“B” movies. Films reviewed: The Boy in the Woods, Blackwater Lane, The Bikeriders
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In weather like this, don’t you want to be watching a movie in an air-conditioned theatre? I sure do. This week I’m looking at three new “B” movies, as in the letter B. There’s a biker gang in the 1960s; a serial killer on the loose on Blackwater Lane in an English town; and a boy trying to survive in the woods in WWII.
The Boy in the Woods
Wri/Dir: Rebecca Snow (Pandora’s box: Interview)
It’s 1943 in Nazi-occupied Poland. The city of Buczacz is home to Poles, Jews and Ukrainians who lived together in relative peace, until the German invasion. But by 1943 the Jews were in captivity, soon to be executed or deported. 12-year-old Max (Jett Klyne) wants to stay with his mother and younger sister, but when they are loaded onto trucks, she insists Max escape. His aunt has arranged for him to stay on a farm until the war is over. Joska (Richard Armitage) helps him out by burning his clothes, dressing him in peasant garb and hat, and giving him a new name and history: if you want to survive, he says, you must totally change your identity. But following a near-death experience when the police come knocking at his door looking for hidden Jews, Joska decides it’s too dangerous to keep him there any longer. He finds him a cave in the forest to hide in, and gives him lifesaving advice: where he can find running water, which mushrooms or berries are safe to eat, and how to snare a rabbit and light a fire.
Max has no possessions except the knife Joska gave him and a 
white feather he finds. After many close calls, he meets an even younger boy, Yanek (David Kohlsmith), who has lost his family. Now Max has someone else to look out for. Together they try to fight the elements and escape their many potential enemies. But how long can two children survive alone in the woods?
The Boy in the Woods is a moving dramatization based on the memoirs of Canadian artist and writer Maxwell Smart. It’s similar to Jerzy Kosinski’s The Painted Bird. I found it quite touching in parts; it’s a holocaust movie but with a different look — none of the expected ghettos or concentrations camps. It’s also a Canadian film, so, to me, the woods themselves — the trees and plants and streams — feel nice and familiar, not scary and alienating, despite the harrowing episodes he experiences there. I also don’t understand why everyone speaks English but put on heavy, generic European accents. But these are quibbles. In general I thought it works well as a gripping personal history about a 12-year-old kid trying to survive in wartime.
Blackwater Lane
Dir: Jeff Celentano
Cass (Minka Kelly) is a strikingly beautiful young woman who teaches theatre arts at a posh English private school. She likes G&Ts and tarot cards. She lives in an isolated but beautiful manor house — surrounded by a lush forest, a verdant pond and tall hedges — with her husband Matthew (Dermot Mulroney), a business executive. When there are problems with her home life, she can always turn to her best friend and confidant, Rachel (Maggie Grace). They’ve known each other since they were kids. And she enjoys flirting with the seductive John (Alan Calton), a fellow teacher at her school. But her peaceful life is disrupted when she sees a woman in a car on Blackwater Lane in a thunderstorm. Turns out the woman is dead, and her murderer — possibly a serial killer — is still on the loose. That’s when strange things start happening to her. Edward, (Judah Cousin) a student who seems to have a crush on her, keeps showing up unexpectedly. A sketchy builder knocks on her door saying she asked him to repair the alarm system — which she has no memory of. She starts hearing strange creaks and knocks all around the house, and strange shadows appear just out of sight calling her name. An inquisitive police detective (Natalie Simpson) comes around when she calls, but sees nothing. And her husband keeps reminding Cass of her frequent memory loss, and wild imagination, as he calls it. But when dead birds, a fox and a blood soaked knife keep appearing and disappearing, she realized something is going wrong. Is she encountering ghosts in the old haunted house? Is the serial killer out to get her? Is 
he someone she knowns? And is she being gaslit by a stranger, or losing her mind?
Blackwater Lane is a psychological thriller, about a woman who can’t convince anyone else that her life is threatened. It’s loaded with classic suspense and mystery — almost gothic in story, but not in style. It’s based on a bestselling novel by B.A. Paris. Thing is, it has a movie-of-the-week feeling to it, good but not great, loaded with many clichés. The acting varies from OK to mediocre, and there are way too many scenes that end with slow fades. And the ending is a messy attempt to try to tie up all the loose ends. Even so, I always find it fun to watch this kind of psychological thriller late at night.
Bikeriders
Wri/Dir: Jeff Nichols
Kathy (Jodie Comer) is a working-class woman in the mid 1960s.She lives in the midwest near Chicago. One day she wanders into a tough local bar and is smitten by a young guy playing pool. Benny (Austin Butler) is the sort of bad boy she knows to stay away from. But when a tough, fatherly figure, Johnny (Tom Hardy) tells her she should feel safe, they’re just a bunch of guys in a motorcycle club, she lets her guard down a bit. Benny takes her for a ride on his hog, heads out on the highway… and they fall in love. Eventually Benny moves in with her and they start a normal happy life. Thing is, Benny is not the kind of guy who likes to be tied down — he’s a free spirit, never happier than when he’s on the road with his buds. He’s also a firecracker, and neither the threat of violence or jail will calm him down. 
Johnny, the leader of the Vandals, doesn’t look for trouble. But if anyone challenges his leadership, he’s always ready for a fight — fists or knives, your choice. But as the years go by, Kathy tells Benny he has to choose — keep riding with Johnny and the boys, or stay with her and their baby. But with teenagers who don’t know the rules trying to join the gang, its hierarchy starts to crumble. Which way will Benny turn?
The Bikeriders is an historical drama about the rise and file of the Vandals motorcycle club. Though it concentrates on those three characters — all very well acted — it’s really an ensemble piece with a dozen other characters: Zipco (Michael Shannon), Wahoo (Beau Knapp), Cockroach (Emory Cohen), Funny Sonny (Norman Reedus), Corky (Karl Glusman), The Kid (Toby Wallace) — each with their on quirks and personalities. It’s based on a famous collection of pics of motorcycle gangs in the 60s and 70s taken by photographer Danny Lyons. Naturally, the cinematography is of top quality, as are the clothes, hair, tats, and music. What it doesn’t have is much of a plot, just a series of linked vignettes. Instead, for reasons unknown, they bring the photographer (Mike Faist) into the story, thus alienating the viewers by keeping us at arms length from the characters. The thing is, Jeff Nichols is not just good, he’s a great director. And he redeems himself in the last third, where there are some really powerful scenes. With great acting and a huge talented cast — though far from perfect, the Bikeriders is a good movie to watch.
The Bikeriders and The Boy in the Woods both open this weekend in Toronto; check your local listings. And Blackwater Lane also opens, both theatrically and VOD.
This is Daniel Garber at the Movies, each Saturday morning on CIUT 89.5 FM and on my website culturalmining.com.
Fighting the big fight. Films reviewed: How to Blow up a Pipeline, Renfield PLUS #HotDocs30
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This coming Wednesday is Canadian Film Day, where you can see great Canadian movies for free all across the country. And Hot Docs — is right around the corner offering documentaries from Canada and around the world. It’s their 30th anniversary, and once again daytime screenings are free for seniors and students, so don’t miss it.
