Unobtainable, unsustainable, inevitable. Films reviewed: Bookworm, Monkey on a Stick, Smile 2
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Toronto Fall Film Festival season continues with Rendezvous with Madness presenting docs and dramas, features and shorts, about addiction and mental health followed by in-person discussions, starting on October 25th.
But this week, I’m looking at three new films, a kids’ movie, a doc and a horror film. There’s a precocious girl looking for the unobtainable; a group of deranged gurus trying to hold onto the unsustainable; and a pop starch wants to escape the inevitable.
Bookworm
Co-Wri/Dir: Ant Timpson
Mildred (Nell Fisher) is a young girl who lives with her mom in New Zealand. She loves reading but hates school. Her desk is surrounded by leather-bound books alongside a microscope, a telescope, a typewriter and a record player. She talks like a grownup, and is obsessed by wild animals. Her dream? To catch on film a black panther said to be roaming in the woods (along with a big fat cash prize for anyone who can take a picture of it.) But her plans all change when her mother is sent to hospital in critical condition following an exploding toaster. That’s when her biological father comes into the picture. He flies in from America to save the day.
Strawn (Elijah Wood) is a professional magician — he prefers “illusionist” — who loves magic: like making small things disappear or pulling coins from behind someone’s ears. Most people are wowed by Strawn’s prestidigitations and puppy dog eyes, but not Mildred. She scoffs at magic and is quick to reveal all his tricks. They two are opposites at heart. If you say “David Copperfield” she thinks of Dickens while he thinks of the 
magician. Nonetheless, they are stuck together for now, so he agrees to take her camping. But little do they know of the exciting adventures and frightening dangers — like criminals, wild animals and crazy escapes — that lie ahead.
Bookworm is a very cute coming-of-age adventure about two strangers put together to form a makeshift family. It feels like a cross between a Roald Dahl Matilda and Taika Waititi’s Hunt for the Wilderpeople. It’s shot in the New Zealand wilderness amidst stunning mountains, cliffs and lakes. Nell Fisher is adorable as the obnoxiously mature Mildred, while Elijah Wood is equally adorable as the man-child who won’t grow up. I wanted to see this one because I loved director Ant Timpson’s bizarre debut, the violent comedy Come to Daddy. Bookworm is as different as any film could be but just as enjoyable.
I liked this one a lot.
Monkey on a Stick
Dir: Jason Lapeyre
It’s 1965 and America is in high hippie mode. A. C. Bhaktivedanta Swami Prabhupada arrives in New York City from Calcutta. He’s there to sell books, including his own translation of the Baghdad Gita. But he ends up heading the Hare Krishna movement, a vast multinational phenomenon, a religion that espouses dancing, singing and chanting mantras in order to achieve a better afterlife. After picking up many devotees in New York, the movement exploded in popularity once he reaches California. Allen Ginzburg endorses it and George Harrison writes a song about it. Countless people join the religion, throwing away material possessions to dance, chant and collect alms in airports. But when the Swami dies, he leaves behind eleven gurus. That’s when things start to fall apart. This documentary — based on a bestselling book — exposes the crimes and excesses of the Hare Krishna movement in the 1970s and 80s.
One guru — in order to generate more money — sets up a drug ring of devotees instructed to smuggle hash from Pakistan to Canada. They have ties to the mob, leading to a series of violent crimes until it is finally exposed. Another guru collects automatic weapons, and goes on a shooting spree in California. A third guru — a self-declared Swami — the scariest of them all, builds himself an ornate golden castle in West Virginia, while his disciples — who have given away all their worldly 
possessions — live in a shanty town beside the castle without toilet paper or plumbing. He later plans murders and is suspected of molesting children.
In fact, the movement as a whole is riddled with problems. Women are treated as inferior beings who distract male practitioners from their religious obligations. Homosexuality is strictly forbidden as is all sex outside marriage. And heavy censorship prevails — no TV, magazines, newspapers, movies, or books are allowed, except for one official newspaper. And by the second generation — the 1970s and 80s, when most of the documentary takes place — kids are sent to schools with teachers who have no training. They lock kids in dark closets or dump them in trashcans as punishment, among even worse crimes.
Monkey on a Stick is a documentary that looks at crimes of the Hare Krishna movement. It’s told using talking heads — including former devotees — period footage, and many reenactments, with actors visually demonstrating what the narrators are talking about. There’s also a series of random people sharing their views on religion, God and the afterlife. Though quite disturbing in parts, on the whole, it’s a fascinating story that exposes events I had never heard about before.
Smile 2
Wri/Dir: Parker Finn
Skye Riley (Naomi Scott) is a pop superstar, about to launch a worldwide tour. She lives in a luxury apartment on Park Avenue, and can buy anything she wants. She’s busy 24/7 at dance rehearsals, talk show appearances and autograph signings, under the constant supervision of her stage mom (Rosemarie DeWitt) and her PA (Miles Gutierrez-Riley). It’s her big comeback, after a year of rehab. This follows a bout of addiction culminating in a terrible car crash that killed her boyfriend and put her in intensive care. A year later, she still suffers from intense pain, pain so bad she is forced to buy opioids on the sly. But everything changes when she witnesses her high school friend (and drug supplier), Lewis (Lucas Gage) kill himself in front of her eyes in the most gruesome manner imaginable. And he dies with a rictus grin plastered on his face.
