Daniel Garber talks with Robert Osborne and Brooke Mullins about Malcom is Missing
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Brooke Mullins is a woman raising her two daughters in Port Hope, Ontario. She grew close to her divorced Dad as an adult. A few years ago, Malcom moved to Mexico to spend his retirement winters relaxing amid the lush palm trees and sparkling beaches of Puerto Vallarta. He remained in close contact with Brooke, until suddenly… all contact disappeared. And when she tried to reach him, she received little help from his live-in girlfriend, Marcela. The authorities were indifferent and the police were no help at all. So, taking things in her own
hands, she flew down to Mexico to try to find her dad or at least find out what was happening to him. And what she found was shocking.
Malcom is Missing is a personal documentary that traces Brooke’s search for her father and some sense of justice, amidst the crime and corruption lurking just beneath the surface. It follows her investigation including interactions with journalists, lawyers, the police and prosecutors, along with Malcom’s friends and colleagues. The film is directed by Robert and Jari Osborne, and features Brooke Mullins as its 
principal subject. Robert is an award-wining journalist and documentary filmmaker with over 30 years experience at The Nature of Things, CBC POV and CBC Docs, along with CTV’s W5, Global’s National News and National Geographic, among many others.
I spoke with Robert Osborne and Brooke Mullins via Zoom from Toronto.
Malcom is Missing is having a special screening followed by a Q&A at Hot Docs Cinema in Toronto on January 29, 2023, and will be broadcast on CBC’s Documentary Channel in March.
Class divide. Films reviewed: Sundown, Ambulance, Mothering Sunday
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 — from the UK, Hollywood and Mexico — about the class divide. There’s a penniless orphan having a passionate affair with an upper-class Englishman; a London billionaire who intentionally disappears in Acapulco; and a bank robber who commandeers an ambulance on the streets of LA to protect 16 million dollars.
Sundown
Wri/Dir: Michel Franco
Neil (Tim Roth) is an Englishman on holiday in Acapulco with his sister Alice (Charlotte Gainsbourg) and her two teenaged kids. They’re staying at a luxury resort , the kind of place where you never have to leave your private infinity pool, as waiters will bring martinis directly to your suite. They can watch locals diving off the cliffs in exchange for small tips — let them eat cake! Neil and Alice are the heirs to a vast fortune worth billions. But a shocking telephone call upsets their plans, forcing them to fly back to London immediately. But Neil, claiming he left his passport at the hotel, doesn’t get on the plane. Instead, he disappears, checking into a cheap local guesthouse. His days are spent drinking beer on Mexican beaches, and he soon hooks up with a beautiful woman named Berenice (Iazua Larios). But all is not well. Acapulco is a dangerous city with drive-by killings invading even his beachfront. His hotel room is robbed and he finds himself surrounded by petty criminals. Meanwhile his sister is frantic with worry. Why has he not returned to London? What sort of a game is he playing? Is he 
trying to bilk her out of her share of the family fortune? Or, as he says, he has no interest in money at all? And why is he withdrawing from life?
Sundown is a disturbing Mexican film about the class divide and how one man deals with it in his own way. Tim Roth plays Neil as an introverted trying to escape from everything. He barely speaks or makes decisions as his world collapses all around him. He endures crime, violence, and even jail with barely a reaction. But internally he is plagued with bizarre hallucinations, with giant hogs invading his mind-space. While not nearly as upsetting as his previous film, New Order, in Sundown Michel Franco once again probes the fear, corruption and violence permeating the class divide in contemporary Mexico.
Ambulance
Dir: Michael Bay
Danny and Will Sharpe are best friends and brothers (Will was adopted). They group up together on the streets of LA, but took different paths as adults. Will (Yahya Abdul-Mateen II) stuck to the straight and narrow, joining the military and is now married with a small child. Danny (Jake Gyllenhaal) took after their dad, a notorious bank robber who left many dead bodies in his wake. But good guys seem to finish last. Will’s wife needs complex surgery something he can’t afford — he van barely feed his family. So he goes to Danny, cap in hand, asking for help. Danny agrees as long as he participates in what he calls a simple bank robbery that’ll leave them both rich beyond their wildest dreams. But the robbery goes south, and they are forced to flee in an ambulance with a wounded cop and a paramedic named Cam (Eliza González) trying to keep him alive. Can they escape with the money without killing the cop?
Ambulance is a two hour chase scene disguised as a movie. As they race through the streets of LA they 
are pursued by helicopters, police cars and the FBI, trying to kill the bank robbers without killing the cop. Michael Bay is known for his trademark enormous explosions and spectacular car crashes, and he doesn’t disappoint. There are also some cool new camera tricks, like a drone camera hugging the side of a police station as it plunges many storeys straight down to the sidewalk (it almost made me carsick!). But fancy camerawork and lots of crashes does not a movie make. And with cookie-cutter characters and ultra-simplistic storylines like this, why go to a movie when you can find the same thing on a game like GTO?
Ambulance is not boring, it’s just totally pointless.
