Author Archives: Jay

I’m Your Woman

Jean’s life is a little unusual even before it goes to shit. She sits on a lounge chair in the back yard, sipping wine in her marabou-trimmed dressing gown, dark glasses covering the sorrow in her eyes. She and her husband meant to have babies, she tells us, but couldn’t. So now she’s got nothing to do. Except one day husband Eddie walks through the door with a baby in his arms, provenance unknown, may as well have the tags still attached not unlike her fancy new dressing gown.

With a baby literally dropped right in her lap, Jean’s (Rachel Brosnahan) life is certainly turned upside down, and quite suddenly, but baby Harry’s actually the least of it. One night her husband goes out to work and in his stead, an associate of his turns up at some ungodly hour, stuffing a suitcase full of cash she didn’t know was in their closet, telling her not to pause for clothes or toiletries, they need to get out NOW. Delivered to her new minder Cal (Arinzé Kene), it turns out that her husband is a bad man who’s just betrayed his partners, and now she and baby Harry are running for their lives, their only allies Cal and his wife Teri (Marsha Stephanie Blake), who were complete strangers to her just minutes ago. Of course, she’s starting to realize that her husband’s been a stranger to her too, she just didn’t know it. A lot of his secrets are coming loose, and none of them are making Jean or her baby any safer.

I knew I was in for a 1970s crime drama of some sort but was pretty pleased to find it defying expectations. Director Julia Hart (who writes with husband/director Jordan Horowitz) wants to see things from the other side of the story, turning our assumptions on their head and finding fresh perspectives to breathe new life into a genre we’ve so many times before it’s already retro. Smart and subversive but sparsely told, I’m Your Woman examines mob life for the wives who’ve been left at home, but not entirely left out of the fray. The 70s were a rapidly changing time for women and the roles they played, and Hart discovers a very clever space for exploring it – at least between bouts of action, of course.

Beastie Boys Story

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Mike Diamond and Adam Horovitz stopped performing as Beastie Boys when friend and bandmate Adam Yauch died in 2012 after a 3 year battle with cancer. Actually, their last performance was in 2009, though none of them knew that it would be then.

This is an untraditional documentary; Diamond and Horovitz have mounted a stage show about the band’s history, its improbable beginnings, the ups and downs of fame, success, and friendship, all filmed by director Spike Jonze in front of a live audience. With behind the scenes photos, intimate stories, and little-known details, Diamond and Horovitz paint an intimate portrait of the Beastie Boys origin story, the turning points, the slumps, the resurrections, the regrets, the compromises, the hardships, and the insane parties.

Of course, at the heart of it all is a 40 year friendship between 3 guys who never grew bored of creating together. It’s clear that Diamond and Horovitz relish the opportunity to remember and honour their fallen friend, but are still emotional doing so. I felt it too, not because of his absence but because he actually felt quite present, so well remembered, so vibrant in memory and legacy. If you’re any kind of fan, you’ll enjoy taking a trip back to their earliest days, and then riding that crazy wave all the way to their most recent success. With so many hits in their catalogue, it’s definitely an enjoyable trip.

The Crow

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Can you believe I watched this for the first time this year? What attracted many has kept me away: the spectre of actor Brandon Lee’s actual death.

Brandon Lee, son of Bruce, was filming a scene like almost any other in the movie. It was a film about vigilante justice, heavy on violence. Michael Massee, the actor portraying Funboy, was required to fire a .44 magnum revolver loaded with blanks at Lee. The revolver had been inspected days earlier for a previously filmed scene in which it was not fired but needed to be seen loaded. Dummy rounds are used for this, which have a bullet, a spent primer, and no powder. One of the dummy rounds had a bullet, a live primer, and no powder. When test-fired, the primer propelled the bullet into the barrel, where it stopped. The gun was then rechecked, but no anomalies were found because the primer was now spent and the barrel was not inspected. Days later, the same gun was to be used again, without specific consent from or an additional inspection by the weapons coordinator, who had been sent home early. This time the gun was loaded with blanks, which are fully charged rounds but have no bullets. They make a convincing gunshot noise when fired, but no bullet is released – except in this case, there was a bullet, lodged in the barrel. A blank can still kill if used improperly, even without a bullet; the force of the exploding gas is enough to cause significant damage. But in Lee’s case, the exploding gas caught up with the bullet in the chamber and sent it straight into Lee’s abdomen where it lodged itself into Lee’s lower spine. The crew eventually picked up on Lee’s being slow to get up; he was rushed to hospital and spent 5 hours in surgery but was pronounced dead the next day, just 2 weeks before he was to marry his sweetheart, Eliza. His body was flown to Seattle to be buried beside his father. Production was shut down with an incomplete film and Paramount wrote it off. Entertainment Media Investment Corporation then bought the film and completed it using rewrites, body doubles, and ground-breaking (for 1993) CGI special effects.