This week, I’ll be talking about films to look out for at Hot Docs as well as two new features — a horror comedy and a suspense thriller. There are radical activists in Texas fighting Big Oil, and a servant in New Orleans fighting Big Vampire.
Films coming to Hot Docs
Photo by Angela Gzowski Photography
The festival opens with the first pan-polar indigenous documentary about the Inuit in Greenland and Nunavut. It’s called Twice Colonized.
In You Were My First Boyfriend the filmmaker looks back at her traumatic high school days.
Someone Lives Here is about the young guy in Toronto who built those tiny wooden houses, providing shelter for the homeless during the pandemic.
Praying for Armageddon is about the political power wielded by evangelical groups in the US.
Love to Love You, Donna Summer is a tribute to the queen of disco.
Lac Megantic is the first documentary on that railway disaster in Quebec.
And Satan Wants You retraces the satanic panic that sprung up in the US in the 1980s.
These are just a few of the many films coming to Hotdocs, that caught my eye.
How to blow up a Pipeline
Co-Wri/Dir: Daniel Goldhaber
If you heard that bombs exploding near Odessa are affecting world oil prices, you’d probably say Of course! There’s a war on in Ukraine. But what if the explosion is near Odessa, Texas? And the bombing is planned by young radical climate activists making a statement about Big Oil? This is a film about a group with loose ties across the country who get together in Texas to blow up an oil pipeline in two places, to make a big statement felt worldwide, because West Texas Crude determines the world’s price of oil
Who is this diverse group sharing a single goal?
Xochitl (Ariela Barer) and Theo (Sasha Lane) have been best friends since childhood. They grew up beside an oil refinery, and now Xochitl has terminal cancer, a type of leukemia specific to people who live near oil refineries. Xochitl’s lover, Alisha (Jayme Lawson) is also there. Michael (Forrest Goodluck) is from North Dakota where his indigenous community couldn’t prevent a pipeline from running through their town. Rowan and Logan (Kristine Froseth, 
Lukas Gage) are anti-fa-type activists who up to now have done low-key actions. And Dwayne (Jake Weary) is a Texan, married with a kid, whose ancestral homestead was demolished by another oil company using eminent domain. Shawn (Marcus Scribner) met Dwayne while working as the sound guy on a documentary.
How to Bomb a Pipeline is not a documentary, it’s a suspense /thriller about this diverse crew trying to build bombs and set them off without getting caught. They use public access information that’s online and work out careful plans… but things don’t go exactly how they plan it. And at least one member of the group is a rat, reporting progress to the police. I liked this movie; it was pretty good alternating between the group at work and flashbacks showing the backstories of each member. If you’re into watching (un-)civil disobedience by radical activists, told in a gripping style, you might like How to Bomb a Pipeline.
Renfield
Dir: Chris McKay
It’s present-day New Orleans. Renfield (Nicholas Hoult) is an Englishman, new to the city but with the same old job, one he really hates. So he joins a 12 step group for people in co-dependency relationships. But it will take more than 12 steps to get quit his job. You see he’s Dracula’s servant, the one who brings the vampire (Nicolas Cage) bodies to feast on. TO be a better person, he kills the rotten spouses or lovers spouses of other people in his group. But Dracula wants more: Bring me a busload of nuns, cheerleaders and innocent tourists! Dracula commands. But though he has ever disobeyed his master, he does have some superpowers: insects are to Renfield as spinach is to Popeye. Chew up a cricket and he can fight off an armed gang. And he does exactly that when heir to a criminal family, the notorious Lobos clan comes after him. Tedward Lobo (Ben Schwartz) wants to prove his skills to his mother the mob boss, but Renfield is a thorn in his side. The fight is witnessed by Officer Quincy (Awkwafina) a traffic officer 
who is the only cop in New Orleans not on the take. She tells the Renfield he’s a hero, something he’s never been called before. Together they vow to bring an end to crime. But what will Dracula do if he ever finds out?
Renfield is a very funny horror/action/comedy. I went this one expecting total crap, so I was pleasantly surprised at how good it is. Nicolas Cage is always hit and miss — he’s prone to hamming it up, and is in a lot of dreadful clunkers. But he’s terrific as Dracula, the perfect blend of disgusting, sleazy, scary and funny. He’s on a roll. And he never breaks character. Nicholas Hoult is just as good as a meek serial killer/hero, and Awkwafina serves as the perfect foil. In 
fact everyone plays their roles really well. If you can’t stand blood, stay away. This movie is Fangoria material. Lots of violence spilled guts and cut off limbs, in a semi-comical way. But if that’s no problem I think you’ll enjoy this one.
Hotdocs begins on April 27th. Renfield and How to Blow Up a Pipeline both open across Canada this weekend; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Religious horror. Films reviewed: Knock at the Cabin, Attachment
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
While some people find solace in religion, others avoid it like the plague. But what happens when religion intrudes on non-believers’ lives? This week, I’m looking at two such horror movies. There’s a dybbuk in Denmark, and an apocalypse in Pennsylvania.
Knock at the Cabin
Co-Wri/Dir: M. Night Shyamalan
Eric (Jonathan Groff) and Andrew (Ben Aldridge) are a happily-married couple on vacation in rural Pennsylvania with their beloved adopted daughter Wen (Kristen Cui). They are renting a luxury cabin in the woods to spend some quality time away from their big-city careers. Wen quickly finds her place there, climbing in a treehouse, and catching grasshoppers to put in her terrarium. But her peaceful day is disturbed by an enormous man who approaches her, uninvited. Stranger danger! So when he tells her that he and some friends have some important news to tell them, Wen rushes back to the cabin to warn her dads. But soon there’s a Knock Knock Knock-ing at the cabin door, by a formidable foursome.
The huge man Wen met is Leonard (Dave Bautista), a school teacher; Sabrina (Nikki Amuka-Bird) is a registered nurse; 
Ardiane (Abby Quinn) is a short-order cook; and Redmond (Rupert Grint) is a bartender. Though dressed like normal people, they carry frightening weapons made of pitchforks, axe heads and scythes, all welded to long poles. And they’ll break door the door if they don’t let them in. Though the two dads fight back, they’re outnumbered, and soon they’re tied to chairs so they can’t escape.
The Four tell them they must choose one member of their family — Eric, Andrew, or Wen — to die. Why? To avoid an apocalypse. They say God will destroy all creation if this random family doesn’t obey an unexplained order. And they know this is true because of visions of the future they all received. Who are these crazies and why are they here on this day? Why was this family chosen? What does it mean? And should they be believed?
