On the Brink of Collapse. Films reviewed: This Game’s Called Murder, Don’t Look Up

Posted in Class, comedy, Conspiracy Theory, Disaster, Games, Space by CulturalMining.com on December 11, 2021

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

In these uncertain times sometimes dark humour allow us to laugh at our troubles and worries. So this week I’m looking at two new movies that look at a nihilistic planet on the brink of collapse.  

There’s a high-heeled shoe magnate who wants to control the world, and a pair of astronomers who want to save the world.

This Game’s Called Murder

Wri/Dir: Adam Sherman

Jennifer  (Vanessa Marano) and Cane (James Lastovic) are dating, but they live very different lives. He runs a restaurant and bar in an old abandoned warehouse, and hangs with an all-woman gang of thieves, headed by Cynthia (Annabel Barrett). Cane hates anything technological — cel phones are forbidden in his space. Jennifer is a media star, posting selfies for her countless followers. But to accommodate Cane, she only takes polaroid pics around him — nothing digital. She lives in a huge mansion with her filthy-rich, bible-thumping parents the Wallendorfs (Ron Perlman, Natasha Henstridge). Her Texan dad — using his hypnotic abilities — runs an international business selling his hugely popular red, high-heeled shoes. His company’s ads are as infamous as the shoes they sell. They feature scantily clad models blissfully playing “games” which end up with more aesthetically perfect dead bodies.

Her mom is a socialite, and also quite mad. She does whatever a mysterious voice — coming from inside her vanity mirror — tells her to do even it involves killing people. So Jennifer escapes to Cane’s world to see if she can find something real and honest there. Sadly, Cane’s life is equally hollow and alienated. The gang of thieves regularly murder delivery-truck drivers, using a bow and arrow, to steal the contents. Cane himself attacks a chef with a baseball bat, for the crime of being overweight. Neither Jennifer nor Cane can find the meaning they’re so desperately seaking. But when she sneaks him into a costume party at the mansion, and he witnesses both the decadent orgies and the extreme cruelty he had only heard about, he experiences a sea-change Can they stop the Wallendorf Shoe empire from its cruel plans?

This Game’s Called Murder is a bizarre, comedy/horror movie about our alienated and disconnected world. It’s done in an over-the-top, campy style, which is fun if you’re in the right mood.  It’s full of carousels and chicken-friend steaks, instant ramen and high-heeled shoes, bows and arrows and Froot Loops. The problem is, while there’s lots of eye candy to take in, it’s strung together in a clunky, confusing way. There are no real heroes or characters you can root for (though you eventually come to appreciate Jennifer, Cane and Cynthia). It seems at first to be a critique of the ultra-rich, but you soon realize everyone in this movie is equally evil and cruel. At best, some characters are ambivalent observers. The film has lots of nudity and tons of bloody and gore, but not much substance. And much of the dialogue is painfully bad. To tell you the truth, I  hated this movie at the beginning, but it gradually got better and better, until I actually got into it. I learned to like it by the end, once I accepted its impossible premise. I can’t call this movie great, but it certainly is unique with some very memorable images.

Don’t Look Up

Co-Wri/Dir: Adam McKay

Kate Dibiasky (Jennifer Lawrence) is a disgruntled pot-smoking grad student studying the stars at Michigan State. One night she notices something strange: a previously unknown comet hurtling toward earth at a very fast pace. She reports this to Dr Randall Mindy, her supervisor, (Leonardo DiCaprio) who immediately calls Washington. Why? Because that comet is big enough and travelling fast enough to wipe out life on this planet, and if we don’t do something to stop it, we’ll all be dead in about 6 months. They’re flown to Washington and meet the President (Meryl Streep, doing her best imitation of a female Donald Trump) and her toady son (Jonah Hill). But their reception is less than stellar. This narcissist president seems more concerned her poll ratings than with the fate of the planet. They don’t realize the urgency even when it’s explained in plain terms. So Kate and Randall turn to mass media. They appear on a morning show hosted by Brie (Cate Blanchett) a beautiful but seemingly-vapid celebrity. But their shocking news doesn’t fit in the plastic world of breakfast TV. Kate ends up looking like a raving lunatic, while Randall remains calm. He becomes the national face of the presidential campaign to stop the comet, while Kate ends up working at a convenience store. But can either of them do anything to stop this impending disaster?

Don’t Look Up is a brilliant political satire about American politics and social media. Like an updated Doctor Strangelove, it takes us into the backrooms of Washington. The story comes from David Sirota, the journalist and political advocate, and director Adam McKay is known for movies like The Big Short (all about the Wall Street crash of 2008) so these guys know what they’re doing. It’s superficially a classic disaster/sci-fi pic — along with humour and sex — which makes it fun to watch, and is filled hilarious caricatures set against a polarized country. (The title, Don’t Look Up refers to the comet-deniers, while the Just Look Up-ers are their opposites) but of course it’s really about our inaction in stopping climate change (even though they never mention those words in the movie). It has a huge cast, including Mark Rylance as an enigmatic tech billionaire and Timothée Chalamet  as an ambivalent skateboarder.

Don’t Look Up is a really fun, enjoyable movie that’s also about something real and important, but without falling into that ponderous “nobility” that drags some films down. This stays funny and light till the end. I really like this one.

Don’t Look Up opens theatrically in Toronto this weekend; check your local listings; and This Game’s Called Murder is now available digitally and on all VOD platforms.

