businessmen who are up to no good. They just want her offspring. You see, Barbara has special DNA and Katy has supernatural powers. If the cabal can pull off an alien abduction Barbara will reproduce with a special superbaby (as if her one kid isn’t trouble enough!)
Katy is actually a foul mouthed brat. She uses her powers for selfish reasons – puting the kybosh on other kids she goes skating or does gymnastics with. On her birthday, Katy’s gift turns into a handgun, which shoots Barbara, rendering her paraplegic.
Meanwhile, a wise old man with a white beard and a beige leisure suit (John Huston) is tracking Katy, too. He travels with a retinue of kids dressed in white. These silent, baldheaded teenagers are his disciples. You can tell he’s important because whenever he appears the theme music starts up again as he walks down a futuristic-looking escalator. And when a detective (investigates her birthday shooting she sends her pet bird to attack him.
Who will triumph? The satanic businessmen-aliens? Or the benevolent robe-wearing superman-like aliens? And will anyone stop spoiling that evil kid?
This movie exists in its own bizarro-world, circa 1979. Shelley Winters plays Barabara’s intuitive housemaid singing Mama’s little baby loves shortening bread as she spies on Katy. Sam Peckinpah – the director of infamously violent movies (like Strawdogs and the Wild Bunch) — is her gynaecologist!
This is a very trippy, very strange movie. It has lots of horribly dated and vaguely racist shtick, and the story makes no sense whatsoever. But it still feels cool to watch: filled with fantastic dated special effects: a house of mirrors, a swarm of birds, Barbara insanely driving her electric wheelchair in endless circles. It climaxes with a bug-eyed John Huston having his Close Encounters moment with the shooting stars.
Total kitsch, but funny.
Dir: Ben Stiller
Walter (Ben Stiller) is a milquetoast mama’s boy and a longtime employee of Life Magazine. He lives vicariously through the exciting photos he processes in a windowless basement room (he’s in charge of “negative assets” — photo negatives, that is). Instead of a pocket-protector he wears a bad windbreaker. In his frequent daydreams and fantasies, he sees himself as an international adventurer, a “real man” who will stand up to any bully. But in reality he’s lonely, middle-aged and single. He longs for a relationship with a new employee, Cheryl (Kristen Wiig), but can’t seem to connect with her, even on an on-line dating site.
And now he faces a crisis. Life Magazine is folding, except on-line. A douche-y young executive (Adam Scott) is brought in to close it down, and makes Walter into the poster boy for unwanted employees. But when a negative — the cover photo of the final issue — goes missing, Walter takes it upon himself to track it down, wherever it may be. He embarks on a journey by plane, helicopter, boat, skateboard, that takes him up mountains, across shark-filled seas, and past erupting volcanoes, all just to find the missing photo.
Will he find the picture? Will he find himself? And will his journey impress his crush Cheryl?
While the movie is filled with breathtaking scenery, it has little else to recommend it. It’s not that funny, interesting or original (the James Thurber novel is more whimsical and the Danny Kaye musical — 1947 — is more clever). Ben Stiller’s first attempt at directing fails to direct himself. He underplays it just when he should be hamming it up. His character comes across as flat, dull and pointless. Shirley MacClaine and Catherine Hahn are fun as his mother and sister but are rarely seen.
And the use of egregious product placement within the plot itself — a certain pizza chain, a cinnamon bun — is as embarrassing as it is flagrant. (Was he that desperate for funding?) It’s not that the Secret Life of Walter Mitty is terrible. It’s totally watchable, especially stunning footage of Icelandic moonscapes. It’s just… disappointing.
The Secret Life of Walter Mitty opens on Christmas Day and The Visitor opens on Dec 30th for a three-day run at the TIFF Bell Lightbox. 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
Odd Jobs. Movies reviewed: Pieta, C.O.G., Now You See Me PLUS Inside-Out
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
We’ve all had some pretty strange if short-lived jobs. I’ve worked as a newly-hatched chick crate stacker (horrifying… they kept on dying) and handing out government information pamphlets dressed as the letter “i”, with an enormous round, foam ball over my head (as the dot).
Well today I’m talking about three movies where the main characters have very unusual jobs. There’s a violent sort of insurance adjuster in Korea; a stuck-up Ivy League grad student who decides to be a migrant fruit-picker; and a group of magicians who try to rob banks.
Dir: Kim Kiduk
Kang-do is a tall, baby-faced man in his thirties who lives in a rusty, dusty industrial district of Seoul. Most of the factories there are tiny shops with zero employees outside the owners. Maybe there’s one machine punching out metal parts. So it’s a constant scramble for cash. It’s a poor area, and only Kang-do (Lee Jeong-jin) seems to be doing well. He sells the one thing everyone needs: money.