Knock at the Cabin is a high-concept thriller-horror with a pseudo-religious theme. It’s also a simplistic and pointless exercise in absolute stupidity. It’s both laboriously sentimental, and predictable, without M Night Shyamalan’s usual surprises and twists. The movie is ridden with plot holes which I’m going to try to mention a few without spoiling the story. Why should the fate of the entire world be decided by seven Americans in a cabin in Pennsylvania? Why would God make their visions identical to one channel’s TV footage rather than actual events? Shyamalan has made one great movie — The Sixth Sense — a few good ones, and a whole lot of clunkers. I’d place this one near the bottom of the pile.
Attachment
Wri/Dir: Gabriel Bier Gislason
Leah (Ellie Kendrick) is a PhD candidate from North London. She’s on a short visit to Copenhagen to do some research. That’s where she runs into one of Santa’s elves, all dressed in red. Well not really an elf; Maja (Josephine Park) is actually a former actress in costume for a book reading for little kids. But sparks fly, they wind up in bed together, and realize they were meant for each other. And when Leah breaks her leg (after an unexpected epileptic seizure) Maja helps her travel back to London. But Leah’s flat is not what she expected.
She lives directly above her mother, Channa (Sofie Gråbøl), a doting woman with superstitious beliefs. (Though born into a non-religious Jewish family in Denmark, Channa’s husband is ultra-orthodox, and kept her acquired beliefs even after he left the family years ago.) But what is disturbing to Maja are all the weird talismans scattered around the apartment: candles that light up mysteriously late at night; bowls with fertility goddess paintings placed face-down beneath furniture; and strange creaking noises that interrupt Maja and Leah’s love-making. And Channa is less than welcoming to her daughter’s 
new lover.
So in an effort to fit in, she ventures around the chassidic neighbourhood looking for advice. She stumbles on a bookstore run by a man named
Lev (David Dencik), an expert in Jewish mysticism. He tells her about the Kabbalah, and supernatural entities like golems and dybbuks, and how the dark arts can summon them. Turns out he has a closer connection than she thought: Lev is Maja’s uncle, and not on good terms with his sister-in-law Channa. Soon there’s a three-way struggle for Leah’s love, even while unexplained supernatural events start happening with increasing frequency. Maja decides it’s time to do something drastic to rescue Leah from this hell-hole… but who can she trust? Channa or Lev? And what is happening to her lover?
is a haunting look at a same-sex romance ensorcelled by folk religion, mysticism and black magic. Using relatively few special effects it manages to maintain a good level of tension. Dialogue shifts among English, Danish and Yiddish, depending on who is speaking and whom they wish to exclude. The characters are fascinating, especially Sofie Gråbøl’s Channa, a secretive, neurotic alcoholic trying in vain to influence her daughter’s future. Josephine Park is fun as the innocent fish out of water, and Ellie Kendrick — who from certain angles bears an uncanny resemblance to Anne Frank! — deftly handles her transition from normal young woman to something very different. By blending various genres, Attachment manages to add an unexpected twist to the conventional horror movie.
I like this movie.
Knock at the Cabin opens theatrically this weekend, and Attachment begins streaming later this week on Shudder; 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.
Cults and kidnappers. Films reviewed: The Black Phone, One Summer Story
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring film festival season continues in Toronto with the Japanese and Jewish film festivals coming to a close, while ICFF — the Italian contemporary film festival — and Lavazza IncluCity are just beginning. The festival features film composer Ennio Morricone, Giuseppe Tornatore (who won an Oscar for Cinema Paradiso), and Allesandro Gassmann, the son of star Vittorio Gassman, and an accomplished actor in his own right. Movies at this festival are being shown both in theatres and outdoors in open air screenings.
This week, I’m looking at two new movies. There’s a thriller-horror about a boy who is kidnapped in 1970s Colorado; and a girl who discovers her biological father was a member of a religious cult in Japan.
The Black Phone
Dir: Scott Derrickson
It’s the late 1970s in Denver, Colorado. Finney (Mason Thames) is a kid in junior high who lives with his sister Gwen (Madeleine McGraw), and their angry and depressed dad, a widower. Finney is into rocket ships and baseball — he’s the pitcher on his team. But he’s bullied at school. Luckily his best friend Robin is always looking out for him.
But all is not well in Denver. Teenagers are disappearing, one by one, with no bodies ever found. But when Robin disappears, he turns to Gwen for help — she has psychic dreams that might tell them where he is. But before they can do anything, Finney finds himself locked in a basement cell, somewhere in the city. theres just a toilet, a mattress, and a barred window way up near the ceiling. And an old black phone mounted on the wall, but with all the wires cut. The guy who kidnapped him — known as the Grabber (Ethan Hawke) — is a freelance magician who always covers his face with hideous 
masks reflecting changes in his warped psyche. Before long, Finney is in despair and figures he’s going to be killed soon, just like the other boys before him. Until… the black phone starts to ring! And coming from somewhere is the voice of one of the previous victims, who says he can tell Finney how to escape.
Is this real or just his imagination? Can the dead really speak? And will Finney ever get out of there?
The Black Phone is a fantastic thriller about a kid vs a deranged serial killer. Though billed as a horror movie, and there are some very scary scenes here and there, it’s miles ahead above most of the gory schlock passing for horror movies these days. This one is more about suspense, mystery and adventure than meaningless, gratuitous violence. There is violence, but it fits within the movie. The characters are all well-rounded with complex back stories. There are lots of red herrings to lead you astray, but the whole movie leaves you with a sense of satisfaction, not dread. And it avoids the cheap scares typical of many horror flicks. The film perfectly captures the feel of the 1970s, through the rock soundtrack, costumes and locations. The acting — especially heroes McGraw and Thames, as well as the villains including the creepy killer and the brooding father, and the many school bullies — is really well done. The Black Phone is based on a story by Joe Hill, who also 
wrote the graphic novel the great TV series Locke & Key was based on. He’s an amazing storyteller… who also happens to be Stephen King’s son. (I mention that because he’s of the same calibre). And writer-director Scott Derickson has done some good stuff himself.
If you don’t want to be scared — stay far away. But if you’re looking for a good chiller-thriller, you’re really gonna like this one.
One Summer Story (Kodomo ha Wakatteagenai)
Dir: Okita Shûichi
It’s present-day Japan. Minami (Kamishiraishi Moka) is a teenaged girl who lives with her Mum, stepfather, and little brother. Backstroke is her thing — she’s on the school swim team. And she’s obsessed with a TV anime series called Koteko, about a Count who is literally a royal sack of cement and his two gloopy sons Concrete and Plaster. One day she’s at a swim practice when she sees something unbelievable on the roof of their school: a boy is painting something on a large easel. could it be true? she runs over to take a look. A boy is painting a character from her favourite anime series. They hit it iff immediately.
Moji-kun (Chiba Yûdai) comes from a long line of Japanese calligraphers. But when she visits his home, she sees a paper talisman with the exact writing as one she always carries with her. The words come from an obscure religious cult, a client of Moji’s father. After some investigation, they discover Minami’s birth father is somehow associated with the cult… and perhaps is why she never knew him. So she decides to secretly show up at his door to find out the truth. Will she find out about her missing history? Or is she just opening a can of 
worms?