Mothering Sunday
Dir: Eva Husson
It’s England between the wars. Jane Fairchild (Odessa Young) is a teen orphan who earns her living as a maid. As her name shows, she was abandoned by her mother as a child. Her upper-class employer (Colin Firth and Olivia Coleman) give her a a holiday on Sundays every so often when they go for a picnic with their friends. This gives Jane the chance to sneak away to spend time with her secret boyfriend Paul (Josh O’Connor) whose maid is also given the day off. It’s a passionate relationship full of unbridled sex all around the family mansion. Is this love or infatuation? Either way it’s no coincidence Jane and Paul both have free time on the same day. Paul’s parents and Jane’s employers are meeting at the same picnic, where Paul is heading too, to make an important announcement. But something shocking happens on the way.
Mothering Sunday is a beautiful film about a woman whose status gradually rises as she makes her way 
from house servant to independent writer. It’s also about the lovers and partners she meets along her way. Although it starts slowly the film becomes more and more interesting as details and secrets of her life are gradually revealed. Odessa Young is amazing as Jane Fairchild, someone you can really identify with. Eva Husson is French director and this is the first thing I’ve seen by her, but she’s really good — she knows how to subtly set up a scene, and then turn it on its head with a shocking revelation. This is a relatively simple, low-budget movie, but something about it out really grabbed me, and left me thinking about months after I saw it.
I really like this one.
Ambulance and Mothering Sunday both open this weekend; check your local listings. Sundown is now playing 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.
End of summer movies. Films reviewed: Flag Day, 499, Candyman
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
Travelling for love. Films reviewed: Make Up, Identifying Features, Preparations to Be Together for an Unknown Period of Time
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
Questioning Authority. Films reviewed: Beans, Quo Vadis Aïda?, Shorta, New Order, Night of the Kings at #TIFF20!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
The Toronto International Film Festival has come to a close, and to tell you the truth – considering it was touch and go since the pandemic hit – I’m especiallly impressed by the 50 movies that made it into the festival. There’s a particular appropriateness to the movies they chose, films that capture the current feelings of uncertainty, impending doom, and a general mistrust of authority. So this week I’m, looking at five fantastic TIFF films about the current malaise. And so as not to end on too bleak a note, I’m throwing in a nicer story at the end.
There’s a blockade in Quebec genocide in Bosnia, police violence in Denmark, a class war in Mexico… and story-telling in a prison in Cote’d’Ivoire.
Beans
Dir: Tracey Deer
It’s 1990. Beans (Kiawentiio) is an innocent 12-year-old girl who lives in suburban Québec with her Dad, her ambitious mom, and her little sister. She’s into stuffed animals and hair ribbons – her biggest worry is getting into a posh private school. But when the town of Oka tries to grab Mohawk burial grounds to expand a golf course, protests erupt. Beans and her family leave their cushy life to join the Kanehsatà:ke and Kahnawá:ke community in the 
increasingly tense stand-off. They are blockaded and local stores refuse to sell them food, and police and military stand by when her family is attacked by racist locals throwing rocks and breaking windows. Beans, meanwhile feels rejected by the local kids as too soft, so she asks April (Paulina Alexis) an older girl to toughen her up. With the crisis raging all around her, Beans starts to change – but is it for the better?
Based on true events, Beans is a marvelous coming-of-age story of a girl learning about heritage, identity and sexuality, as she gradually gains self-confidence in a frightening time.
Quo Vadis, Aïda?
Wri/Dir: Jasmila Žbanic
It’s 1995 in Srebrenica, Bosnia.
The three-year Bosnian civil war is coming to an end, and Aida (Jasna Djuričić) a former high school teacher, is worried. Her former students are fighting on all sides. Ratko Mladić’s soldiers have surrounded the town and the locals have fled to a safety zone run by UN Peace Keepers. Aida is now the official translator, a conduit between the locals, the invaders and the ineffectual, Dutch Blue Helmets. Be calm, they promise, there’s nothing to worry about. But she knows they’re not safe at all. It falls on her shoulders to save 
them, or at least save her husband and two sons. But can Aida save anyone, even herself?
Quo Vadis, Aida? is a fast, tense and deeply moving depiction of the fear, confusion and helplessness of the days leading up to the genocidal Srebrenica Massacre where over eight thousand Bosnians were murdered in cold blood. Though it doesn’t explicitly show the violent acts themselves, it still leaves the viewer drained and shocked by its enormity.
Shorta
Wri/Dir: Frederik Louis Hviid, Anders Ølholm
Tension is mounting in Svalegården, a highrise housing project in Denmark, after police choke a teenager to death. Two cops are called in to keep the peace. Mike Andersen (Jacob Lohmann) is the bad cop – foul-mouthed, corrupt, out of shape and blatantly racist. Jens Høyer (Simon Sears) is the good cop, fit, clean-cut and by the book. They arrest a local teen, Amos (Tarek Zayat) for a minor infraction. Amos was a promising soccer star but has lost hope after being harassed too often by police. But the three of them are forced to work together – or choose sides – when 
violence erupts leaving them stranded in a dangerous zone, without a car, and no way out. Can Mike and Jens escape, and can Amos get safely home, before something really bad happens?