He’s just an ordinary a loan shark. But he collects his payments in an extraordinary way. He makes them sign up for insurance, and then pay back their debt according to what the insurance form pays: a broken leg, an injured hand, the loss of a finger. He casually pushes people off abandoned buildings, but only from the second floor. He’s selfish, cruel and emotionless, without even a shred of conscience – the devil incarnate. He has no one to answer to except his boss – no pesky extended family to hold him back: his mother abandoned him when he was a child.
But who shows up at his door one day, offering to cook and clean, but a stranger (Jo Min-soo) — an older woman – who says she’s his mother! She sings him his childhood lullaby. She wants to make up for abandoning him. He is still bitter and untrusting but she won’t give up. She even helps him in his cruel debt collection – since it’s all her fault for not teaching him right from wrong. It’s up to Kang-do to learn to trust, change his ways and open his heart to the only one who cares for him. Is the strange woman really his mother? Why did she choose to come back after all these years? And will the introduction of love – and a conscience? — upset his equilibrium and his job?
Pieta, like most of Kim Kiduk’s movies, has a neatly symmetrical storyline with a twist, coupled with extreme violence, and largely unsympathetic, over-the-top people. The ending is very good, the quirky, extreme characters are played well, and I love the gorgeous industrial look of the film, but it’s so grim, so relentless, so nnngggrrhhh that it’s just not a lot of fun to watch, except perhaps for its schadenfreude. It’s disturbing. I appreciate the way the story plays out, but I can’t say I loved this movie.
Dir: Kyle Patrick Alvarez
Sam (Jonathon Groff) has just finished his MA at Yale but doesn’t want to live with his estranged mother. So he decides to earn some money communing with The People – apple pickers on a farm out west. Unfortunately, he studied Japanese in University, not Spanish. He expects to meet up with a classmate but he soon finds himself abandoned without friends. He’s soon brought down to size. The entitled, intelligent and successful rich kid soon learns the reality of real work, alienation, low wages, and unfair bosses. Next he’s working in the factory sorting fancy apples. A sympathetic employee, Curly (Corey Stall) offers him a promotion, but the benefits come with unstated duties, chez Curly. Finally he is driven to stay with an evangelical jade carver Jon (Dennis O’Hare) who is preparing for the county fair. Can a gay, cynical intellectual accept Jesus into his heart?
This is a really funny – not laugh out loud, but a grim humour – movie about the calamities hapless Samuel lands in, and the hard-to-take people he encounters. He’s made fun of as much as the people he meets. It’s based on a story by David Sedaris, and is just as funny but the movie exists, perfectly, outside of his book, as its own entity. Groff is great as an understated Sam, and Corey Stall (as Curly) has perfected the affable but skeezy guy – similar to his role as Russo on the TV show House of Cards. This is a very good movie.
Dir: Louis Leterrier
Four people, entertainers all, receive tarot-card invitations from a mysterious source. There’s a conjurer (Jesse Eisenberg), a hypnotist / conman (Woody Harrelson) an escape artist (Isla Fisher) and a spoon-bender and pickpocket (Dave Franco). They meet up in New York City where they are dubbed the Four Horseman (not “of the apocalypse” – it’s just a name) and trained as a new act. Their gimmick? They can rob banks halfway around the world and give the loot to a screaming audience.
Their act is a huge media success.
As good magicians, they understand the point of a long-range trick, or a years-long setup, so they follow their directions perfectly. Soon they are being financed by a millionaire (Michael Caine), chased by an FBI detective who swears he’ll catch them (Mark Ruffalo), and also pursued by a man who earns his living debunking magicians as frauds (Morgan Freeman). And everyone wants to find out who is the fifth horseman? Is he one of the magicicians themselves? An unknown rival? A member of an illuminati-style cult? And what will the magicians’ final revelation bring?
OK. Some of the lines in this movie are pure cornball, the CGIs are often distracting, the actors are much better than the roles they’re playing, and there are a few too many twists to the plot. But never mind all that… I thought Now You See Me was a completely enjoyable, big-budget popcorn movie. A lot of fun.
Now You See Me opens today, and Pieta will be at the TIFF Bell Lightbox starting today. C.O.G played at Inside-Out Film Fest which continues through Sunday. Ghost in the Machine – a documentary about another strange job also opens today. Directed by Liz Marshall and beautifully shot, it follows an animal rights activist who, instead of freeing caged animals, takes their photos and shows their suffering to the world. And Lore, the amazing Australian movie about young German woman, a displaced person trying to find her way home right after WWII, also opens today, at the TIFF Bell Light Box.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
August 4, 2011. Things Inside Other Things. Movies Reviewed: Cave of Forgotten Dreams, The Change-Up, Cowboys and Aliens
Hi, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, genre and mainstream movies, helping you see movies with good taste, and movies that taste good, and what the difference is.
Have you ever wondered whether what you’re looking at is something with something inside of it? Or if it’s something that’s inside something (or someone) else? Let me give you an example.
I went to Toronto’s annual Night Market – a huge outdoor street fair full of Asian food stalls, held on Cherry Street near the lakefront – and amidst all the deep-friend stinky tofu, the Xinjiang lamb kebobs, and the bacon ice cream – something caught my eye.