One Summer Story is an extremely cute coming-of-age drama about a girl discovering her birth father with unexpected results. Its also about her new friend — and his unusual family — who helps her on her way.
Based on a manga, it also incorporates a non-existent, animated TV show within the story line. Lots of quirky but likeable characters and an unpredictable plot make it a pleasure to watch. And with much of it set at a beachside home or a swimming pool, it gives off a nice cool energy on a hot summer’s day.
The Black Phone opens this weekend; check your local listings; One Summer Story’s is playing at the Toronto Japanese Film Festival for its Canadian premiere on Sunday, June 26th at 7:00pm, at the Japanese Canadian Cultural Centre.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Investigative Journalists. Movies reviewed: The Journalist, The Viewing Booth, The Best is Yet to Come
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Is journalism still alive? We seem to have an endless supply of pundits with formulaic political viewpoints, but true investigative journalism is hard to find. But it’s still there – you just have to know where to look. So this week I’m talking about three new movies (two dramas and a doc) about journalists and the media. There’s a die-hard journalist in Tokyo looking for the truth; a cub reporter in Beijing looking for his first big story; and a documentary-maker in the US looking at how viewers interpret the news.
The Journalist (新聞記者)
Dir: Fujii Michihito (Based on the novel by Mochizuki Isoko)
Erika Yoshioka (Eun-kyung Shim) is a young reporter at Tôto, a medium-sized Tokyo newspaper. One day she receives an anonymous fax with a cartoon of a sheep drawn on the first page. Inside are government plans to open a medical researchlab in a backwater town. is it a prank? Evidence of a boondoggle? Or something more? She decides to investigate. But she has to be careful; her own father was a freelance journalist based in New York who ended up dead from suicide after revealing another storyl.
Meanwhile, in a different part of Tokyo, a young government bureaucrat named Takumi Sugihara (Tôri Matsuzaka) gets an unusual call from Kanzaki, his former boss from five years 
earlier. He wants to meet for a talk. Sugihara used to work for Gaimushô, Japan’s foreign service, but switched to his current job after Kanzaki took the fall for a scandal at the Beijing Embassy where they both worked. Sugihara now works for Naicho, the secretive intelligence unit that operates out of the PMO. Rumour has it Naicho is used to surveil and plot against opponents to the ruling political leaders. Kanzaki wants to tell him something, but they both end up getting drunk instead. And not long after, he jumps off a building. His death brings together the dogged journalist Erika and the loyal bureaucrat Sugihara both of whom want to find out exactly what happened. What was Kanzaki’s secret and why is it so dangerous? Is it related to the sheep cartoon Erika received? 
Who else knows? And what will happen to the two of them if the scandal reaches the papers?
The Journalist is a tense, captivating story of deep-state corruption and sinister plots. The action alternates between Erika’s bright and crowded newsroom and the cold empty halls of Naicho where Sugihara reports to an evil and powerful boss. Korean actress Shim Eun-kyung is perfect as Erika in her unwavering search for the truth – she totally deserves the Japanese Academy award she won for this performance. The Journalist is a terrific movie.
The Viewing Booth
Dir: Ra’anan Alexandrowicz
This documentary asks: can news viewers, like you and me, ever change our political views because of politically-charged videos we watch on sites like youtube? It follows a subject named Maya at an American university by filming her face has she watches a selection of 40 short news videos. The camera captures her comments and facial expressions, moment by moment, as she wavers between acceptance and rejection of what she’s watching, sorting them mentally according to whether or not they fit her outlook. She asks aloud: Is this footage real? Is it convincing? Is it biased? Does she believe it? And what does it mean?
She’s brought back six months later, this time viewing the same videos, right beside footage of herself from the first session. She observes herself observing videos (it gets super-meta here.) The videos in the doc are all from the occupied Palestinian territories and they range from innocuous to disturbing, showing settlers,
Israeli soldiers, and Palestinians. (She concentrates on one video where soldiers dressed in large military masks walk into a home in the middle of the night, wake up small children, ask each child their name, photograph each child’s face, then leaving without explanation.) Half the clips are from B’Tselem, a human rights group opposed to the occupation, and the other half were posted by various right-wing groups. The documentary tries to see whether exposure to opposing viewpoints can change a viewer’s mind or if it merely enforces the beliefs she already holds. Here’s the thing: it’s not a scientific study despite its clinical trappings; rather, The Viewing Booth is more of a meditation, the filmmaker’s personal reflection on the biases news viewers hold. Is it universally applicable or just about that single subject? I don’t know, but it is interesting – and unsettling – to watch.
The Best is Yet to Come (不止不休)
Dir: Wang Jing
It’s 2003. Han Dong (Bai Ke) is a would-be journalist in Beijing. Originally from northeastern China, he’s a high school drop-out who quit his steady job back home at a chemical factory to go for broke in the big city. But so far no luck. His girlfriend Xiaozhu (Miao Miao: Youth) who also worked at the factory lives in even worse conditions. But he keeps going to job fairs to try to get hired by a newspaper. And they keep rejecting him as unqualified, until… opportunity knocks when he visits a newspaper to pick up a minuscule 100 yuan paycheque for a short piece they published. He catches the attention of a veteran journo there takes him on as an intern, right beside college grads brandishing journalism degrees from prestigious schools like Bei Da. And he passes his first test, getting 
a scoop at the site of a coal mine disaster. But his next story could be a whopper.
He goes undercover taking a job at a sketchy medical clinic that pays cash for blood. No they’re not vampires. Rather they provide forged blood samples for applicants to jobs. Why? Because anyone who tests positive for Hepatitis B is categorically rejected. This effects maybe 100 million people for a disease that is not even contagious. It’s a crooked company that breaks the law. But is the law fair? Should he cover the story… or cover it up?
The Best is Yet to Come (based on a true story) shows how a self-taught, print journalist breaks into the big leagues despite all the odds against him. Its exciting plot keeps you questioning all the way through. This is Wang Jing’s first feature – he was assistant director to the great Jia Zhang-ke (Ash is Purest White, Touch of Sin) but with a very different style. It’s told in a straightforward chronological manner, no tricks or fancy camerawork. Great acting and story, The Best is Yet to Come gives an unusual look at both investigative journalism and a glimpse into real-life China – the grime and grit, the dark alleys, crowded tenements and poverty. And it leaves on a hopeful note: if you try hard and don’t give up, you can change the world.
The Best is Yet to Come played at #TIFF20, The Viewing Booth is showing at Planet in Focus Environmental Film Festival on now through the weekend, and The Journalist is available for streaming at the Toronto Japanese Film Festival through October 21st.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
In the Twilight Zone? Films reviewed: Shadow in the Cloud, The Antenna, Possessor Uncut
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall festival season continues with Toronto’s Inside Out LGBT festival playing now both digitally and at drive-ins. The Toronto Japanese Film Festival is entirely digital and runs from Saturday, October 3 – Thursday October 22.