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

American Dream, French Nightmare. Films reviewed: The Big Short, Joy, French Blood

Posted in Clash of Cultures, Cultural Mining, Drama, Economics, France, Movies, Racism, Skinhead, US, violence, Wall Street by CulturalMining.com on January 29, 2016

GDFF2016-655x250-ENG-V2Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s slow season for movies8-fest right now, but you can catch some unusual ways of seeing films, from the tiny to vast. The 9th Annual 8-Fest shows handmade super 8 films at the SPK Polish Combatants Hall. The Cineplex Great Digital Film Festival is showing classic digital Affiche MYFFF 40X60crowd-pleasers on the big screen across Canada, including David Bowie in Labyrinth. And online myfrenchfilmfestival.com is showing new French movies around the world until mid-February.

This week, I’m looking at two dramas about the American Dream, and one about the French Nightmare.

12238242_1696138537295341_6953460731039755401_oThe Big Short

Dir: Adam McKay (based on the book by Michael Lewis)

It’s the first decade of the 21st century and Wall Street is booming. Brokers are investing big in the security and stability of derivatives based on subprime mortgages. (Subprime mortgages were a new invention that let you buy a house with no money down.) Funds that cannot fall issued by merchant banks too big to fail. But a tiny collection of investors see it for what it is: a bubble about to burst.

There’s Michael (Christian Bale) a barefoot genius out west known for his investment acumen. Slimy Jared (Ryan Gosling) heads an unusual section of a big firm. He interests the exceptionally abrasive Mark (Steve Carrel) and his gang. And at the same time, two kids in their early twenties who can’t break through the glass walls of Wall Street, somehow manage to catch the eye of Ben (Brad Pitt) a reclusive former investor. We all know what happens. Wall Street crashed leaving millions of people jobless and locked out of their homes.

The movie follows these separate groups as they bet big against Wall Street, and shows us who comes out on top by selling short. And it explains, if you care to listen, some of the arcane economics behind the whole mess, propped up by fraud, deceit and corruption. The Big Short is a fast-moving entertainingly camp and educational Bro Movie.

More on this one in a minute…

12321495_808507162593872_4766624371283134661_nJoy

Dir: David O Russell

Joy (Jennifer Lawrence) is a woman who lives with a lovable but misbegotten family. Her bedridden mom (Virginia Madsen) watches TV all day. Joy’s ex-husband Tony (Edgar Ramirez) lives in her basement, and her loving grandma helps with the kids upstairs. And now her auto-repairman dad (Robert de Niro) is moving back home too. Joy once had high hopes for her future but her time is wasted in a 11952687_773777219400200_7695745313849455796_odead-end job and taking care of her dysfunctional family.

One day inspiration hits. She decides to create and sell a new mop with a removable mop-head, made from a single long loop of string. But how to make it, market it and sell it? She decides to make them in a makeshift factory her dad’s garage, with funding from his girlfriend (Isabella Rosselini) a rich widow. And through a series of lucky accidents she gets a chance to offer it on a TV shopping network. But there are still lots of bumps in the road that might ruin all her plans. Joy is a cute and watchable movie about a woman – and all her quirky friends and family’s — attempt to make it big.

Joy and The Big Short — both nominated for Best Picture Oscar, and neither of which will win — are two sides of the same coin. Both are true stories with similar themes: ordinary people, with a 12238251_801317663312822_1925779943944291784_obit of luck, and a lot of perseverance and hard work can make lots of money even in these tough economic times. Stay true to your ideas, no matter how unusual, no matter what other people say. … but you have to do it within the system.

Both movies are entertaining, fast-paced and fun, with huge casts and big stars. They take risks in their methods of storytelling. The Big Short breaks the third wall with characters turning directly to the camera to “tell the truth” that the movie leaves out. And Joy features a fascinating, behind-the-scenes look at a live TV set. Joy is told from a “woman’s point of view” (the home life of a mom who sells mops on TV), while The Big Short is basically an all-guy movie (men with invisible families making money at work on Wall Street). I like them both, but don’t expect to be overly challenged.

xGLJP3_frenchblood_04_o3_8760256_1439474895French Blood (Un Français)

Dir: Diastème

Marco, Braguette and Grand-Guy (Alban Lenoir, Samuel Jouy, and Paul Hamy) are three best friends living in a banlieu, the high rise ghettos ringing Paris. They are French skinheads, complete with Doc Martens, "Un Franais"bomber jackets and neo-nazi tattoos. Hobbies include getting drunk, getting laid, and attacking strangers on the street, specifically gays, leftists and Arabs. They don’t seem to follow any strict ideology, but seem to really enjoy brawling, fighting and terrorizing immigrants. They soon join the National Front, France’s political party of the extreme right. But then their paths begin to diverge.

Braguette is shot and disabled by a leftwing activist. He quickly rises up in the ranks of the National Front. Grand-Guy is a loose cannon, given to excessive alcohol and drugs. His RgjE4K_frenchblood_05_o3_8760328_1439474896attacks on immigrants turn extreme, culminating in his horrifying torture of a random, middle-aged man. And Marco, after beating, almost to death, a rival skinhead, has a mental breakdown. An altruistic pharmacist takes him under his wing and helps him adjust to a life away from violence and racism. But these changes happen gradually, shown over decades, with the movie providing just a glimpse of their lives, once every five years. It’s up to the viewer to fill in the missing parts. And it culminates in an ultimate showdown between Marco and Braguette.

This is a very violent and disturbing — but fantastic — movie. It looks at the extreme vgLEP5_frenchblood_01_o3_8760110_1439474887right in contemporary France from the points of view of three white, working-class men. The acting is amazing, especially Lenoir, Hamy and Jouy. And it’s incredibly timely; after the terror attacks in Paris, the National Front came that close to winning the last election. I strongly recommend this movie.

The Big Short and Joy are both playing in Toronto, check your local listings; and you can watch French Blood online at myfrenchfilmfestival.com.

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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