Shorta is an action/thriller set within a climate of police violence and corruption. Though at first it seems to be full of anti-immigrant stereotypes, it turns expectations on their head in a series of unexpected and shocking plot turns. An intense thriller.
New Order
Wri/Dir: Michel Franco
Marianne (Naian González Norvind) is a woman in a red dress at her own wedding party. They’re waiting for the judge to arrive to start the ceremony, but she’s tied up. Streets are blocked by demonstrators throwing bright green paint at rich people all across Mexico City, though this exclusive neighbourhood remains untouched. Their faithful servant Marta (Mónica Del Carmen) is working hard to make sure everything’s perfect for the wedding. But when Marianne’s family – who are spending lavishly on the wedding – refuse to help a longtime servant pay an emergency medical bill, Marianne is fed up. She says she’ll drive him to the hospital and pay for it herself. So she sets off in a car with Marta’s brother Cristian (Fernando Cuautle). But while she’s 
away, mayhem breaks loose. Thieves have infiltrated the wedding party and begin killing people. There’s a military coup and the city is under martial law, shooting civilians at random. And when Marianne is “rescued” by soldiers, she is shocked to discover she’s actually their vicim, a captive held for ransom. Can anyone be trusted?
New Order is an extremely violent, dystopian look at class inequality and the deep corruption permeating Mexican society and government. Be warned, this is not an easy movie to watch.
Night of the Kings
Wri/Dir: Philippe Lacôte
It’s a special day in the huge MACA prison in Abidjan, Cote d’Ivoire in west Africa. A red moon is expected to rise that night, and with it a change of prison government. Not the warden or guards but the real leadership within the prison walls. Barbe Noire/Black Beard (Steve Tientcheu) rules them all. But he’s dying and needs to appoint a successor. First a ritual storytelling must take place. He appoints a new arrival (Koné Bakary) a young newbie arrested that day to be Roman, the 
storyteller. Roman is baffled – why him? He’s dressed in a shining blue shirt, and given a special potion to drink and a wooden box to stand on. He must tell a constant story, one that never ends or he will be killed and the whole prison will collapse into mayhem. So the story begins.
Night of the Kings is a fantastical prison drama that portrays both the amazing people who live there, and the story he tells. People like a beautiful transwoman who’s also a secret assassin, and wise man with a chicken on his shoulder who poses as a half- wit. That’s within MACA.
Then there’s the story Roman tells. He serves as an impromptu griot, passing on an oral history of a slain local gang leader named Zama King and his ancestors stretching way back in time. There are elephants and armies, queens and magical powers, elaborate costumes and hair styles. And as he tells his story, he’s surrounded by a greek chorus who spontaneously sing, dance and pantomime all around him. Night of the Kings is a fantastic drama, and one of the best films at TIFF this year.
Watch out for it.
Night of the Kings, New Order, Shorta, Quo Vadis Aida?, and Beans all screened at TIFF. Go to tiff.net for more information.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
NAFTA movies? Films reviewed: Giant Little Ones, Sólo con Tu Pareja PLUS Sui Generis: An Alternative History of Mexican Cinema
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
If you’ve been watching movies over the past few years, you may have noticed a big change. Some of the biggest Oscars are going to directors like Guillermo Del Toro, Alfonso Cuaron and Alejandro Gonzales Iñaritu.
When did Mexico start making movies? The answer is: Mexico has been making great movies for a very long time… we just never knew about it. But there is one way to fill in that gap in our collective memories.
“Sui Generis“ refers to unique species or bodies of work. Sui Generis: An 
Alternative History of Mexican Cinema is a suprising series of films at TIFF Cinematheque. It’s programmed by Diana Sanchez and Guillermo del Toro and includes some really famous movies – like Buñuel’s Avenging Angel – and an equal number I’ve never heard of. Surprises include anti-church satires, political 
protests, bizarre fantasies and fantastical films that transcend the genres we know. There’s also a sexual frankness largely missing in Hollywood movies under the Hays Code (1930-1968), but legal in Mexico.
Aside from Buñuel’s films and a few others, I had never heard of most of these movies, but Mexican cinephiles weep over the importance and uniqueness of these selections; a staple on late-night Mexican TV but rarely seen on the big screen. This series features directors like Ripstein, Buñuel, Cuaron, del Toro and many others, from the 1930s up to recent times.
It’s quirky, eclectic and grand. I recommend this series.
This week I’m looking at movies from Canada and Mexico. There’s a Mexican sex farce about a man who bites off more than he can chew; and a Canadian coming-of-age drama about a boy forced to choke back his tears.
Giant Little Ones
Wri/Dir: Keith Behrman
It’s a middle class suburb somewhere in North America Franky (Josh Wiggins) is about to turn 17 at a big party. All his teammates from the swim team will be there, his divorced mom (Maria Bello) will be away that night, lots of alcohol and music, and his beautiful but vapid girlfriend says she’s ready 
to spend the night with him. And his best friend Ballas (Darren Mann) will be there to cheer him on. They’ve been inseparable since childhood and the two are popular and respected at school. This will be a life changing night for Franky… but not in the way he expects it.