This week I’m looking at three new genre movies that exist in a universe known as the Twilight Zone. There’s a female pilot fighting for control of a plane; a Turkish superintendant fighting a satellite dish for control of an apartment; and a highly-paid assassin fighting for control of a brain.
Shadow in the Cloud
Co-Wri/Dir: Roseanne Liang
It’s WWII at an airforce base in New Zealand. Maud Garret (Chloë Grace Moretz) is a pilot on a secret mission: to deliver a package with unknown contents to an undisclosed destination. But when she tries to board the all-male plane, she’s bombarded by a barrage of insults and abuse, ranging from condescension, to wolf whistles to outright hatred. But she stands her ground and won’t budge. So they relegate her to the ball turret – the glass and steel bubble attached to the bottom of the plane. Before climbing down she hands her satchel to one of the men – “never let this out of your hands, no matter what.” Her job? To look for a shadow in the clouds, evidence of Zero fighters, the Japanese aircraft that could shoot them down.
Turns out she’s an expert gunner, saving them all from a certain crash. But she faces a much bigger challenge from an unexpected enemy… something she keeps spotting out of the corner of her eye. It seems to be a creature with claws that can rip through steel, sharp teeth and cruel eyes. Is it real or just her imagination? What is in Maud’s package? And will this plane ever see dry land again?
Shadow in the Cloud is a fantastic WWII airplane drama, an action/thriller/sci-fi/horror movie, expertly done. A large portion of the movie is just Chloe Grace Moretz in a bomber jacket, alone in her ball turret, the rest of them just disembodied voices she hears through her earphones – but she carries it through. The movie is exciting and gripping all the way through. This is a genre movie – don’t look too closely for social significance – but it’s very entertaining with a perfect bad-ass heroine. I loved this one.
The Antenna
Wri/Dir: Orçun Behram
Mehmet (Ihsan Önal) is an ordinary guy who works at a dead-end job somewhere in Turkey. He’s the superintendant at a non-descript apartment building, and has to deal with demanding tenants and a bully of a boss. He works in a small booth at the apartment gate, looking out a wide glass window. But he has some friends there, too. Like Yasemin (Gül Arici) a pretty young woman with conservative parents who wants to get out of this place; and Yusuf, a little kid who is kept awake by nightmares. (Mehmet has insomnia, too).
His job is tedious but not hard to handle… until a government operative arrives to install a new antenna on the building’s roof. These satellite dishes are required on every home, by orders of their Orwellian president, so they can hear his midnight speeches. But things go badly once the satellite dish is installed. Mehmet hears strange whispers. Black gunk starts seeping through cracks in the walls. And anyone exposed to the goop starts to change… in a bad way. Can Mehmet keep the run-down apartment from collapsing? Can he fight a secretive government plot to censor and control all the people? Or will he succumb to the powers of the antenna?
The Antenna is a fantasy/horror movie about ordinary people trying to fight government propaganda and the toxic waste it generates. It’s shot in a stark, 1984-ish style, with deserted apartment blocks, drab clothes, bland faces and constant overcast skies. Radios broadcast iron curtain propaganda, full of static and noise. Don’t expect elaborate special effects or extreme violence – it’s a low-budget psychological drama, more weird and creepy than truly frightening. It’s a bit too slow, and a bit too long, but it does capture the current fears of oppression, surveillance and the total lack of privacy. It’s about the toxic dystopia we’re living in right now.
Possessor Uncut
Wri/Dir: Brandon Cronenberg
Tasya Vos (Andrea Riseborough) is a highly-paid English assassin who never gets caught. She’s a skinny woman in her thirties, with pale skin, blue eyes and whispy blond hair – not your typical killer. So how does she do it? She works for a company that deals in biotechnology… and she never has to leaves the lab. Instead, the victims are killed by a bystander, someone with a reason to be near the target. A device is implanted into the hapless third party’s brain, and Vos possesses their body, becoming comfortable there. When they’re in the right place at the right time, she neutralizes the target and then shoots themselves in the head, thus destroying the implant and sending Vos back to her own body. Simple right? But the more she does it, the harder it is to retain her sense of self… memories of the other bodies she possessed keep popping into her brain. And her marriage is on the rocks; she’s separated from her husband and 5 year old son.
Now (with the help of her boss (Jennifer Jason Leigh) she’s embarking on her biggest job yet: to kill the nasty CEO of a multinational high-tech corporation (Sean Bean) by inhabiting the body of his daughter’s boyfriend. Colin Tate (Christopher Abbott) is a swarthy, working class guy who happens to be living with Ava (Tuppence Middleton) the heiress to the company’s fortune. He’s living the life of Reilly, with a mistress on the side (Kaniehtiio Horn) his girlfriend’s best friend. But he has to swallow his pride and work at a menial job at Ava’s dad’s company. The thing is, Vos (the assassin) has underestimated the body she’s possessing. The sublimated personality is fighting for control. Will the assassination take place? And whose survival instinct is the strongest – Vos or Tate?
Possessor is a highly original psychological thriller/horror about mind control, possession and high-tech surveillance. Beautifully designed, it takes you from cold cityscapes, to bland labs and offices, and into the gaudy, golden mansions of the super-rich, filled with Trumpian rococo excess. The special effects are excellent and the acting all appropriately creepy. There’s also suspense, good fight scenes, psychedelic brain implosions, and extreme violence (Vos’s weapon of choice is a knife – so if you can’t watch lots of blood, stay away!). I wasn’t crazy about Brandon Cronenberg’s first biotech horror, Antiviral, but Possessor corrects all his errors while keeping it’s weird beauty.
This is a good one.
Shadow in the Cloud played at TIFF; Possessor Uncut opens today in Toronto; check your local listenings. The Antenna starts today in virtual cinemas in select North American cities, and digitally on Oct 20th;
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Creepy small towns. Films/TV shows reviewed: Hammer, Curon, Ragnarok
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In light of the pandemic, many people are thinking of cities cities as crowded, dirty and dangerous places, compared to smaller towns. But are small towns any better? This week, I’m looking at three new productions – one film and two limited series – that look at the darker side of family life in small towns. There are nogoodniks in Newfoundland, taboos in Tyrolia, and felonious fat cats among the fjords.
Hammer
Wri/Dir: Christian Sparkes
It’s a paper-mill town somewhere in Canada (possibly Newfoundland).
Chris (Mark O’Brien) is a young man, down on his luck. He deals in drugs and stolen jewels, both valuable commodities, but somehow is deep in debt. Luckily, there’s a big operation – involving satchels of cash to be exchanged deep in the woods – about to go down with a sketchy guy named Adams (Ben Cotton). It should leave him rich. But something goes wrong. Now someone is dead, their body lost in a corn field, and Chris is on the run with Adams on his trail.
So in a chance encounter, he turns to his estranged family — his younger brother Jeremy, his disapproving mom and his angry dad 
Stephen (Will Patton) – for help. He hasn’t talked to them for years, but they’re his only hope. Can his father help him secure the cash, rescue a hostage, and protect him from Adams? Or will everything fall apart?
