Daniel Garber talks with Shazad Latif about What’s Love Got to do with it?
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Zoe is a young woman in London, whose love life is at a standstill: she meets lots of bad boys on dating sites, but, so far, no keepers. Her career — as a documentary filmmaker — is also dragging; she’s running short of ideas. So she decides to combine the two: make a doc about turning to arranged marriages instead of love. Her subject? Kaz, her childhood best friend and next-door neighbour, whose Pakistani parents want to match him up with a suitable bride. Kaz lets Zoe follow him everywhere with her video camera as he navigates the world of arranged marriages. This takes them both to Lahore for a potential wedding between Kaz and his prospective bride Maymouna. But can two strangers make for a happy marriage?
What’s Love Got to do with it? is a charmingly nuanced 
romantic comedy about love and marriage across cultures. Shot in London and Lahore, it looks at differing viewpoints on relationships, without falling for cheap laughs and cultural cliches. It’s directed by the great Shekhar Kapur, written by Jemima Khan and stars Shazad Latif as Kaz and Lily James as Zoe. Shazad is a British actor known for his television work on MI-5 and Star Trek Discovery, and in films like The Second Best Exotic Marigold Hotel.
I spoke with Shazad Latif via Zoom in London.
What’s Love Got to do with it? opens this weekend in Toronto.
Daniel Garber talks with writer-director Jake Horowitz about Cup of Cheer on CBC Gem
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Mary is a rising star at a big city, clickbait website. So what’s she doing in a small town in December? She’s chasing a story about the true meaning of Christmas… if it still exists. The village is like a simulacrum of a long gone era, where people dress in red and green and people still say “gosh” and “golly”. A young man dressed like an elf, and a kindly old woman are there to help anyone who asks. And after Mary’s run-in with Chris, the cocoa-shop owner, it looks like true love. But not everything is as it seems. Dirty words start creeping into the town’s vocabulary, and that kindly old lady… is actually a white supremacist! Worst of all, Chris’s cocoa shop faces eviction on Christmas Eve unless he can come up with the rent. Can Mary save the day? Or will a cup of cheer turn to weak tea?
Cup of Cheer is a Christmas comedy that uses social satire to 
poke fun at our notions of the holidays and small town life. It takes cliches and twists them around till they’re almost unrecognizable, and uses sketch-comedy humour to keep it rolling. Cup of Cheer is the work of Toronto-based, award-winning TV and film writer/director Jake Horowitz. Jake’s work has premiered at festivals worldwide, his features have reached #1 at the Canadian box office and are available on Prime, Crave, and Super Channel.
I spoke with Jake in Toronto via Zoom.
Cup of Cheer is now streaming in Canada on CBC Gem.
Wives and Moms. Films Reviewed: Ticket to Paradise, My Policeman, Till
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
With Halloween approaching, Toronto After Dark is here until Sunday night to scare your pants off. And ImagineNative continues through the weekend with in-person screenings, followed by online movies till the end of the month.
This week I’m looking at three new movies — two historical dramas and one rom-com — about wives and mothers. There’s a wedding in Bali, a love triangle in Brighton… and a lynching in Mississippi.
Ticket to Paradise
Co-Wri/Dir: Ol Parker
David and Georgia Cotton (George Clooney, Julia Roberts) are a power couple. He’s a celebrated architect, while she directs a famous art gallery. They met in University, married and brought up their only child Lily (Kaitlyn Dever). She’s 24 now, but her parents? They’ve been divorced for two decades. They rarely see one another, and when they do, their conversation consists of put downs, and oneupmanship. But Lily loves both her parents, and is excited when they turn up for her law school graduation. And loves the fact they both accompany her to the airport. She’s flying with her best friend Wren (Billie Lourd) for a one-in-a-lifetime 
vacation at a fancy resort in Bali, before starting her job at a law firm in the fall.
Once there, Lily is loving their vacation, until everything changes, when she’s stranded in the ocean far from shore. She’s rescued by a Balinese guy in a boat named Gede (Maxime Bouttier, the French/Indonesian actor/model). It’s love at first sight, and a few weeks later Lily has ditched her plans to be a lawyer and wants to live on the beach forever with a seaweed farmer. David and Georgia are invited to the wedding, and fly over together, bickering all the way. Tension rises when David discovers the jet is piloted by Georgia’s much younger boyfriend Paul (Lucas Bravo, Emily in Paris).
But the ex-couple can agree on one thing. Lily is making a terrible mistake and they must do everything they can to stop it from happening. You see, Georgia gave up a promising career 
at an LA art gallery when David proposed to her — but their marriage fell apart after just a few years. So they owe it to their daughter to stop her from making the biggest mistake of her life. Will their plans succeed? Or will they alienate the only one they both love? And can David and Georgia ever get along?
Ticket to Paradise is a traditional rom-com set in an “exotic” locale with big stars and some real laughs. The plot is threadbare and ridiculous — seriously, can you imagine grown- ups thinking they can stop a marriage merely by hiding the wedding rings? And it’s shot in Australia, not Bali; there’s no Kuta beach or Denpasar or Ubud, or anywhere else that evokes the island, aside from a few location shots That said, if you’re a fan of Clooney and Roberts — and they are fun to watch — and if you’re just looking for some ultra-light entertainment, and if rom-coms are your thing… well, you’ll probably like this one a lot. And even if you don’t like any of those (like me) it’s still totally watchable.
My Policeman
Dir: Michael Grandage (Genius: my review here)
Marion and Tom (Gina McKee, Linus Roache) are a retired couple living a quiet life in a seaside home in Brighton. But their marriage hits a rocky period when an invalid elderly boarder recovering from a stroke (Rupert Everett: The Happy Prince, review here) moves into their home. Marion feels they should take care of him, since he has no living relatives, while Tom is very disturbed by the notion. Who is he to us? He asks. What do we owe him? The answer lies in the journals he brought with him. Because, in fact, way back in the late 1950s, the three of them were very close.
Tom (Harry Styles) is a young policeman dating Marion, a schoolteacher (Emma Corrin). It’s a tender courtship and the two are deeply in love. Tom introduces her to Patrick (David Dawson) who works at the local art museum: He’s smart and sophisticated. They met at the museum when Patrick asked Tom to model for his drawings. Will Marion fall for the sophisticated Patrick over the simple, but handsome policeman? No! There is a love triangle brewing here, but Marion isn’t the fulcrum, Tom is. He’s having a secret affair with Patrick. And when Tom says he’s travelling with him to Italy to work as his personal assistant, Marion gets suspicious. Thing 
is, being gay (or having gay sex) was a serious crime in the UK at the time. Somehow word gets out, and Patrick is arrested. Are Patrick and Tom in love? How about Marion? Who will vouch for Patrick if he goes to trial? Can Tom remain a policeman if his connection to Patrick gets out? And over 50 years later what will happen now that old secrets are being uncovered?