The party ends early when his mom comes home, and his girlfriend decides not to stay. So the two drunk best friends end up crashing in 
Franky’s bed, and something happens in the dark. Ballis rushes home, and the next day everything’s different. Rumours about Franky start spreading, he’s blanked in the hallways and ghosted on instagram. People say he’s gay and did something to Ballas, who does nothing to defend his former best friend.
Only a few people stick by him. Mouse (Niamh Wilson) his out lesbian lab partner who packs a fake appendage in her jeans teaches him how to live with bullying (but I’m not gay! says Franky. Doesn’t matter says Mouse); and Natasha, Ballas’s sister (Taylor Hickson). She was once 
popular too, until she was “slut shamed” after something terrible happened to her. They turn to each other, first as pariahs and friends, but it gradually turns into something more.
Adding to the complications is Franky’s divorced gay Dad (Kyle MacLachlan). Franky hasn’t spoken to him since he moved away to live 
with his lover. He’s ready to offer advice but first Franky has to conquer his own homophobia. What really happened that night with Ballas? Will they ever be friends again? Is he in love with Natasha, or is it something else? And will things ever get better at school?
Giant Little Ones is an excellent coming-of-age drama, well acted, and based on an elegantly symmetrical script. It’s tender, funny and surprising, without leaving you depressed. I’ve seen this Canadian movie twice now, and it was just as moving the second time through.
Sólo con tu pareja (1991) (a.k.a. Love in the Time of Hysteria)
Wri/Dir: Alfonso Cuarón
Tomás Tomás (Daniel Giménez Cacho) is known for his sexual prowess and enormous ego. He sleeps with a different beautiful woman every night. He’s also fond of challenges and pranks like running naked down the stairwell to the lobby each morning to pick up the morning paper before anyone sees him. He’s handsome and fit, with a 
successful career as an advertising creative and lives in a swank apartment building in a good Mexico city neighbourhood. He lives two doors away from Dr Mateo 
Mateos (Luis de Icaza) and his wife, both good friends, who give him the keys to their apartment while they are away for the weekend.
But Tomas’s limits are challenged one night when he is faced with more than even he can handle. Mateo’s statuesque nurse Sylvia (Dobrina Cristeva) is arriving for a date, while his boss Gloria is also dropping by
LOVE IN THE TIME OF HYSTERIA, (aka SOLO CON TU PAREJA), Daniel Gimenez Cacho, 1991. ©IFC Films
to hear his advertising pitch for a brand of canned Jalapeños (and maybe a bit of spicy fun). Soon enough he’s bedding his boss in Mateo’s flat, Sylvia in his own, and is forced to inch his way naked back and forth between the bedroom windows and satisfy both women without letting either one know about 
the other. To make matters worse, he finds himself infatuated by a new tenant in the flat between
the two rooms. Clarisa is a flight attendant (Claudia Ramírez) and when he sees her robotic miming of seat belts and oxygen masks he sees through her window heid smitten. But can one man keep three women satisfied at one time? Alas, no.
He is fired from his job, and the vengeful nurse falsifies his medical tests telling him he is HIV positive, plunging him into a deep depression. Will Tomas discover the truth and change his ways? Or will he succumb to despair and throw himself off the tallest tower in Mexico City?
Sólo con Tu Pareja is a seldom seen, silly screwball comedy from the early 90s. It’s also Cuaron’s first feature film, long before his big hits like Gravity, 
Roma and Y Tu Mama Tambien. This is no masterpiece, but it is a fun and interesting look at a totally different era. It reminds me of the 1960s comedy Boeing, Boeing, starring Jerry Lewis and Tony Curtis, also about a promiscuous man who juggles three flight attendant gilfriends in one Paris apartment. This one is also dated, but better than Boeing Boeing — the women in this movie have personalities, and Daniel Giménez Cacho is on fire as Tomas. And it adds a pair of Japanese businessmen, some mariachi musicians and a Montezuma lookalike to give it a more Mexican feel.
Giant Little Ones opens today in Toronto; check your local listings; and you can see Sólo con Tu Pareja just tonight at the Tiff Bell Lightbox as part of the fantastic TIFF Cinematheque Mexican film series called Sui Generis: An Alternative History of Mexican Cinema, on now.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Nannies. Films reviewed: Mary Poppins Returns, Roma
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s holiday season, between Christmas and New Year, a good time to catch up on all those movies you’ve been meaning to see. This week I’m looking at two new movies, a musical and a period drama, about nannies. There’s an ageless nanny in London with a magical touch, and a young nanny in Mexico City with a touch of sadness.
Mary Poppins Returns
Dir: Rob Marshall
It’s the 1930s in London, the time of The Great Slump. Michael Banks (Ben Whishaw) is a recently widowed father of three adorable kids – Anabel, John, and Georgie. They’ve lived in the house for generations, right beside an eccentric Admiral who fires cannons off his roof. Michael wants to be an artist, but works as a bank clerk to make ends meet. The kids struggle to act like grown-ups now that their mother is gone. And his sister Jane is doing her part as a social activist and union organizer. But an unexpected visit by two lawyers from 
the bank he works for throws the family into disarray. Turns out Michael defaulted on a loan and has until midnight Friday to pay it back or the entire family will be evicted from their own home.