Hammer is a short, fast moving drama about a criminal act pulling a small-town family apart. It’s a well-written and well-acted movie. It’s a very of-the-moment, what you see is what you get style movie. No excess dialogue, no wasted scenes, no deep back story, just high-tension thrills. There’s violence but not gratuitous violence, gun battles, chase scenes and a few surprising twists. A noir-ish style but in a natural setting. And an ominous symbol – the ourusborus, a snake swallowing its own tail – gives this crime drama a darker, more sinister feel.
Curon
Created by Ezio Abbate, Ivano Fachin, Giovanni Galassi, Tommaso Matano
A picturesque town in Italy. Mauro and Daria are 17-year-old twins from Milan. Mauro (Federico Russo) is shy and introverted with a hearing impairment. He’s a natural target of bullies. His sister Daria (Margherita Morchio) is tough and self-confident. She’s sexually adventurous, can out-drink anyone she meets, and will likely win in a fistfight. She always looks out for her brother. The two are used to life in the big city, but their divorced mom moves them back to her hometown of Curon. It’s in German-speaking Tyrolia right by Austria 
and Switzerland. Very different from Milan, where the twins grew up. Curon’s main landmark is a man-made lake with a church bell tower in the middle; the only thing left of the old town they flooded to built a hydro dam. And they say if you ever hear the church bells ring, it means you’re going to die.
Soon after they arrive their mom disappears, so they move into their grandfather (Luca Lionello)’s spooky old hotel (like in The Shining). And they meet some of the popular locals at their highschool. Micki (Juju Di Domenico) and her bullyish boxer brother Giulio (Giulio Brizzi) are the two kids of a highschool teacher… They both hate Curon and want to head south to Milan. Will they be friends or enemies? And then there’s Micki’s wimpy friend Lukas (Luca Castellano) who goes through a strange transformation. Lukas has a crush on Micki, 
while Micki and Giulio have crushes on someone else. They also find out Micki and Giulio’s dad and Mauro and Daria’s mom share an old history. Will they ever find their mom, discover Curon’s secrets, and escape this creepy old town? Or will it ensare them in its mysterious and sinister ways?
Curon is a good, spooky TV drama, with sex, drugs and hints of horror every once in a while. It’s also full of dopplegangers, disappearing bodies, and strange sounds in the dark. Netflix seems to have created its own sub-genre – big city highschool kids returning to a picturesque town full of dark secrets. No spoilers here, but it’s worth watching. It’s scary but not terrifying, never boring, and with a good, attractive cast.
Ragnarok
Created by Adam Price
Here’s another TV series about a mom and her two kids moving back to her hometown. This time it’s a picturesque, fjord-filled village in Norway called Edda. Magne (David Stakston) and his brother Laurits (Jonas Strand Gravli) arrive by car. Magne has blond hair and glasses. He takes meds each day, has terrible vision and is dyslexic, and is fond of tossing hammers. Laurits has
black hair and a pointy nose; he likes playing tricks on his brother. They quickly make friends at school. Magne meets Isolde, a young woman whose dad is their school teacher. She’s an enviroronmental activist who knows all the Edda’s secrets. Toxic wastes dumped into the pristine fjords are ruining the town’s ecology.
Laurits gravitates toward the son and daughter of an elitist family, the Jutals, headed by Vidar (Gísli Örn Garðarsson). They own the toxic chemical plant and have control over the police the school, nearly everything. Only the activists – and the town drunk – dare to defy them. And the girl Magne has the hots for is already dating Fjor Jutul, from the same rich family. It looks as if the town, and possibly the world, is heading toward ecological 
Armageddon, or Ragnarok as they say in Norse mythology. Can Magne learn in time who this family really is… and his own importance in confronting them?
Ragnarok is a TV series partly about ordinary people standing up to elitist authority figures to protect the environment. But that’s not all. There’s a Harry Potter-type backstory as well, where ordinary people learn about extraordinary things. I really liked this show – beautiful scenery, great acting, suspence, tons of fascinating and endearing characters, with lots of twists and surprises. Sort of a myth or fairy tale set in modern- day Norway. And it’s the work of Adam Price who also wrote Borgen, that popular Danish political drama that was on broadcast TV here a few years back.
Ragnarok is one of the best TV series I’ve seen so far this year.
Season One of Curon and Ragnarok are both streaming now on Netflix; Hammer opens today on Apple TV, Google Play and VOD.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Therapy vs self-medicating. Films reviewed: Canadian Strain, Transfert, Freud
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s a tough time for movie critics.
All the cinemas are closed, spring film festivals cancelled, and many new movies originally scheduled for release are postponed. Indefinitely. Meanwhile, like many of you, I’m in isolation, cooped up at home. This will be my first attempt at home recording – please bear with me for the poor sound quality. But when faced with a crisis, you look for alternative ways of dealing with your problems. Some people self-medicate while others turn to therapy. So this week I’m looking at three new movies (all online), two about psychiatry, and one about marijuana. There’s a psychoanalyst in fin-de-siècle Vienna; a psychotherapist in modern Sicily; and an out-of-work cannabis dealer in contemporary Toronto.
Canadian Strain
Dir: Geordie Sabbagh
Anne (Jess Salgueiro) is a Toronto entrepreneur, who runs a successful business out of her own home. She has long curly hair and a determined look. Anne is kind, reliable and always there for her longtime clients. She likes her work and is good at it. Her social life revolves around her job. And when she needs advice, she turns to her father (Colin Mochrie). She also has an agreement with her mustached boyfriend: they keep there jobs separate. Why? Because she’s a pot dealer and he’s a cop. But when Canada suddenly legalizes cannabis, everything changes.
Suddenly Anne’s longtime clients, people she considers family, all defect to the public option. She’s forced to rethink her entire life. Should she work for The Man? Or try something new?
Canadian Strain is a gentle comedy set in Toronto just a short 
while ago, when the province shifted to legal cannabis. It’s more interesting than hilarious. It’s also totally Toronto. It combines bland government bureaucrats, flakes, hippies, grandmas, aggressive men on the prowl, and organized criminals. It’s told through Anne’s point of view, but there are many fascinating side characters, both and good bad, mainly played by women. Definitely a niche movie, but I enjoyed Canadian Strain.
Transfert
Wri/Dir: Massimiliano Russo
Stefano (Alberto Mica) is a young psychiatrist in Catania, Sicily. Kind, good-looking and empathetic, he has been fascinated by psychiatry since he was a child. Educated in Bologna, he is back in Sicily looking for new clients to establish his practice. He works out of his home, a modernist flat that he shares with his wife.
Among his first patients are two sisters who live together. Chiara (Clio Scira Saccà) is pretty and vivacious but accident-prone. She’s had three car crashes in the past month… are these accidents intentional? Letizia (Paola Roccuzzo) is mousy and withdrawn but intellectually curious. The two are fiercely competitive and constantly bickering. Stefano treats them equally and separately. He gets along well with all his patients.