My Policeman (based on the novel by Bethan Roberts) is a low-key, bitter-sweet drama about a menage a trois, and the fallout that comes from it. It’s told in flashforwards and flashback, following both periods simultaneously. It’s a compelling story but with a weak ending. The problem is the 50s section is much more interesting and moving, while the present day is dull and uneventful, which drags down the whole story. Harry Styles — the hugely popular pop singer — surprisingly, is not bad at all as an actor. Emma Corrin is great as the young Marion, likewise David Dawson who plays Patrick like a young Alan Cumming. I like the mood and the music and all, but as a whole My Policeman is easily forgettable.
Till
Co-Wri/Dir: Chinonye Chukwu
It’s 1955 in Chicago.
Emmet Till (Jalyn Hall) — known as Beau to his Mom and Bobo to his friends — is 14 years old. He’s a happy, middle-class kid, who likes listening to music on the radio and playing with toys . He lives with his mom and grandparents. He’s getting ready for a train trip to visit his cousins in Mississippi, and he’s dressed in his Sunday best. But his mother, Mamie (Danielle Deadwyler) doesn’t want him to go. She warns him that Black people down there aren’t treated the same way. You have to make yourself “small”. You can’t look a white person in the eyes. Emmett does a Steppin Fetchit imitation, but Mamie says this is no joke. She comes from there, it’s a dangerous place 
and she never wants to go back.
On the train heading south, Emmett starts to feel Jim Crow. He and all the other black passengers are forced to leave their seats and move to segregated cars. In Mississippi, all his relatives are share- croppers who pick their plantation managers’ cotton, even the kids, and spend all their money in the company store. Emmett, though, still doesn’t really get it. But when he buys some candy and whistles at the pretty white cashier, things turn from bad to worse. Three days later men bang at the door in the middle of the night and take Emmett away in a pickup truck. His lynched body, mutilated and swollen, is found floating in a river.
His mother is crushed, devastated, but, she buries her son in an open casket. It gets nationwide attention when his photos are featured in Jet magazine. And with the urging of the NAACP, she decides to return to Mississippi to seeking justice.
Till is an accurate and moving drama about this awful crime and the travesty of justice that follows. The lynching of Emmett Till served as a catalyst for the civil rights movement, but it’s also a symbol of the pervasive violence of anti-black racism. Danielle Deadwyler is stupendous as Mamie; and it’s her performance that makes this movie worth seeing. It’s told 
through Mamie’s eyes: before the killing, at the funeral, in the trial that follows and its aftermath. What doesn’t work so well are the dozens of historical figures with walk-on parts. Their lines are dutifully recited but lack Deadwyler’s passionate acting; they just seem flat, and there are too many characters to keep track of. Stand-out exceptions include Darian Rolle’s powerful portrayal as Willie Reed, a surprise witness at the trial; and, of course, Jalyn Hall playing Emmett himself. Till is an important historical record that must not be forgotten.
My Policeman opens at the Tiff Bell Lightbox, with Till and Ticket to Paradise playing across North America this weekend; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Buffalo bros. Films reviewed: Bros, Dead for a Dollar, Butcher’s Crossing
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m talking about three guy movies — two westerns and a rom-com. There’s a bounty hunter searching in Mexico for a buffalo soldier; a young adventurer in the old west who joins a team hunting buffalo; and a gay man in New York City who falls for a guy from upstate… though probably not from Buffalo.
Bros
Co-Wri/Dir: Nicholas Stoller
Bobby Leiber (Billy Eichner) is a 40 year old, gay New Yorker who hosts a popular podcast. As an undergrad he was discouraged from becoming an actor because he walked “too gay”. In journalism school, he was told his voice sounded too gay to be a newscaster. But his career is finally taking off. He’s on the board of directors of a soon to open LGBTQ+ history museum. His sex life is active — he has frequent sex with men he hooks up with online, but his love life is non-existent. He has never been in a relationship, or even had a second date. Until he meets a guy at a dance club, who is way better-looking than he’s used to.
Aaron Shepard (Luke Macfarlane) is fit, handsome and very masculine — the ideal gay image. So the average-looking Bobby is very surprised that Aaron knows who he is and likes his show. They have sex, but even more surprising, they 
actually go on a date afterwards. Bobby discovers that Aaron (who is a probate lawyer) is not just a dumb, boring jock. And Aaron is attracted to Bobby’s manner, sense of humour and self-confidence. Can a small-town, straight-acting bro and a sophisticated gay guy shake free of their preconceptions and prejudices and form a relationship? Or is that just a pipe dream?
Bros — co-written by Billy Eichner — is a laugh-out-loud funny romantic comedy. It satirizes gay life, politics and sex in unexpected ways. The dialogue is hilarious (well at least the 
first two-thirds, before it gets more serious) and is full of clever cultural asides, some of which I couldn’t follow, but enough to keep me laughing non-stop. There’s even an ongoing parody of conservative Hallmark TV movies. This isn’t your usual rom-com where opposites are kept apart until they eventually fall for each other and end with their first kiss. In this one, the nudity and sex come first, while dating is the hard part. I was unimpressed by the trailer, so was very happy to find the actual movie much, much better than I expected.
I like this one.
Dead for a Dollar
Dir: Walter Hill
It’s the late 19th Century in Albuquerque, New Mexico territory. Max Borlund (Cristoph Waltz) is a gun-slinging bounty hunter whose current assignment is to rescue a rich man’s wife who was kidnapped and smuggled south of the border. Elijah the kidnapper (Brandon Scott) is a Buffalo Soldier in the US Army who deserted his post. Borlund heads south with another Buffalo soldier, Sgt Poe as his guide. (“Buffalo soldier” was an informal term given to the all-Black regiments formed in the west after the civil war.) All he has to do is rescue Mrs Kidd and arrest Elijah in order to collect the very large bounty. But there are a few obstacles in his way.
Joe Cribbens (Willem Dafoe) a notorious card shark Borland arrested five years earlier, is about to be released from jail, and he wants to settle their differences using a gun. Tiberius, a dangerous jefe in Chihuahua, wants his cut of any money Borlund might make — and he has a posse of gunmen to 
support him. And finally there’s the kidnappee herself. Rachel Kidd (Rachel Brosnahan) tells Borlund, in no uncertain terms, that she’s with Elijah voluntarily. They fled to Mexico because they’re a mixed-race couple, and it’s her estranged husband, Mr Kidd, who is the real criminal here: he actually wants to kill her, not rescue her. But now Max is in a fix: Who can be trusted? And will justice be served?