What to do? Who can they turn to for help? Mary Poppins (Emily Blunt), of course!
Michael and Jane have almost forgotten that she saved the two of them when they were kids, and here she is back again, aged not a day. There is something magical about her, but only if you allow the impossible to happen. The kids are much too mature to fall for her tricks… or are they? Soon they’re swimming in the ocean via their bathtub, and travelling to a music hall in an animated world inside a chipped bowl. They visit Topsy (Meryl Streep) a flibbertigibbetty repair woman who lives upside down, to fix the bowl. They race through London piled up on a bicycle driven by Jack (Lin Manuel Miranda) who lights the 
city’s gas lamps. And they buy magic balloons from an old woman (Angela Landsbury) in the park. But can magic save their home before the bank’s evil Mr Wilkins (Colin Firth) takes it all away?
Mary Poppins Returns is exactly what the title promises: a continuation of the original story, one generation later. Jack was the chimney sweep’s son in the original, now he’s a lamplighter who narrates the story in song and dance. Michael and Jane are grownup versions of the original kids. The costumes – in bright yellows and fuscias with white boater hats – are pure Disney.The music, songs and dances, even the combination of flat cel animation with real people is just like it used to be. The score, the art direction, everything was a spot- on recreation of the original. The only differences are this Mary Poppins is decidedly sexier than the original, (Emily Blunt is amazing) and the cast isn’t lily white anymore. Lin Manuel Miranda is nicely endearing as Jack, though never having seen the hit broadway musical Hamilton I didn’t quite get the camera’s adulation of him.
I didn’t grow up with Mary Poppins, so I hold no deep sentimental attachment, but even so it scored high on my nostalgia meter, tugged at my heartstrings and made me feel warm inside. This is a wonderful G-rated musical and a genuine kids’ movie that also appeals to grown ups, a rarity these days.
Roma
Wri/Dir: Alfonso Cuaron
It’s 1970 in Mexico City. Cleo (Yalitza Aparicio) lives in a beautiful house with a grand staircase, and walls lined with bookshelves. There’s a narrow tiled passageway that serves as a garage, where a big dog runs around. And four cute kids — Toño, Paco, Pepe and Sofi — who happily play spaceman games. Cleo lives there but it’s not her house. The kids pet their dog while Cleo shovels the poop. She’s the nanny and also the maid, the one who gets blamed when there’s trouble. And there’s lots of trouble these days, with Señora Sofía (Marina de Tavira) the mom, trying to run the house with Papa 
on a long business trip to Quebec. She has help from the grandmother, Señora Teresa, but it’s a world without men, at least until Papa comes back.
Cleo is from a village and not yet used to city life. She spends her free time with the cook and her boyfriend Fermin (Jorge Antonio Guerrero). Fermin is a Kendo fanatic – martial arts saved my life, he says – prone to bouts of kicking and punching the air in the nude following sex. But when Cleo tells him she’s pregnant with his child, he disappears without a trace. What will happen to her baby? Who will take care of the kids? And will the family’s father ever come home?
Roma is a slice-of-life look at Mexico City in the tumultuous early 70s. It follows Cleo, a poor indigenous girl who speaks Spanish as a second language, and Sofía’s upper middle class family, as they try to understand one another, even while they both face family crises. It’s a slow-moving drama with normal, mundane family problems alternating with episodes of violence, terror and natural disaster. Cleo is viewing gurgling babies in the maternity ward just as an earthquake hits. She travels with the family to a hacienda 
where family dog heads are mounted on a wall like hunting trophies and forest fires break out. A simple trip to a downtown furniture store coincides with a government attack on student protesters.
Watching Roma is an immersive experience, filled with sound and unexplained images appearing on the screen. It’s shot in exquisite black and white – Cuaron is the cinematographer, as well as writer and director. Long, low shots almost always from far away: looking longingly down long corridors, at figures in a field before a spacious mountain range, or watching Cleo and 
Fermin from behind as they watch a movie on a screen even further away.
This is a lovely rich movie but one that intentionally keeps the audience from getting too close to any of the characters. We’re observers, but the action is far away, through a window or behind a closed door. No close ups, reaction shots, or gushing movie score, even with Cleo. But the cumulative effect – the sounds, music, images characters and historical events based on Cuaron’s own childhood – gives it a powerful impact.
See it in a movie theatre while you still can.
Mary Poppins Returns is now playing in Toronto; check your local listings. And you can see Roma on Netflix or at the TIFF Bell Lightbox in Toronto.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Point of collapse. Films reviewed: Rojo, The Good Girls, Climax
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
At a festival the size of TIFF (Toronto International Film Festival which continues through the weekend) I try to carefully select which movies to see, based on reputation, subject and word of mouth. But even occasionally wandering into a movie at random can be a pleasant surprise.
This week I’m looking at three movies at TIFF set right before — and during — the point of collapse or disaster.
There’s a noir drama set in Argentina before the 1976 military coup, a social drama set in an upper class Mexico neighbourhood before the Peso crash of 82; and a dance, sex and drug fuelled horror movie set in France in the 90s..