What was it? Was it garlicky Korean bulgogi served on a crusty baguette? Or was it a Vietnamese Banh Mi sandwich with grilled beef filling? Was its essence the container or the content? Well, in any case, it tasted great, and the makers described it as a Vietnamese sandwich (with something in it.)
A big part of reviewing movies is determining the categories — the taxonomy — of a given film and its characters, trying to find an easy-to-understand label that encapsulates its true essence. So, to make a long story short, this week I’m talking about three movies, all about things with other things inside them: a documentary about a cave with paintings in it, a traditional western with some space ships in it, and two men who end up trapped inside one another’s bodies.
Dir: Jon Favreau
A stranger (Daniel Craig) rides into an old, run-down mining town wearing a strange metallic bracelet. He doesn’t know who he is, what he’s doing there, where he came from, or even his own name. he may have lost his memory, but he’s still a crackshot straight shooter with his six gun, and a good puncher in a dust-up. He knows right from wrong and good from bad, and is liked by dogs and small children. He just wants to remember what happened to his wife. But when the spoiled son of the town boss — an ornery cattle baron (Harrison Ford) — starts shaking down the locals for cash, the stranger steps in on behalf of the town folk.
All just an ordinary western, until, out of left field, comes a bunch of flashing alien spacecraft, plucking up all the people in some alien abductions, and taking them off somewhere (probably for some microchip implants, anal probes or brainwashing!)
So now it’s not the white hats vs the black hats, the people vs the bosses, or the cowboys vs the indians. Now it’s the humans vs the aliens, scary identical-looking monsters who are up to no good and probably want to take over the world. So they all band together, along with a beautiful woman (Olivia Wilde) who wears a flowered dress and knows something she’s not telling us.
It’s good there’s some native actors (Adam Beach and Raoul Trujillo) and fun to see a twist on old themes, but the movie, even with some scary 3-D effects, is fun enough to watch, but pretty hollow and predictable in its plot.
Much nicer is another summer 3-D pic:
Dir: Werner Herzog
Some tens of thousands of years ago a cliff collapsed in a French river valley, hiding the entrance to a series of caverns. The great German director and documentary maker Herzog is allowed into the restricted areas and shows us the amazing animal paintings on the walls: lions, rhinos, horses, and bulls; leopards, cave bears, and strange fertility totems. He leads us in three-d through the stalactites and stalgmites, and the glossy, drippy calcium deposits covering everything, from jawbones, to the charcoal they may have used to paint on their walls.
It shows shadows and firelight and the echoey music they might have played on tiny bone flutes.
And, because it’s a Herzog movie, he populates the documentary with all the eccentric types who end up showing their quirks before the camera. An archaeologist admits he used to be a unicycle-riding juggler in the circus. A master French perfumer sniffs his way around the caves to try to find any primeval odours that might still be there. And an eccentric scientist demonstrates spear-hurling techniques in a vineyard.
Though I thought the movie drags a bit in the long lingering shots of the wall paintings, it does give you both the forgotten dreams inside the narrow caves, and the people and world all around, emanating down rivers and through valleys across Europe, ending with some fantastic albino crocodiles.
Dir: David Dobkin
Dave and Mitch (Jason Bateman and Ryan Reynolds) have been best buddies since grade six. Dave’s married with three kids, a diligent, conservative careerist on the verge of a promotion if he can pull off a big corporate merger with a Japanese conglomerate. Mitch is a handsome hedonist, a foul-mouthed, struggling actor who lives the Life of Reilly: sleeping-in, smoking pot, hanging out, and having more casual sex than you can shake a stick at. Mitch envies the stability and symbols of success that Dave has, while Dave wishes he could go back to the freedom and fun of his college years.
Through some magical wishing they accidentally end up in each other’s bodies, having to live their buddies’ lives.
The rest of the movie is funny scenes of them trying to cope with the nightmarish situations they find themselves in, wearing the wrong clothes, saying the wrong things, and wracked by guilt once they see how others view them. Dave in Mitch’s body goes to shoot a movie without realizing he’ll be asked to perform sexually in a soft-core porn movie with a 70-year old women made entirely of botox, collagen, and silicon. Mitch has to take up all the responsibilities of an intense, stressful workplace, and an equally hard home life, with a neglected wife, and twin ADHD toddlers from hell. Will they get their old lives back? And do they really want to go back?
The movie’s funniness ranges from extremely funny (especially with the babies and kids, and the misbegotten sex scenes) to gross funny (with the explicit potty jokes and dick jokes) to cute funny, to… barely funny at all. Reynolds and Bateman get to play out of character which is fun. I think it all balances out with enough shocking and hilarious scenes to make it a worthwhile, if generally predictable, “guy” comedy.
Cave of Forgotten Dreams is playing at the TIFF Bell Light Box, Cowboys and Aliens is also now playing, and the Change-up opens today: check your local listings.
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, Cultural Mining . com.
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