Dead for a Dollar is a classic western done in the style of the 1960s spaghetti westerns. It’s filmed in sepia tones, giving it a weathered, almost nostalgic look. It has shootouts, posses, 
gunfights and ghost towns — the usual stuff — but with a few twists: sympathetic Black and Mexican characters, a tough-as-nails woman who is handy with a gun, and the first showdown I’ve ever seen between two players armed only with horsewhips! Director Walter Hill was huge in the ’80s (with movies like 48 Hours, The Warriors, and a lot of westerns) and he still seems to know what he’s doing.
Does it work? Occasionally the dialogue veers toward the corny, especially with Willem Dafoe, but Christoph, Brosnahan and the rest are understated just enough to keep it a believable western and not just a farce.
Butcher’s Crossing
Co-Wri/Dir: Gabe Polsky (Based on the novel by John Williams)
It’s the 1870s in Kansas.
Will (Fred Hechinger) is an idealistic son of a Boston minister, heading west in a covered wagon. He left Harvard to have some real experiences in the wild west. He arrives at Butcher’s Crossing a small frontier town, to visit JD McDonald (Paul Raci), an old family friend who his father had rescued when he was down and out. Now he has made his riches cornering the buffalo skin market in the area. But far from being grateful or kind, he rudely tells Will to go back where he came from — this was no place for a pampered city boy like him. So Will turns to a local legend instead. Miller (Nicholas Cage) is a big guy with a shaved head, a bushy black beard and an abrasive manner. But he agrees to take Will with him on the greatest buffalo hunt ever — if he agrees to finance it. Miller knows of a secret valley in Colorado, with untouched beasts just waiting to be slaughtered. Charlie 
(Xander Berkeley) a bible-thumping old souse, will serve as the cook, and Fred, (Jeremy Bobb) a man with a mercenary mind-set will be the all-important skinner, cutting the pelts off the carcasses.
The four set out into the bush, and to everyone’s surprise Miller’s legendary Colorado valley does actually exist. The men dig in and start their gruesome massacre. The herd is untouched, so has no fear of humans. But the enormity of the mass slaughter starts getting to all of them. Except, that is, the obsessive Miller who is determined to kill every last one. Can the four of them stay together without going crazy? Can they leave the valley before they’re trapped by winter snow? And what will they do with the untold wealth their pelts will bring?
Butcher’s Crossing is a moving western about the mass slaughter of buffalo. The scenery and cinematography is stunning – they were given access to shoot among actual buffalo herds. It mainly deals with the brittle relationships amongst the four men. The acting Is good, especially Fred Hechinger, reprising his role in the White Lotus TV series as an earnest rich kid trying to find the meaning of life. And Nicholas Cage is allowed to do his requisite I’m going mental! scenes, but mercifully with the sound turned off.
The story is similar to Ken Lum’s recent controversial 
Edmonton bronze sculpture which shows a buffalo hunter, sitting on a mountain of pelts, confronted by a stoic bison. What both imply (but never explicitly show) is the catastrophic effect the decimation of the buffalo populations had on countless indigenous nations. But that’s where the hidden force of this movie comes from — you can’t help but wonder: what are these men doing and why? The senseless slaughter of millions of buffalo in a very short period of time completely changed North American history. And the film leaves you feeling the heavy weight of our ancestors’ actions.
Bros and Butcher’s Crossing both had their world premieres at TIFF this year. Dead For a Dollar and Bros both open across North America this weekend; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Ambitions. Films reviewed: Minions: The Rise of Gru, Ennio, Mr Malcolm’s List
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Summer is definitely here, and this long holiday weekend is the perfect time to take in some new movies. This week I’m talking about three of them: — a rom-com, a cartoon and a documentary — about people with ambitions. There’s a spinster in Victorian England who wants revenge on the man who has scorned her; a spaghetti western composer in 1960s Italy who wants to be taken seriously; and a little boy in San Francisco in the ’70s who wants to become a super villain.
Minions: The Rise of Gru
Dir: Kyle Balda, Brad Ableson, Jonathan del Val
It’s the late 1970s, and Gru is a little kid in elementary school. While his classmates say they want to be a fireman or a ballet dancer when they grow up, Gru wants to be a super villain. And he has a basement filled with strange mechanical devices to prove it. They were built with the help of his minions. The minions are bright-yellow, lozenge-shaped creatures with googly eyes. Dressed in matching denim overalls, they speak their own incomprehensible dialect, a mishmash of all the world’s languages. Gru idolizes a gang of six supervillains, who are now one villain short of a pack (since they did away with their leader) and are looking for a replacement. But when he shows up for an interview at their secret hideaway they dismiss him as just a kid. To prove them wrong, he steals their prize possession, a Chinese jade-green amulet. He gives it to a minion to keep it safe, who soon loses it in exchange for a pet rock. (The minions aren’t always the brightest bulb in the chandelier.) Gru is kidnapped by the villains’ former leader, and threatened 
with torture and death. Can the minions find the amulet, bring it to San Francisco, and save their best friend, Gru?
Minions: The Rise of Gru is a funny, easy-to-watch kids’ movie, where the villains are the good guys, even though they’re evil. It’s a prequel to the surprise hit from 2010, Despicable Me. The voice actors are mainly American or British, but the animated film is actually from France. The catchy soundtrack, groovy 1970s characters, the San Francisco setting, the fast-moving plot and the very colourful graphics make it a fun watch. It stars the voices of Steve Carell as Gru, Pierre Coffin as all of the minions, and Alan Arkin, Taraji P. Henson, Jean-Claude Van Damme, Jill Lawless, Danny Trejo, Dolph Lundgrin as the six villains. I enjoyed Minions, but the five-and-under set that filled the theatre absolutely loved it.
Ennio
Dir: Giuseppe Tornatore
Ennio Morricone is born in Rome in 1928 to a professional trumpet player. He enters a music conservatory at the age of 12 and studies under Italian composer Goffredo Petrassi. (He spends most of his life yearning to be taken seriously by Petrassi and the rest of the traditional music establishment.) At an early age, he’s already composing and arranging pieces which include both melodic themes and counterpoint, an oft repeated characteristic of his music. He writes the tunes for a number of pop songs, and eventually gets a job working for RCA. From there he goes on to compose the soundtracks — always anonymously — for the new film genre known as Spaghetti Westerns. But when he recognizes a director’s name from his elementary school, he becomes a close friend and life-long collaborator with Sergio Leone. He quickly rises to fame writing the distinctive musical scores of films like A fistful of Dollars and The Good the Bad and the Ugly, using harmonicas, whistling, electric guitars, and sound effects in place of the more common symphony orchestras. (Today those films remain his most 
recognizable works.) He also forms an experimental group that makes improvisational music out of non-musical sounds, influenced by avant-garde composer John Cage.