Rojo
Dir: Benjamín Naishtat
It’s the mid 1970s in a small provincial town in Argentina. The military has divided the country into war zones to fight guerrillas in the jungle. All is quiet but something is not right. Whole families are suddenly disappearing from their homes – are they kidnapped? Or just on vacation? Whatever, locals are enriching themselves by plundering whites left behind.
Claudio (Dario Grandinetti) a mild-mannered lawyer with bald head and a trim moustache, is not bothered by the tension — he is solidly middle 
class.. He joins a close family friend in a real estate scam to take over one of these empty homes. Claudio’s daughter and his scam partner’s son are dating though she seems less than eager – she’s more interested in the school’s dance club. But Claudio’s own life is disrupted by a disturbing incident at a restaurant: a man, a stranger in this town, starts a loud argument over a reservation. Later, the argument turns violent, and Claudio secretly dumps the man’s body in the desert. And a famous private detective arrives from Santiago, Chile to investigate a missing person. Could this somehow be related to Claudio? Will this 
tension – and Claudio’s secret – ever go away? Or is Claudio – and Argentina — entering a terrible new phase of violent oppression?
Rojo is a dark mystery-drama about life in small-town Argentina before the US-backed military coup. It shows the stress uncertainty and violence affecting everyone in the town – from high school kids to the town’s leaders. Rojo nicely mixes politics, history, and noir-ish drama with a stylized, almost surreal 70s look — like an episode of Colombo.
I like this movie.
The Good Girls (Las Niñas Bien)
Dir: Alejandra Márquez Abella
It’s the summer of 1982 in a posh neighbourhood in Mexico City. Sofia (Ilse Salas) is riding high. She’s an elegant and beautiful woman from an upper-middle-class family, married to an investor. And she belongs to an exclusive country club where she and her friends meet daily to play tennis and gossip. 
Sofia is more interested in bags, shoes and facial creams than local politics. Her birthday party went flawlessly, ending with a wonderful present – a new cream-coloured car from her devoted husband Fernando (Flavio Medina). And with the kids at camp in the US– don’t talk to Mexicans! she tells them — she can 
devote herself to tennis, shopping and spending times with her friends.
But all is not well. Tell-tale signs are turning up – the taps run dry as the water utility runs into trouble. Oil prices are crashing and so is the Mexican economy. One of her best friends stops coming to the club, and a nouveau riche woman – named Ana Paula – 
has taken her place on the ladder. Sofia continues to spend lavishly, but her cheques are starting to bounce. The creditors are moving in. And the servants are leaving, one by one. Is this a momentary lapse? Or – as one of her kids ask – are we poor now, mommy?
The Good Girls is a subtle and nuanced movie about the turning point, the exact moment when a woman realizes her carefully crafted life might crumble in an instant once the money goes away. When dignity disappears – and pettiness takes over – she realizes it could all be finished.
This is a spectacular movie – from the costumes, to the acting – and one I would have missed if I didn’t wander into the theatre at random when the movie I planned to go to was full.
Climax
Dir: Gaspar Noé
It’s 1996 in an isolated building in rural France. A dance troupe — multi-ethnic, multilingual and multi-sexual — is perfecting their dance routine. There’s It’s the dress rehearsal before heading off to New York and they do it without a single problem. The celebratory afterparty is just starting, with the Daddy is playing tunes, David scouting a sexual partner, and psyche is pouting. as the choreographer sends her son up to bed. But something is wrong. Somebody has spiked the sangria with halucinegenic drugs! And the 
dancers are reacting in very strange ways. Dance turns to uncontrolled sex, and unchecked violence, as the dancers run through the red-lit halls in panic escape. Others form impromptu gangs attacking skapegoats. Will anyone survive?
Gaspar Noé is one of my favourite directors and Climax does not disappoint. This is an amazing and unusual combination of contemporary dance, sex, drugs and extremely disturbing violence. The film starts with interviews of the dancers on old videotape, introducing themselves directly to the audience. Then theres a non-stop dance performance filmed from above, shot in what looks like a single take. Then comes the spiked punch and the horror begins, turning the world upside down. Its erotic, disturbing entertaining and extremely creepy and troublesome.
You also get Gaspar Noes amazing camerawork and design with upside down shots, titles appearing midway through the movie, non-stop music and some very funny lines before everything goes terrible.
Climax is amazing and disturbing.
Rojo, The Good Girls, and Climax are all playing at TIFF right now. Go to tiff.net for details. And don’t forget to show up at the TIFF Bell Lightbox on Sunday around 3 or 4 pm for free tickets to all the winning movies at TIFF selected by the audiences. There are four free screenings around 5-6 pm on Sunday.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Exploitation. Films reviewed: Juggernaut, The Strangers: Prey at Night, Gringo
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Are you suffering from post-Oscar withdrawal? Too many foreign and highbrow films to catch up on? Forget about all that, it’s time to take a break. This week I’m just talking about genre and exploitation movies. There is death in smalltown Canada, slashers in a Kentucky trailer park, and a corporate kidnapping in Mexico City.