But when new client enters the scene – a man who shares his 
name – things start to go wrong. This other Stefano (played by the film’s director) though devious and cruel, quickly wins the therapist’s trust. Using sophisticated equipment, bad Stefano spies on his fellow patients. He uses this information to plant the seeds of suspicion in the doctor’s mind, which could lead to terrible consequences. Can a psychiatrist be gaslit by one of his patient? Or will he discover the truth?
Transfert is an indie, psychological thriller about an innocent, young psychotherapist trapped in a patient’s schemes. This is a low budget film so much of it takes place indoors, with some drone views of the city from above. But it still manages to thrill and surprise. There are visual references to Truffaut, among others. It’s shot in beautiful Catania, a baroque city beside Mt Etna, a volcano ready to erupt (like many of the characters). I like the way Transfert tells the story through a sympathetic therapist’s eyes – something you rarely see. And while I thought the twisted ending was implausible, it still managed to surprise me. I liked this one, too.
Freud
Co-Wri/Dir: Marvin Kren
It’s the 1880s. Fin-de-siècle Vienna is a cauldron of new ideas in art, music, architecture and politics – think Mahler, and Berg, Klimt and Loos and many others, all in one city, the hub of the vast Austro-Hungarian empire.
Inspector Kiss (Georg Friedrich) is there, a former soldier with a shaved head and curled mustache. He’s a cop who solves crimes. So is Fleur (Ella Rumpf) a beautiful and dark, sultry young woman part of the Hungarian nobility. She serves as a medium for the countess at séances where she falls into a trance leading to strange voices and ending with a pseudo-epileptic seizure, complete with foaming at the mouth. And then there’s Sigmund Freud (Robert Finster), famous as the father of psychiatry and psychoanalysis. But here he’s an unknown young 
neurologist and a recent grad from medical school. He’s trying to establish himself. He has yet to write his first book and lives in an apartment where he is threatened with eviction for not paying rent. He’s just starting to explore the unconscious, but he’s still at the stage of parlour tricks, where he uses his pocketwatch to hypnotize patients. He’s also addicted to cocaine.
These three people are thrown together after a terrible attack on a young woman. Inspector Kiss runs to Freud’s apartment (he’s 
a physician) with the victim, saying “save her!”. And Fleur has a vision of who the killer might be, but it’s buried somewhere deep inside her mind. She can’t remember what happens during her trances. It’s up to Freud to hypnotize Fleur to discover the truth. But will that reveal the real killer?
Freud is a new TV show, a detective mystery/thriller, with a cop, a psychiatrist, and a psychic trying to catch a serial killer in late 19th century Vienna. But that’s just the frame. It’s also a sexual romance, and an historical drama. Throw in decadent royalty, avaricious artistocracy, angry nationalists, rising right-wing 
politics, mysticism, misogynyand anti-semitism, duels, and opera… and you’ve got a rich and engrossing drama that’s not your average mystery. And if I’m not mistaken, this is the world’s first sexy Freud, two words I never thought I’d hear in the same sentence. I’m binging this series and am only half through but, so far, it seems well-worth watching.
Transfert and Canadian Strain are both available online; and you can watch Freud on Netflix.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Birth, Death, Birth. Films reviewed: Dead Dicks, In Safe Hands, The Report
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall festival season continues in Toronto, with ReelAsian ending tonight and the EU Film Fest still going strong. Coming soon are Blood in the Snow (aka BITS), featuring Canadian Horror and Genre movies, and CineFranco with French language movies, from Canada and around the world.
This week I’m looking at three movies, two about births and two about deaths. We’ve got mysterious rebirths wanted by no one, a newborn infant wanted by everyone, and a horrifying CIA program they want no one to know anything about.
Dead Dicks
Wri/Dir: Chris Bavota, Lee Paula Springer
Becca (Jillian Harris) is a young bartender who works downtown. But much of her time is filled with taking care of her big brother Richie (Heston Horwin). Richie is a depressed artist with anger issues given to playing music full blast while scribbling in his sketchbook. When there parents died he served as the adult in the family, but now the roles are reversed. She’s forced to deal with his angry neighbours and make sure he takes his meds. So when she she is called away from her job by frantic texts, she thinks this is just another one of Richie’s episodes. But it’s not.
She arrives to see an apartment in disarray, with a huge mouldy patch formed above his bed, and Richie wandering around naked, in a daze. His brain feels fuzzy he says. Turns out he killed himself just a few minutes 
before. And almost immediately expelled, fully grown, through a hole in the wall. But the dead body he left behind is still there, hanging in the closet. And another one in the bathtub, and another one in the kitchen. Living Richie is surrounded by all the dead Dicks from his repeated suicide attempts. He’s experimenting, he says.
But that leaves Richie and Becka with a pile of dead Dicks to get rid of, a mysterious birth canal on his wall and an angry neighbour (Matt Keyes) who could get them arrested by threatening to call the cops. What is causing all these rebirths? What does it mean? And what are the unanticipated consequences?
Dead Dicks is a bizarre, low budget film, part horror, part mystery, part comedy. The film does not encourage death by suicide. Rather, It deals with issues of family and mental illness, within a weird fantasy setting. It manages to be grotesque and gruesome, with very few special effects, and an absurd humorous streak running through it.
In Safe Hands (Pupille)
Dir: Jeanne Herry
It’s present-day Brest, in French Brittany.
A young woman arrives at a hospital in labour. She’s a college student and says the pregnancy is the result of a one-night stand, and says she doesn’t want the baby. This starts a dozen gears spinning into action, notifying dozens of doctors, nurses, psychiatrists, midwives, social workers, foster parents, and adoption agencies. And little Theo, the baby, is the centre of attention. He is transferred to an incubator, with lots of faces peering down at him. But can his lack of contact with his birth mother damage him for life? Or will a concerted effort place this baby into safe loving hands?
In Safe Hands is mainly a dramatization of the process of birth and adoption, but there are a few interestingside plots along the way. Jean (Gilles Lellouche) is a married 
dad who takes care ofhis own daughter and two troubled foster boys who takes care of Theo as he awaits adoption. Karine (Sandine Kiberlain) works for the adoption and fostering program and has a thing for Jean… but will an affair upset the adoption process? Alice Langlois (Élodie Bouchez) is single and works describing action at live plays for the visually impaired. She applied for adoption when she was attached. A social worker is concerned both for the 
privacy of the birth mother and of the baby who might one day wish to get in contact with her. And many, many others, all centred around a wordless, Yodalike baby who seems to take everything in. It was interesting from a parenting and adoption point of view, exposing all the hidden parts of the mechanism of adoption, but isn’t very satisfying as a dramatic or romantic movie, more just as an educational docudrama, as acted by famous French movie stars.
The Report
Wri/Dir: Scott Z. Burns
It’s post 9-11 Washington, DC.