Morricone goes on to compose the scores of over 500 films, working with Italian masters like Pasolini, Wertmüller and Bertolucci, the giallo horror/thriller director Dario Argento, and Giuseppe Tornatore director of Oscar winner Cinema Paradiso (who also directed this doc).
Ennio died in 2020, and this film is as much a loving tribute to the composer as it is a documentary. While it reveals Morricone’s personality quirks, there are no scandals or salacious secrets of his private life. It’s told using film clips, period footage, audio tracks and many talking heads commenting about him, including fellow composers, John Williams and Hans Zimmer, stars and directors he worked with like Quentin Tarantino Terrance Mallick and Clint Eastwood. (Eastwood says something like Morricone’s music provided the emotions that he never could) Then there are also a bunch of celebs — Bruce Springsteen, Pat Metheny, Wong Kar-Wai — who probably never worked with him, but just felt like praising him or commenting on how he influenced them. Ennio is an informative and fascinating doc, and I liked it a lot, but… couldn’t Tornatore have told this story in 90 minutes, instead of the two and a half hours he took?
Mr Malcolm’s List
Dir: Emma Holly Jones
It’s England in the early 19th century. Julia and Selina were best friends at boarding school, but haven’t seen each other in years. Which is why Selina the pure and virtuous daughter of a country vicar (Freida Pinto) is surprised to receive an invitation to visit Julia an upper-class city woman (Zawe Ashton), after all these years. But she does have a reason: she was slighted by a man who took her to the opera once and never called back. The man is Jeremy Malcolm (Sope Dirisu), who is also the most eligible bachelor in town, not least because he inherited a lot of money. And Julia can’t bear being slighted in public (made even worse when it was depicted in a widely circulated cartoon pamphlet). First Julia turns to her cousin Cassy (Oliver Jackson Cohen) who happens to be Malcolm’s best friend and wingman, who knows all of his secrets. Somehow he leaks the biggest secret of all: that Mr Malcolm keeps a list of 10 characteristics a woman must have for him to consider marrying her — things like talent, poise, intelligence, a knowledge of politics, literature and the arts and one who easily forgives small offences.
Enter Selina. Would she go along with Julia’s scheme — to date Mr Malcolm, knowing what was on that list, and afterwards to dump him — so Julia can get her sweet revenge? Selina is 
hesitant but agrees at least to meet him. And wouldn’t you know it? It’s love at first sight. This is further complicated by another man, a dashing military officer (Theo James), who likes Celina a lot, and happens to be in town on the same day. Which one will she choose? And if it’s Mr Malcolm, what will become of Julia’s nefarious revenge plot?
Mr Malcolm’s List is a classic, Jane Austen-style light romantic comedy, complete with a masquerade ball, a hidden scheme, whacky relatives, and star-crossed lovers. There are also some modern twists. The most obvious is the colour-blind casting, with Black, Indian, White and East Asian actors playing the various roles, without ever bringing up questions of race or ethnicity. Like the musical Hamilton, the film The Personal History of David Copperfield, and, most recently, the Netflix series Bridgerton, this film shows that race on the screen doesn’t need to have any special significance — it just is. Family bloodlines and facial resemblances are not part of the plot. I think it 
works great in this movie, and I hope to see more of it. The mansions are all stately, the costumes — though a bit odd-looking — are all pretty. And the actors and the characters they play are quite delicious. They’re clearly having a good time doing this. You can revel in their ludicrous scheming without ever taking it too seriously. Even the credits — accompanied by quaint hand-coloured drawings — are delightful. Rom-coms are not my cuppa tea, but if I have to watch one, I like it when they‘re like this.
Ennio is one of many films playing at the ICFF; Mr Maxwell’s List, as well as Minions: the Rise of Gru both open this weekend: check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Valentine’s Day Rom-Coms. Films reviewed: Marry Me, The Worst Person in the World
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s Valentine’s Day weekend and the movie theatres are open. Wanna go on a date? There’s lots of stuff to see. So this week, I’m looking at two new romantic comedies. There’s a pop star who meets a schoolteacher in New York City; and a student who meets a comic book artist in Oslo.
Marry Me
Dir: Kat Coiro
It’s present-day New York City. Charlie (Owen Wilson) is a math teacher and divorced dad in Brooklyn. He is trying to win the affection of his only daughter Lou (Chloe Coleman), who is now a student at his school. He coaches the math club, but Lou doesn’t want to join it. But when his best friend and fellow teacher Parker (Sarah Silverman), says she has three tickets to a big event, he reluctantly agrees to come with his daughter. The concert features pop superstars Kat Valdez and Bastian (Jenifer Lopez and Maluma). The two are deeply in love and plan to marry on stage as part of the release of a new ballad version of their latest smash hit, Marry Me. Lou and Parker are very excited because they are huge 
fans, but Charlie has never even heard of them. Then, at the show, something goes terribly wrong. Immediately before singing the Marry Me song before tens of millions of online viewers, Kat discovers Bastian has been cheating on her. In a fit of rage, she refuses to marry him and instead points to a random man in the audience — Charlie! A few minutes later, on stage before the cameras, she asks him to marry her… and he says OK. Of course it’s just a publicity stunt, but, after consulting with her kindly manager, she decides to make a go of it. After all, her previous three marriages didn’t work out, who’s to say a marriage to a random guy couldn’t work? But can an ordinary man and a fabulously wealthy and famous woman become a happily married couple? Or is it just an impossible dream of separate worlds?
Marry Me is a cute rom-com with a few twists: the ordinary guy is white, while the rich and powerful woman is Latin; then there’s the fact that the romantic leads are both in their fifties — especially unusual for female leads. Owen Wilson is still projecting his perpetual dumb-boy energy, and J-Lo is just being J-Lo — a large portion of the film is devoted to music. Acting is not the main point here. It’s also pretty predictable, but that’s why people go to rom-coms, a once-popular genre that has fallen by the wayside. Will Marry Me be its comeback? Probably not. I’m not a fan of the music or the stars, but despite all that I still found it watchable and cute.