Juggernaut
Wri/Dir: Daniel DiMarco
Saxon (Jack Kesy) is a loner who lives out west. With a buzzed scalp, he’s gaunt and wired, always ready for a fight. But when he returns to his hometown his beloved mother is dead, and nobody seems to care. It was a suicide they say. And his brother Dean (David Cubitt) seems to have profited handsomely from their mom’s insurance policy. Dean is a powerful man in the town, with a finger in every pot. He’s the type of guy who makes money from the local prison, while Saxon is the kind who ends up behind bars. Saxon is bad news: bipolar, uncontrollable, and violent – at least that’s his reputation.
Only Amelia (Amanda Crew), Dean’s beautiful fiancée, holds no grudge against Saxon. In fact 
she identifies with him as a fellow outsider, who came to the town from afar. Saxon doesn’t believe his mother would kill herself. It smells fishy to him, and so does the whole stinkin town. So he decides to investigate. He talks to the local cop, the insurance rep, a local padre, and digs up lost photos and important documents. But everyone he talks to stonewalls him. Nothing happened here, they say. Just move along. But Saxon is too stubborn to give up. Will he find what he’s looking for? Will the town’s secrets be revealed? Or is he sticking his neck out too far?
Juggernaut is noir-ish drama set in a small town in western BC. The acting is all credible – especially Kesy and Crew — and the scenery is nice and all, but the movie just didn’t really grab me. I mean, even with all the fist fights and shootouts and chase scenes, it feels too long and too slow, more of a gothic drama than a crime thriller.
The Strangers: Prey at Night
Dir: Johannes Roberts
Kinsey (Bailee Madison) is an emo-grunge-punk who lives with her red-haired Mom (Christina Hendricks) and her tetris-loving Dad (Martin Henderson). She used to be close to her big brother Luke (Lewis Pullman) but not lately. They’re always fighting now, and the whole family is nearly dysfunctional. “This parenting gig is real tough” says dad. Baillee spent a year messing up, and now her parents are sending her off to boarding school. Driving her there across Kentucky in an SUV. And they’re staying for the night at a trailer park owned by their uncle. 
They arrive at night. It’s a pretty place in a grassy field with a swing set, an office and a swimming pool, all covered with a layer of mist. But it all seems strangely deserted. And when they keep hearing loud knocks on their door they decide to find out what’s going on. Bad move.
What’s going on is, there are people there with their faces covered by a girl’s face, a baby mask, and a burlap bag with a face drawn on with a sharpie. They’re carrying huge knives and axes and clearly they know how to use them. The unarmed family runs away in horror as the killers seek them out. Why are they chasing them? Who will die and who will survive? And can anyone fight them off?
This is a classic slasher movie with not much of a plot, but lots of killing and sick stuff. It’s full of the usual scary movie clichés – telephone wires cut, a jack-in-the-box, irrational-seeming murderers who never seem to die. The family members are basically two-dimiensional. At the same time – if you can stomach the violence and blood in a slasher movie – the production design is strangely, eerily beautiful, from the misty fields at night to the catharsis of burning flames, from the chaotic destruction of smash-ups using trailers and cars, to a truly stunning knifefight in a glowing blue swimming pool surrounded by lurid, pink-neon palm trees. Really well done.
The music is all early-80s pop hits, the killers are rejects from 90s raves and everyone seems to have swallowed Tide pods. This is a sequel, and people who have seen the original hate it — they say it’s a poor repeat of the first one — but for a neophyte like me, it worked just fine.
I liked this slasher.
Gringo
Dir: Nash Edgerton
Harold Soyinka (David Oyelowo) is a middle manager for a Chicago pharmaceutical corporation that is developing a new pill made from marijuana. Harold honest to a fault, smart, and hard working. Originally from Nigeria, he’s happily married to elegant Bonnie, an interior decorator. And he’s doing well at work. He puts up with his two morally questionable bosses, Elaine and Rusk (Charlize Theron and Joel 
Edgerton) because he knows its part of his job. He ignores their offensive comments, lets Rusk beat him at chess, and pretends he doesn’t see them bonking in the execituve washroom.
On a business trip to Mexico, Harold starts to realize something is very wrong. His wife is leaving him, his money is running out, and it looks like his bosses are stabbing him in the back. So he sneaks out of his hotel room and disappears. But can a “black gringo” really disappear in Mexico City? Soon everyone’s looking for him, his company, a drug boss (unfortunately 
named “Black Panther”), some local hoods, and a black-ops mercenary. It seems like everyone’s out to get him, except for Sunny (Amanda Seyfried) a nice young American woman who doesn’t know she’s a drug mule. Can Harold — a mild-mannered scaredy-cat — regain his confidence, fight off the killers, and make it out alive? Or will he disappear for good?
Gringo is a fun and fast-moving comedy thriller that keeps you interested. The office politics, involving the odious and sleazy Elaine and Rusk, are appropriately grotesque but largely unpleasant. But once the action shifts to Mexico it becomes much more interesting. David Oyelowo is fantastic as fish-out-of-water Harold, a character you can laugh at but also root for. The portrayal of Mexico and the people there is full of derogatory stereotypes… but so are all the Americans characters. Gringo is a misanthropic but funny look at contemporary life. I enjoyed this one.