Dan Jones (Adam Driver) is a young college grad appointed to a group to write a bipartisan internal report on the CIA for the Senate Intelligence Committee. The committee is headed b Sen. Diane Feinstein (Annette Bening). Dan is locked up in a dark basement in a nameless bureaucratic and told to find out what the CIA has done since 9/11. It turns out their practices, supposedly enacted to stop terrorism, were immoral, illegal and of no value whatsoever for intelligence. Specifically, he uncovers the practice of “enhanced interrogation techniques,” a policy previously known as torture and banned by the Geneva Convention.
They were under the direction of two psychologists, 
James Mitchell and John Bruce Jessen (Douglas Hodge and T Ryder Smith) working on contract with no experience in interrogation. They stripped prisoners naked, chained them to walls, waterboarded them and nailed them – live – into wooden coffins, covering their skin with crawling insects. The torture yielded no intel, yet was repeated for many years in blacksites around the world.
Dan outlines these heinous war crimes in a long report to the committee, shocking senators by its findings. But 
instead of offering support and investgating their own lawbreakers, the CIA initiates a coverup, threatening Dan himself with jail time if he releases his findings. And the CIA sends operatives to spy on the Senate itself in order to coverup the findings. Will Dan Jones’s report ever see the light of day? And will the war criminals be punished?
The Report is a good political drama about the illegal use of torture by the CIA, but a thriller it’s not. It incorporates elements of All the President’s Men, and is nicely shot 
with lots of fluorescent lights and stark, brutalist architecture. Driver is great as the persistent policy geek, with an understated Bening as a veteran Senator. Warning: there are a few highly disturbing reenactments of the torture itself, which are extremely hard to watch. Much more common are the reenactments of the culprits – John Yoo, Jose Rodrigues, John Brennan (Ted Levine), Cheney, and the psychologists – war criminals who leave a very bad taste in one’s mouth.
I liked this one.
Dead Dicks will be playing at Blood in the Snow, In Safe Hands at Cinefranco, and The Report at the Tiff Bell Lightbox all starting one week from today.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Gone fishing. Films reviewed: Serenity, Wonders of the Sea PLUS Cold War
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fishing for something different to watch? This week I’m looking at two movies about fish and one about love. There’s a doc beneath the waves, a suspense drama aboard a fishing boat, and a bittersweet romance behind the Iron Curtain.
Serenity
Wri/Dir: Steve Knight
Baker Dill (Matthew McConaughey) is a fisherman off Plymouth Island, a tropical vacation spot in the middle of nowhere. Along with his first mate Duke (Djimon Hounsou) he takes rich tourists out on his boat to catch some sharks. But Dill’s real love, his passion, is for tuna. One particular bluefin he calls Justice, that always gets away. It’s his great white whale, his Moby Dick . He spends his free time 
drinking dark rum at the local bar or sleeping with Constance (Diane Lane) an attractive older woman with a black cat, who helps him out financially after a night of passion.
Life never changes… until one day a mysterious femme fatale, named Karen (Anne Hathaway) appears on his boat. If you drown my rich abusive husband, she says, I’ll give you 10 million bucks. Cash. Will Dill stick with his tuna obsession or will he kill a stranger?
But wait, that’s not all. Turns out he had a thing with Karen before serving in Iraq… she dumped him to marry the rich guy. And her teenaged boy Patrick, a computer geek, could be his biological son. (Though they’ve never met Dill feels he has a psychic bond with the boy). 
And a strange man with a briefcase following Dill has some crucial information.
If my description sounds like a clichéed film noir knock-off, that’s because that’s what it is. The actors play their characters – an obsessed fisherman, a villainous drunk, an abused but devious woman – in over-the-top performances, vamping for the camera. Why the boilerplate plots? Why the tired dialogue? Apparently, it’s all intentional, but to tell you why would ruin the WTF plot twist. I started to figure it out about two-thirds-of-the-way through, and it kept me interested (though not really satisfied). If you like watching famous actors acting in an imperfect script, this is for you.
Wonders of the Sea
Dir: Jean-Michel Cousteau, Jean-Jacques Montello
Jacques Cousteau was the French deep-sea diver, conservationist and underwater filmmaker whose TV shows fascinated me as a child. He sailed away on a ship called Calypso with flippers on his feet and 
aqualungs on his back. He died in 1997 but his son Jean-Michel and grandkids Fabien and Celine are still diving. This latest documentary in 3D looks at undiscovered parts of the ocean floor and the tiny creatures that live there. They lead us through a massive squid orgy: a 
mating ritual near California where they all have sex with each other. They also visit a hammerhead shark migration near the Bahamas, and the wondrous coral reefs off Fiji, which form a crucial part of the world’s oceans’ ecosystem. The doc focusses on the tiny, the cute, the weird and 
the grotesque. And they throw in informative facts and stats about pollution and overfishing.
My biggest problem with this movie is the insufferably corny and dated voiceovers by Arnold Schwartzeneggar and the Cousteaus. I
t seems aimed at three-year-olds. Who knows, maybe the narration was this bad when I was three but I just didn’t notice. Whatever. If you can somehow switch off the dialogue and just take in the intense, weird-and-wonderful, 3-D coloured images you’ll enjoy this movie.
Cold War
Wri/ Dir Pawel Pawlikowski
It’s post-WWII Poland, and a team of musicologists is heading to the mountains with a reel-to-reel tape recorder. Irena (Agata Kulesza) is a serious academic looking to preserve authentic folk culture. Wiktor 
(Tomasz Kot) a handsome conductor, wants to put together a musical group. Their boss is Kazsmarek (Borys Szyc), an apparatchik – he wants a show big enough to impress his party bosses. The auditions begin, with milk maids 
and farm hands singing the innocently salacious songs of their childhood. Authenticity rules. Still, one pretty young woman, with blonde braids and a strong voice manages to slip through the cracks. Zula (Joanna Kulig) isn’t really a local peasant, but after living through WWII, taking on new identities is a piece of cake. And Wiktor is attracted to her. The Mazurek Choir is born, and it’s a big hit. And Wiktor and Zula start a secret relationship.
The Party weeds out anyone not “Polish-looking” enough: hair too dark, nose too big? Back to the farm. When they are forced to include Stalinist paeans to 
collective farming, Wiktor shrugs his shoulders but Irena quits in disgust. But their new status pushes the choir to star status in the Eastern Bloc. Wiktor and Zula fall in love and hatch a plan to defect to the west. Wiktor makes it across the border, but Zula stays behind. Now thelovers are separated by the impenetrable Iron Curtain. Will they 
ever see each other again? If so, on which side? And can their love – and their music – survive a long separation?
Cold War is a wonderful, bittersweet romantic drama, set in 1950s Europe. It paints the Cold War era with all its faults and how it affects the people caught in it. Like Pawlikowski’s Ida, it’s just 90 minutes long and shot in glorious black and white on a square screen. Filled with haunting music and images, the film showcases the amazing Kulig and Kot in their flawless performances as separated lovers. (Kulig sings, too!) It’s nominated for a Foreign Language Feature Oscar and is also on my list of best movies of the year.
This is a great movie, don’t miss it.
Wonders of the Sea in 3D starts next week, Serenity and Cold War both 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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