The Worst Person in the World
Co-Wri/Dir: Joachim Trier
Julie (Renate Reinsve) is a middle-class woman in her 20s in Oslo, Norway. She’s bright, pretty, confident and opinionated, but can’t quite figure out what she wants in life, both professionally and personally. She studies a number of disciplines — medicine, psychology, photography — and is very good at whatever she does… but can’t quite find her niche. She does find love, though. She hooks up with a guy named Aksel (Anders Danielsen Lie) an underground comic artist. He created a Fritz the Cat-type character named Bobcat. He’s 15 years older than her, but she decides to put her own life on hold and move in with him. But she gets restless.
One night she crashes a party and meets a guy named Elvind (Herbert Nordrum). They hit it off immediately and have an intimate verbal encounter, without technically cheating on their respective spouses. They don’t exchange names and swear to never meet again. Thing is, Oslo’s a big city, but not that big. They do meet again, in a bookstore 
where Julie works. Is Elvind the one she’s always been looking for? Or is Aksel? And will she ever find happiness?
To call The Worst Person in the World a rom-com doesn’t do it justice. It’s more of a long, complex dramatic comedy. It’s told in 12 chapters, and the prologue alone could have been its own movie. It’s also a social satire, dealing wth diverse issues — family, relationships, pregnancy, politics, selling out to the man, sexism, psychedelic drugs, “cancel culture” — even death. And I really love Joachim Trier’s movies (Thelma, Oslo, August 31st ). I guess that’s why I found this one disappointing. It’s not bad, or cheesy or cheap —he 
doesn’t make movies like that. It’s well-made, and well acted, nice design and music. And there’s tons of fascinating ideas and content, but it’s thrown at the viewer, almost indifferently, chapter after chapter after chapter. There’s a superficial melancholy to the whole thing, which makes it hard to sympathize with Julie. She’s not the worst person in the world by any means, but she’s not a heroine either. Is it worth seeing? Certainly, there’s lots to chew on, and it made me think. It’s just not as funny, sad, moving or romantic as I might have liked. Just more of that empty, Scandinavian hollowness. It’s actually less of a rom-com than a romantic tragedy… without the tears.
Marry Me just opened and The Worst Person in the World is now playing at the Tiff Bell Lightbox in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Delivering the Message. Films reviewed: Songbird, Modern Persuasion, Swimming Out Till the Sea Turns Blue
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m looking at three new movies – a rom-com, a thriller, and a documentary – about people delivering messages. We’ve got a romantic ad executive in Brooklyn, a courier in pandemic LA, and peasant-writers in northern China.
Songbird
Dir: Adam Mason
It’s 2022, a year in the future, and Nico (K.J. Apa) is the happiest guy in LA. He’s a courier who spends his days zooming around the city’s almost-deserted streets on his motorbike delivering packages. You see, COVID-19 has wiped out almost everyone, and those still left alive are under permanent lockdown. Rich people cower behind high-security walls while in the poor parts of town, conditions are barbaric. Everyone is under constant surveillance, forced to submit daily digital “temp tests” to prove they’re not infected. Helicopters hover overhead looking for anyone disobeying the lockdown, enforced by “Sanitation Officers”, paramilitary thugs dressed in bright-yellow Hazmat suits.
So how come Nico gets to ride around unhindered? He wears a precious plastic bracelet proving he’s immune to the virus. The one sad note is he can’t get together with his girlfriend Sara (Sofia Carson). They’re forced to press hands on either side of closed doors and communicate only by texts. And he’s always on the look out for the evil head of the Sanitation Bureau (Peter Stormare) an immune serial killer who murders with impunity. Will 
the virus ever end? And will Nico and Sara ever get to kiss?
Songbird is a science-fiction romantic thriller about life under COVID. Apparently it is the first such movie conceived, shot and released during the pandemic. Aside from Sara and Nico (KJ Apa is the kiwi heart-throb from Riverdale, who regularly takes off his shirt to reveal his abs) the story also follows William and Piper Griffin (Bradley Whitford, Demi Moore) a crafty rich family who secretely keep their infected daughter Emma alive; a young woman who works as a youtube singer and part-time sex-worker; and some lonely and depressed war vets abandoned by their government but still ready to save the day. Songbird does an OK job at capturing the pandemic in cinematic form (up to now we’ve had to rely on old movies like Contagion, Outbreak, 28 Days) but it’s not great. And with our constantly-changing news cycle, how can any movie like this keep up with Covid-19?
Modern Persuasion
Dir: Alex Appel, Jonathan Lisecki
Wren (Alicia Witt) is an advertising executive who lives in Brooklyn with her cat. She’s pretty and smart, but in her thirties and still single (gasp!). She broke up with her college sweetheart Owen when he moved to the Bay Area and made a fortune in tech. The agency – owned by brother-and-sister rich diletantes – is not doing well, so she has to land a new account soon. Luckilly, a social networking giant is interested in hiring them. It’s called “Blipper” (as in twitter… get it?) Luckilly she has two millennial assistants to help her navigate these strange waters. But when the potential client shows up, she’s shocked to see it’s Owen (Shane McRae), her lost love. And he treats her like she’s not even there, flirting with her younger assistants instead of her. It’s not like she doesn’t have suitors of her own. There’s Sam, Owen’s best friend, 
a middle-aged emo who listens to sad music from the 80s; and Tyler, a London hotshot who owns a rival ad agency. Her impromptu dates with Tyler are set up by her scheming aunt Vanessa (played by the great Bebe Neuwirth). But secretly, in her heart, she still pines for Owen. Does he still love her? Does she still love him? And which is more important – her career or her love life?
Modern Persuasion – as the title suggests – is a 
contemporary take on the Jane Austen novel. Parties in the Hamptons replace balls in stately mansions, but the story seems essentially the same (I say “seems” because I haven’t read Persuasion, but I have seen a lot of Jane Austen movie knock-offs.) Beautiful women, especially Wren, dress in modern versions of romantic gowns, while the brooding / aloof / duplicitous men are all handsome, too. Appearance – clothes, hair, shoes, bags, looks – seems to be the great determiner in this movie. It’s cute and occasionally funny, but the plot is totally predictable, and some of the lines, especially the fake millennial-talk, are excruciating: Hashtag: Justshootme. That said, if you’re looking for some light, shallow and inconsequential entertainment, you could do worse than Modern Persuasion.
Swimming Out Till the Sea Turns Blue
Dir: Jia Zhangke (past interviews here and here)
In 1942 under Mao Zedong, the Chinese Communist Party held talks in Yan’an on the role of writers and artists in a future Peoples’ Republic. They declared that literature should be written by educated peasants about their lives for other peasants to read. Fiction should serve the people and the Party, and foreign influences avoided. In Jia Zhangke’s new documentary, he looks at the effect this had on Chinese writers, by looking at four authors in chronological order: Ma Feng, Jia Pingwa, Yu Hua, and Liang Hong. The documentary interviews the writers themselves but also has random villagers reciting lines from the works directly toward the camera, in the style of Quotations from Chairman Mao Tse-tung.