That’s when things start to go bad. Everywhere she looks she
sees that awful smile. It’s like she caught a disease by witnessing her friend’s death. She starts seeing people who aren’t really there, and experiencing events that never happened — even though they feel so real. She begins to doubt her sanity. It’s like some alien presence has lodged itself into her brain. Her friends, family and colleagues look at her in a strange way, even as she fears she’ll end up dead in a matter of days, with that same awful smile. Can she break this smile cycle? Or is she headed for insanity and death?
Smile 2 is a genuinely-scary psychological thriller/ horror about fame, celebrity, and a deadly condition passed on from person to person. It’s also one of those Hollywood rarities: a sequel that’s demonstrably better than the original. Naomi Scott is terrific as Skye, a punky, self-centred celebrity; Skye’s not just a horror movie screamer, she’s a real character, complete with a psyche and a believable back story. The movie itself is really well made, with beautiful art direction, cool choreography, and ingenious camerawork and editing, where a scene can flip, elliptically, from an elevator ride to an overhead view of the street. Warning: it’s quite violent, so if you don’t like seeing blood and guts, stay away. But otherwise, Smile 2 is a really good, heart-pounding genre movie.
Bookworm, Monkey on a Stick and Smile 2 all open this weekend 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.
Some Antipodean Directors. Films reviewed: The Assistant, Come to Daddy
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
February is the worst month of the year, full of overcast skies, slush on the ground and a general malaise. So I thought: why not look at movies from a place where our winter is their summer? At least the directors, if not the stories. This week I’m looking at two films by directors from the antipodes, one from Australia, another from New Zealand. There’s a thriller/horror about a young man searching for his father’s secrets; and a tense drama about a young woman uncovering horrible secrets in her office.
The Assistant
Wri/Dir: Kitty Green (Interview: Ukraine is not a Brothel)
Jane (Julia Garner) is a young woman trying to make it in New York City. Hired straight out of Northwestern, she’s currently at the bottom of the ladder, but hopes to work her way up. She’s an assistant at a medium-sized movie industry corporation with offices in New York, London and LA. She’s the first one to arrive, the last one to leave, the sort who eats her fruit loops standing up in the office kitchen. All the grunt work falls to her — order lunch, sort head shots, distribute memos, serve coffee, book hotel rooms, tidy up her boss’s office. And deal with angry abusive people blaming everything on her. She brushes it all off in 
exchange for the promise of future work.
But something doesn’t seem quite right. A newly hired assistant, a pretty aspiring actress, has just arrived from Boise, Idaho, fresh out of high school, who has only worked as a waitress in a diner. Jane commutes from remote Astoria while the newest assistant is staying at a first-class hotel. She finds a woman’s earring under a cushion in the boss’s couch. Why do actresses leave the boss’s office in tears? Why is she sending out blank cheques to unnamed people? And what will happen to the new assistant who thinks she’s here for an audition? Although she doesn’t face sexual abuse from her boss, it’s becoming increasingly clear that other women do. Why isn’t anyone talking about it? And is she to blame of she doesn’t speak up?
The Assistant is a cold, hard look at the rampant sexual harassment and abuse women face. It’s set at some point in the past, before the #MeToo movement broke, 
when everybody knew what was going on, but nobody ever did anything about it. Or if they did, they would be paid hush money to keep it away from the public. Male assistants laugh nervously, making jokes about which pieces of the boss’s furniture you should never sit in. Older women take it as a given: don’t worry dear, you’re not his type. The movie just lays its out before the audience in all its horribleness… without ever showing it.
Julia Garner gives a stunning performance as Jane, conveying a succession of unspoken emotions over the course of one day through facial expressions and body language: dread, distrust, realization, horror, and fear. There’s a terrific scene where she wraps herself up in a winter coat and a big scarf – like a suit of armour – to somehow shield her from the bad stuff happening all around her. This film gives a realistic look at a widespread problem reduced to a single day in one unnamed office.
The Assistant is a subtly, powerful movie about a difficult and uncomfortable topic that has to be told.
Come to Daddy
Dir: Ant Timpson (Turbo Boy)
Norval Greenwood (Elijah Wood) is a privileged, 35-year-old guy from LA. He loves fashion, celebrity and the big city. His prize possession is a limited edition, solid gold cel phone designed by Lorde. But something is missing from his life. His father walked out when he was five and Norval was raised by his mother in a Beverley Hills mansion. So when he receives a cryptic, letter from his long-lost Dad telling him he wants to talk to him, he decides to do it. He follows a handwritten map to a rocky beach in the pacific northwest until he finds an isolated, wooden house decorated with christmas lights clinging to the edge of a cliff. He knocks on the door, and a dessicated, grizzled old man opens it. “Hi Dad, Here I am…”
But this is not the kindly father he remembers. Gordon (Stephen McHattie) is a mean drunk, staggering around swilling plonk as he shoots insults at his son. His beady
eyes look like dried out raisins. Norval wants to get the hell out of there but only after his dad tells him why he asked him to come in the first place. But when the old man threatens to chop him up with a cleaver, he knows something is not right.
Come to Daddy is a nihilistic thriller/horror as seen through a darkly comic lens. Elijah Wood is great as a nervous, self-centred guy whose First World problems are dwarfed by real life dangers… involving a killer, an eccentric policeman, a coroner, a swingers convention at a nearby motel, and the unexplained noises, that echo — clang clang clang — around the nearly empty house. The vintage Thai soundtrack helps balance the blood and gore. This is a particular genre; either you like it or 
you don’t, but I love darkly twisted movies like this, with the quirky characters and constant surprises that keeps me glued to my seat till the final revelation.
The Assistant and Come to Daddy 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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