The Strangers: Prey at Night, Juggernaut and Gringo 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.
Indie movies. Films reviewed: Sundowners, The Only Living Boy in New York, Patti Cake$
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
A soundtrack can make or break an indie movie. This week I’m looking at three independent movies about people in their twenties where music sets the tone. There are two guys from Toronto heading to Mexico fuelled by contemporary Canadian music; a lovestruck guy in Manhattan described in a Simon and Garfunkle song; and a white woman in New Jersey with hip hop in her soul.
Sundowners
Wri/Dir: Pavan Moondi
Alex and Justin are good friends with dead-end jobs. Alex (Phil Hanley) is skinny and tall with a perpetual five o’clock shadow. He’s single, shy and frustrated. He earns a meagre living videotaping weddings, and lets his douche-y boss walk all over him. Justin (Luke Lalonde: Born Ruffians) is smiley and gregarious but, with him, girlfriends rarely stick around. He lives with his demented grandmother, and works long hours on a telemarketing complaint line. They are both a hair’s breadth away from quitting their jobs.
So when Alex’s boss offers to fly him on an all-expense-paid trip to a Mexican resort to film a wedding, he takes it. And he gets free tickets for Justin, too – he just has to pretend he’s a cameraman, even though he’s never lifted a camera in his life. Will the trip prove to be their downfall? Will it change 
their lives? And will Alex finally meet a woman he’s compatible with, even if it’s just for the weekend?
Sundowners is another feature by Pavan Moondi, and like Diamond Tongues it features Canadian musicians both in the cast and on the soundtrack. It’s a comedy, but isn’t full of one- liners. It’s more about the characters and the odd and awkward social situations they find themselves in. The plot is very basic, and some of the jokes are hit and miss, but the movie itself is still a pleasure to watch.
The Only Living Boy in New York
Dir: Marc Webb
Thomas (Callum Turner) is a college drop out living in the lower east side. He’s tall, thin and pale and wears harry potter glasses. He’s originally from the upper west side where his parents still live. His mom (Cynthia Nixon) is artsie but bipolar and fragile. His Dad (Pierce Brosnan) is a failed novelist but a very successful book publisher. Thomas has literary ambitions, too, but they were quashed when his dad dismissed his writing as just adequate.
Thomas is madly in love with the pretty and smart Mimi (Kiersey Clemons) ever since she told him she loves Nabokov. But Mimi just wants to be friends. What to do?
Then one night, Thomas and Mimi spot his dad at a nightclub kissing a beautiful woman. Who is she and what does this mean? Are they having an affair? Her name is Johanna (Kate 
Beckinsale) and she’s a freelance editor. Thomas confronts her – why are you ruining my parents’ marriage? She replies: You want to make love to me, Thomas, you just don’t realize it. What? Thomas is shocked… but intrigued.
Will these flirtations lead to an affair? What would Mimi think? 
And what secrets are his parents hiding?
The Only Living Boy in New York is an enjoyable romance set against a glamorous, literary Manhattan. The movie is narrated by a gruff old man (Jeff Bridges) who mysteriously appears in Thomas’s apartment building to offer sage advice. The problem is almost everybody talks like they’re narrating their own books all the time. People don’t talk like that — not even writers. But I liked the movie anyway, with all it’s romantic surprises. And Callum Turner – actor/model – does Thomas very well. In fact the whole cast is great. Another enjoyable film.
Patti Cake$
Dir: Geremie Jasper
Patti (Danielle Macdonald) is a working-class Jersey Girl who lives with her Mom and Grandma (Cathy Moriarty) somewhere off the Turnpike. She’s heavy-set with long curly blonde hair, who dresses in 90s hiphop gear and hoop earings. Bullies call her Dumbo. Her best friend is Jhery 
(Siddharth Dhananjay) a pharmacist who takes of his white coat at night and dons a do-rag. He and Patti long to leave New Jersey with their hip hop duo and relocate in the Emerald city (New York) but so far, no go. Barb (Bridget Everett) her mom, also almost made it big singing in a rock band, but not big enough. 
Now she just drinks away her sorrows. Patti works in a low grade Karaoke bar just to pay off her mom’s tab.
Enter Bastard, aka Antichrist (Mamoudou Athie), a mysterious african-american man she meets at an open mic night. He’s tall and skinny dressed in black with short fdreads and multiple piercings. His music is some weird combination of death metal, goth, punk and hiphop. When he says anything it’s with a vaguely English accent. He claims to 
be a hobo, riding the rails across America. He lives in a shack in the woods, just beyond the gates of hell, filled with sound equipment and satanic ritual objects. Patti longs to get to know him better. But can these three urban misfits together record a track good enough to bring them the recognition they crave? And can Patti, Mom and Nana find common ground?
Patti Cakes is like a hilarious, non-stop music video. It’s also a heartwarming look at a mythical, mystical New Jersey town and its inhabitants. The director, Geremie Jasper, also wrote the script and the lyrics to most of the songs and they’re all brilliant. As are all the cast. And guess what? The actress playing Patti isn’t from Jersey… she’s Australian!
Brilliant.
Sundowners, Patti Cake$ and The Only Living Boy in New York 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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