Ma Feng was a writer in early Communist China. Born a peasant, he later became a writer lauded by the party. Locals in the model community Jia Family Village still talk about his innovations, like freedom to marry for love (rather than arranged marriages) and communal work teams that tackled major problems like making salty soil fit to grow crops. He was a fruit of the Yan’an Talks and studied at the Lu Xun Academy, where Western styles were frowned upon and a number of writers were purged. Ma Feng brought his 
learnings back to his village.
Jia Zhangke next looks at Jia Pingwa (no relation). His ambitions were thwarted in the 1960s because his dad once attended an opera in Xi’an registered through a local warlord (before liberation). Because of this record, he was declared a spy for the KMT, and his children were also labeled counter-revolutionaries. Jia Pingwa finally broke from his tainted background by painting 8-character slogans on a stone cliff beside a reservoir (he had good handwriting.) He’s now a noted writer.
Yu Hua is a popular novelist who used to be a dentist, a profession he hated. Although born in the beautiful city of Hangzhou, his family moved to a backwater, and lived near a morgue (an early influence). He talks about his first published stories (in the 1980s) in the prestigious magazine Harvest, and how the caring editor explained that while his writing was good, one story was too gloomy, and required a happy ending. He quickly obliged.
And Liang Hong, who was a PhD student in the 2000s tells harrowing memories of her childhood
on a farm, including spouse abuse, hunger and suicide.
Altogether, Jia Zhangke subtly reveals modern Chinese writers and how they weathered the Cultural Revolution, censorship, anti-foreign sentiments, and conformity of thought while still producing great works of literature. (I have’t read any of these authors.)
Like all of Jia Zhangke’s documentaries, Swimming Out 
Till the Sea Turns Blue is slow-paced and subtle, but profound. I found it quite moving, especially the authors’ own recollections. Beautifully shot, it’s divided into 18 short chapters, each one beginning with a written text. While academic in tone, and aimed more at those interested in Chinese art, politics and history than regular fans of Jia Zhangke’s movies, I quite enjoyed it.
Swimming Out Till the Sea Turns Blue opens today exclusively at the Digital TIFF Bell Lightbox; and Songbird and Modern Persuasion both open digitally and theatrically across North America; 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.
Not Marvel Movies. Films reviewed: The Irishman, Last Christmas, Midway
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Martin Scorsese recently wrote that tentpole movies, like ones that Marvel makes, are hogging a disproportionate share of Hollywood bucks. This squeezes traditional, medium-budget, one-off films out of the picture. Luckilly, they’re not all gone. This week, I’m looking at three films – a crime drama, a war movie and a rom-com – without superheroes.
The Irishman
Dir: Martin Scorsese
It’s the 1950s.
Frank Sheeran (Robert De Niro) is a truck driver who delivers beef hindquarters. When his truck breaks down on the highway, a strange man offers advice on how to fix it. He’s Russell Buffalino (Joe Pesci) a mob boss in Pennsylvania. When Sheeran is caught stealing beef, Russell supplies a lawyer, thus starting a longtime relationship between the trucker and the Mafia. And Teamsters, the truckers union, stands with them all the way. Soon Frank is 
doing a different kind of work for Russell: he paints houses. Which really means he’s a hitman for the mob. Despite his Irish background, he speaks Italian: he served in the Army in Anzio in WWII. Soon they’re thick as thieves, and Frank enjoys the benefits, but Russell is always the boss.
Eventually he’s sent to Jimmy Hoffa (Al Pacino), the head of Teamsters as a bodyguard, as well 
as the middleman between Hoffa and the mob. Hoffa is a brash firebrand, an old-school union organizer with legions of loyal members. He’s also an extremely powerful leader, and he controls the union’s pension. This means he can finance Las Vegas casinos with cash, something banks refuse to do. And he gives money to the Nixon campaign, a rare instance of a labour union officially supporting a Republican. But friction grows between Hoffa and the mafia until the 
day Hoffa mysteriously disappears without a trace, his body never found. What happened to Jimmy Hoffa?
The Irishman is narrated by Frank in an old age home, which gives it the feel of an old man’s movie. It’s a Forest Gump for gangsters, with Frank somehow tied to all the major events of the 60s and 70s: The Kennedies, Bay of Pigs, Jimmy Hoffa disappearance, to name just a few. This film has some problems: the CGI de-aged faces look wooden; female characters have virtually no lines – they just scowl and disapprove; and it’s missing the sharp edges and sexual zing of Scorsese’s early movies.
That said, I was never bored; I was glued to the screen the whole time. Pacino is fantastic as Jimmie Hoffa, and Scorsese’s movies are always superior.
The quality of filmmaking is superb and The Irishman tells a great story.
Last Christmas
Dir: Paul Feig
Kate (Emilia Clarke) is an quirky, aspiring young singer in London. By day she’s a cute little green elf, working in a kitschy, Christmas-themed gift shop run by a prickly boss named Santa (Michelle Yeoh). By night, she’s a barfly, sleeping with any guy she fancies, a different one each night. Ever since her operation, she’s been depressed. She’s embarrassed by her Yugoslavian family, and her singing career is going nowhere fast. She’s on a downward spiral of self-pity and self desctruction… until she meets Tom (Henry Golding).
Tom is everything Kate is not. He’s saintly, altruistic and generous. While Kate looks down and sees garbage tips, Tom looks up and 
sees tropical birds and quaint old signs. He takes her on a walk to show her the hidden side of London – a secret garden where people go to be alone; a soup kitchen for the homeless (he’s a volunteer), a deserted skating rink. Is it love? But he disappears for days at a time. What secret is he hiding? Is this true love? And can their 
relationship keep them together?
Last Christmas is a cute Romcom about a depressed woman coming out of her shell and her happy-go-lucky, would-be boyfriend. Emma Thompson plays Kate’s weepy Croatian mom and she also co-wrote the script. It’s cute and heartwarming… but not that funny.
Michelle Yeoh is terrific as a middle-aged woman still on the hunt, and Clarke and Golding make an appealing romantic couple. There is a totally surprising twist which brought tears to my eyes – No Spoiler – which left me with a bit more than I expected.
Midway
Dir: Roland Emmerich
It’s 1941, with war raging across Europe, China and the Pacific. But the US is cautiously viewing it from the sidelines. Dick Best (Ed Screin) is a gum chewing pilot based in Pearl Harbour. He’s a daredevil dive bomber, showing off his new techniques. Also on board the aircraft carrier is his rival, a by-the-books officer named McClusky (Luke Evans). He says Dick is a cowboy who should stop showing off. But while their aircraft carrier is out at sea, all the ships in Pearl Harbour are wiped out in a surprise attack by the Japanese, pulling the US into WWII.
Only Edwin Layton (Patrick Wilson) – the intel expert on Japan – predicted it. And he thinks a crucial battle up ahead: the Battle of Midway, an island in the South Pacific. Midway is a point crucial for control of the Pacific: if Layton is right, whoever wins the battle will win the war; it’s just a matter of time.
Midway is a dramatization of the years leading up to the naval battle of Midway, and the 
intense fight that follow: in submarines, on aircraft carriers and in planes overhead. It’s filtered through the eyes of lantern-jawed military figures like Jimmy Doolittle ( Aaron Eckhardt), Admiral Nimitz (Woody Harrelson) Vice Adm Bull Halsey (Dennis Quaid), and many semi-fictional sailors and pilots in various acts of bravery… like Bruno Gaido (Nick Jonas, of the Jonas brothers!). The story also switches back and forth to the Japanese side, with Admirals Nagumo, Yamaguchi and Yamamoto plotting to defeat the Americans.
Midway is exactly the sort of movie I can’t stand – yet another tired war pic about a long-forgotten 
battle, filled with smarmy patriotism. But I went to the press screening, and guess what? I actually really liked Midway! Fantastic special effects, complex battles shown in an easy-to-follow way, good acting, and great characters. Japanese are portrayed respectfully, not as hokey villains, but without covering up their war crimes in Eastern China. Like The Irishman, women are there mainly to worry about their husbands. It’s two hours, twenty minutes long, 
but the thrills keep you staring, rapt, till it’s over. I’m sure a lot of critics are going to compare it (unfavourably) with Dunkirk, but to me Midway is more thrilling, less ponderous.
Midway and Last Christmas both start today in Toronto; check your local listings. And The Irishman is screening at the TIFF Bell Lightbox, also beginning today.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Happy trails. Films reviewed: Ghost Town Anthology, Red Rover, The Hummingbird Project
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
You know, Canada makes a lot of movies. Oscar season might be over, but the Canadian Screen Awards are on at the end of March, with lots of great nominees, including Les Salopes, The Drawer Boy, What Walaa Wants, The Grizzlies and The Hummingbird Project. And for a look at next year’s possible winners the Canadian Film Fest will be showing a dozen new movies starting on Tuesday.
This week I’m looking at three new Canadian movie about people blazing new trails. There’s a man in Toronto following a path to Mars, another man constructing a straight line from Kansas City to Wall Street, and locals in northern Québec trying to block strange outsiders from entering their town.
Ghost Town Anthology (Répertoire des villes disparues)
Wri/Dir: Denis Côté
Irénée-Des-Neiges is a mining town in Northern Quebec whose mine was shut down. The population is steadily decreasing and young people are moving south. So when Simon Dubé, one of the few young man left in the town, dies in a strange car crash everyone is devastated. His mom (Josée Deschênes) and little brother Jimmy (Robert Naylor), are hit especially hard. Was it an accident, a suicide, or something else? Whatever the cause it seems to 
spark a change in attitude in this dying town.
The Mayor Simone Smallwood (Diane Lavallée) reassures everyone that while it’s a sad event, the town will survive – we are a place for the living and will never be a ghost town. But Jimmy tells his best friend André (Rémi Goulet) his dead brother is communicating with him – so they go to visit the shack where his coffin is stored till spring (you can’t dig graves in the winter up north).
Adèle (Larissa Corriveau) a gawky young woman, prone to paranoia, is sure she hears strange noises late at night. Loulou and Robert a pair of retired busybodies thinks there might be wolves in the woods. Pierre and Camille, the attractive rich couple who own the local restaurant, see the shrinking of the town as a good thing – maybe they can renovate abandoned houses? When a grief counsellor arrives from Montreal (wearing a hijab, no less! *gasp*) the mayor sends her packing. We can take care of 
ourselves. We don’t like outsiders.
But the outsiders keep coming, including strange little kids wearing felt masks and Peruvian ponchos. Who are they and what do they want? Are they real, or just a hallucination? But when things turn really strange, the town has to make a decision – move away or get rid of these unusual outsiders with help from the outside.
Ghost Town Anthology is an eerie look at history, kinship, and mourning in small town Quebec. It’s also about the xenophobia and fear of strangers that persists long after secularism replaced Catholicism as its official religion.
Shot in beautiful, grainy 16mm film, it embraces the coldness and grey skies of a Canadian winter. With good acting and a consistently surprising story, Denis Côté continues his flirtation with magic realism in this unusual film.
Very interesting movie.
Red Rover
Dir: Shane Belcourt
Damon (Kristian Bruun) is a failed man. He’s a geologist at at a mining firm in Toronto’s financial district but his MBA boss Brad steals his research and treats him like dirt. His 
ex-girlfriend Beatrice (Meghan Heffern) dumps him the day he proposes, pushing him into the basement of the house they share. Now 
he’s forced to listen to her having sex with Mark (Morgan David Jones) a narcissist instructor from Australia she’s shacked up with. Damon is just a pudgy, depressed introvert who wallows in his misery. 
His only pastime is searching for treasure on the beaches with a metal detector.
But everything changes when he runs into a woman dressed in a space suit dancing in the 
sands. Phoebe (Cara Gee) is a singer- songwriter who is everything he is not – joyful, hopeful and full of life. She’s currently promoting Red Rover, a program to send a few people to settle on the planet mars! It’s sponsored by Gopi, a 
billionaire, who will choose the best applicants. She agrees to help Damon apply and they gradually are drawn to each other? Is it love or just a fling? Can Damon regain his self confidence? And is her really flying to Mars?
Shot in Toronto, Red Rover is a lighthearted rom-com with an unusual science fiction twist. It’s full of people telling stories and singing songs… and Cara Gee is especially appealing as the quirky love interest.
The Hummingbird Project
Wri/Dir: Kim Nguyen
Vinnie Zaleski (Jesse Eisenberg) is a young guy full of spit and vinegar. He works with his cousin the nerdy and neurotic Anton Zaleski (Alexander Skarsgård) a computer programmer. They work at a Wall street investment firm headed by the canny Eva (Salma Hayek). She keeps a close eye on her employees. Vinnie has a grand vision: to build a fiber optic line stretching from the Kansas City stock exchange directly to Wall street. By sending data a few milliseconds faster, the speed of one flap of a 
hummingbird’s wings. he could make billions of dollars on stock trades.
But the project is enormous. It involves digging a tunnel through mountains, under rivers in an absolute straight line, withthosands of tiny land purchase – just the width of the cable – along the way. He finds a secret investor from New Jersey to pay for it, an engineer, Mark Vega (Michael Mando) to do the physical planning, and hundreds of others to do the digging. They are 
working against time. Anton has to speed up the transmission. The investor has to keep investing, and Vinnie himself is postponing a potentially lifesaving operation to bring the project in on schedule. But can they complete the project in time, and overcome all the obstacles along the way?
The Hummingbird project is a look at the importance of the small local obstacles that can stall huge projects, and the burning ambition needed to complete it. It’s wonderfully shot in a forests and mountain ranges, with backplows, giant helicopters and sputtering drills all along the way. It’s a sometimes touching, sometimes tender story of an impossible dream. Eisenberg is great as Vinnie and Skarsgård unrecognizeable as Anton. Don’t get me wrong, I liked this movie’s energy, ambition and passion. It just seems at times that the meandering story is just an excuse for showing cool scenery and actors in hard hats.
Ghost Town Anthology opens today in Toronto; check your local listings. The Hummingbird Project opens in a week, and Red Rover is the opening night feature at the Canadian Film Fest next Tuesday night.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Teens. Films reviewed: Bernadette, Minding the Gap, Carmen & Lola
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In your teenaged years, as you span the time between child and adulthood, it’s hard to separate true love from first crush. This week I’m looking at three such comic of age stories. There’s a 15 year old boy with a crush on a French woman; three skateboarders trapped in a rust belt town, and two young women in Spain touched by chance.
Bernadette
Wri/Dir: John Psathis
It’s the summer of 1994 in Forest Lake, a suburb near Chicago. Archie (Sam Straley) is a 15 year old freshman who lives with his single mom (Sarah Shirkey). He plays in a garage band with two other nerds, his best friends Ken and Martin (Johnnie Lim, James Guytin) . Archie has just one goal: to meet a beautiful, but unapproachable 
exchange student named Bernadette before she moves back to France in the Fall. Problem is she’s a senior, a lifeguard at the local pool, and is beautiful beyond belief. She also has an older boyfriend, a French prof at the local community college. And she’s surrounded by a gang of bullies, led by by the 
cruel and vindictive Richtor (Tommy Philbin).
Luckily he gets a job at the park where Bernadette (Marilyn Bass) works. And his boss, Dixon (James Psathis) shows him the ropes. Dixon is a legend at his school — tall, charismatic and known for his sexual prowess. He keeps polaroids of all the women 
he’s slept with on the wall of the tool shed he’s living in. Anyone else would kill for such a mentor. But not Archie. He can’t stand Dixon, because of his latest conquest. No, it’s not Bernadette he’s sleeping with, it’s Archie’s 33-year-old mom! Will Archie come to terms with Dixon, overcome the bully 
Richtor, and convince Bernadette that he’s her one true love?
Bernadette is a typical boy-meets-girl coming of age story, but, despite the title is barely about Bernadette at 
all. It’s about a fatal summer in the life of the hero. This is a cute, indie movie, with a fun cast and an enjoyable story. The plot is not especially original – you can predict most of the plot turns a mile away – but it is nicely done and neatly constructed. And does every new film need to be super-special?
An enjoyable teenage romcom is good enough for me.
Minding the Gap
Dir: Bing Liu
Rockford is a small city in Northern Illinois. It’s filled with vacant warehouses and empty factories, cracking sidewalks and vacant lots. All the empty space makes it a paradise for skateboards and the guys who skate them. This documentary follows the lives of three of them, Kiere, Zack and Bing. Aside from their love of skating, they also share dark pasts. All three of them endured
violence and abuse at the hands of their parents. Kiere’s dad beat him as corproaral punishment to discipline him when he did something wrong. He resented it at the time, but now desperately misses his father who died when he was teen. Zack also comes from a family with a history of violence and alcoholism… which he seems to be carrying forward in 
his own relationship with his girlfriend. A relationship mainly based on their baby boy, not any love they once had for each other. Bing’s story is the most hidden of the three. He coaxes it out of his mother who admits her second husband, Bing’s stepdad, abused both of them…though the nature of his abuse remains unclear.
Minding the Gap follows the three boys as they grow 
into men in their 20s, all captured by Bing’s video camera. It starts as just shots of the three of them gliding down the streets, but gradually reveals, in a series of interviews, traumatic moments in their lives. And life in a rust belt town, gradually being emptied of its people. I liked this doc, though confessional, reality-show-type docs aren’t my favourite format. It’s a first film, but surprisingly has already been nominated as Best Feature Documentary in this year’s Oscars.
Check it out.
Carmen & Lola
Wri/Dir: Arantxa Echevarría
It’s a housing project outside present day Madrid. Lola (Zaira Romero) is a prickly 16 year old graffiti artist who wants to get out of this place. Her illiterate parents, Paco and Flor, and her little brother Miguel are happy with their life here. They run a stall at an outdoor market, attend an evangelical church and celebrate birthdays and weddings in the traditional Roma style. Lots of singing and dancing with their friends relatives. But Lola wants more. With the help of 
Paqui (Carolina Yuste) who works at the local community centre she’s trying to pull herself out of traditional roles. At the market she meets the beautiful and glamorous Carmen (Rosy Rodríguez) who also works there. She’s engaged to Lola’s first cousin, and dreams of becoming a hairdresser, one of the few professions open to Roma women.
For Lola, it’s love at first site. She’s enchanted by everything about Carmen, from her little bird-shaped earings to her lithe body and beautiful face. Carmen is everything she desires and she paints grafitti art tributes her on local walls. She teaches her how to swim, so someday they might go to the beach in Malaga together. But Carmen is shocked when Lola expresses her love to her. I’m normal, Lola, not disgusting like you, she says. Kiss a boy, and you’ll see what you’re 
missing. Lola counters, kiss me, or you’ll never know for sure. Will Carmen and Lola become lovers? Or will her strong community ties make that impossible?
Carmen & Lola is a wonderful romantic drama about an unlikely couple. It’s shot in a realistic style, celebrating Roma culture in Spain, the church services, the music and traditional costumes. She uses non-actors for many of the roles, and never shies away from the racism and poverty they face on a daily basis.
This is a very good love story.
Carmen & Lola and Minding the Gap are both playing at the TIFF Next Wave festival. All tickets are free if you’re 25 or under. Go to tiff.net for details. And Bernadette is premiering at Vancouver’s Just for Laughs and will open later this year.
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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