So I feel a little guilty saying that I just didn’t like it. I suppose it was the Twilight of its time, its dark energy meant to feed the teenage need for rebellion and a certain morbid romanticism. But the whole thing’s a bit overwrought for me. Its moody, melancholic style doesn’t nearly make up for the wholly ridiculous things happening on screen. It’s about a guy who comes back from the dead in order to seek revenge on those responsible for murdering himself and his girlfriend, accompanied by – well, I’m sorry to say it, but it’s quite visibly a raven.

Despite Lee’s magnetic performance, the movie feels corny, and let’s face it – dated. It simply hasn’t aged well. Sean felt it was important that I see it, and since I made him watch The Craft, it was only fair that I succumbed. But that doesn’t mean I have to like it.

A Midnight Kiss

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Mia (Adelaide Kane) and her brother both work with their parents at the family business, a party planning company that’s just putting their last Christmas party of the season to bed. Whew! Mom and dad have actually worked their last party ever – they’re retiring, leaving the company to the kids, and off to Palm Springs to enjoy Christmas off their feet. Mia and brother Jake should also be enjoying some well-deserved time off, but a very big client, tech entrepreneur Kate (Pauline Egan), has had a new year’s eve party catastrophe and needs their help rather desperately, despite the late hour of her request.

The company is in no position to refuse such a big client, so Mia is going to work double time, no triple time, to make it happen, especially after a broken leg puts her stupid brother out of commission. Luckily his college buddy, jet-setting documentarian David (Carlos PenaVega) is visiting for Christmas, and they rather ruthlessly put him to work. He’s supposed to be just a warm body for getting the manual labour done but to Mia’s surprise (and annoyance), he starts interjecting with his own bright ideas. Mia’s not sure how she’ll survive this intensive week of party planning with a guy who’s quickly getting on her last nerve, but it’s not like she has a choice.

In fact, if you’ve ever seen a Hallmark movie before, you know that Mia and David’s real job is to fall in love, and the party planning is just an excuse to throw them into the same room together a whole bunch to facilitate the process. How long will Mia’s brother milk the broken leg? Will David stick around long enough to actually help, or will he be off to China, leaving his new love in the lurch? What was the gold paint for? Who will secure the fireworks permits? How many staff members can attend a party they’re supposed to be working and kiss at midnight without sacrificing professionalism? Hint: far fewer than actually do, but I guess you’ll have to head on over to Hallmark to figure out the exact number for yourself.

Royal New Year’s Eve

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Oh you thought the Hallmark coverage had ended? Shame on you! Hallmark oozes romantic schmaltz all year round.

Caitlyn (Jessy Schram) quit her teaching job to work in fashion, but a year later she’s still just the assistant and her magazine editor boss Abigail (Cheryl Ladd) still hasn’t noticed her. Abigail is helping with the new year’s eve royal fundraising gala where it is rumoured that prince Jeffrey (Sam Page) will propose to his girlfriend, lady Isabelle (Hayley Sales), as per family tradition. She’s hoping that lady Isabelle will choose one of her daughter Leighton’s (Nicole LaPlaca) designs for the occasion, but her eye is drawn to Caitlyn’s design instead, wouldn’t you know it?

Meanwhile, prince Jeffrey has been “acting regular” and “dressing casual” and introduces himself simply as Jeff on the numerous occasions he and Caitlyn run into each other before they’re finally introduced in an official capacity. Ice broken, Caitlyn and Jeffrey are going to be working together rather closely – not only is Caitlyn designing Isabelle’s dress, Abigail is forcing her to plan that new year’s eve party too, hoping of course that Caitlyn will be overwhelmed and one of Leighton’s designs will sub in last minute when Caitlyn fails to produce a dress.

As per Hallmark rules, all this tête à tête-ing should have Caitlyn and Jeffrey falling in love. Except Jeffrey, as we’re all aware, has a girlfriend he’s just days away from proposing to. He is fully off the market. So that leaves…his man servant Barnaby, maybe? Is that a thing? No, no, it’s definitely Jeffrey. Which is awkward, because it means their romance is starting with an emotional affair at the very least, which isn’t normally Hallmark’s style, and a little scandalous besides, not exactly their wholesome best. Will Caitlyn’s dress be ready in time? Will she successfully steal the prince? Will the king dare to intervene? Will a former Charlie’s Angel fire her ass for the audacity? Guess you’ll have to watch to find out. Happy new year!

Boys State

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Every year, the American Legion hosts a thousand 17-year-old boys from Texas and has them build a representative government from the ground up. Every state but Hawaii does the same or similar, but this particular documentary is hanging around Austin, Texas, to witness their particular experience. High schools nominate which students will be sent, ostensibly some from all different political backgrounds, dividing them up into ‘cities’ which will then elect mock municipal officials, and representatives of state legislature, even state officials all the way up to governor. It sounds rather noble, definitely educational, like a mock-UN for local politics. But in practice, it’s actually pretty ugly. The kids aren’t learning to be civic-minded good citizens, they’re learning to lie, cheat – and worse.

Obviously politics is a dirty game, but I think it might be nice to at least teach kids the right way, the better way, the idealistic way before we give up on them entirely in adulthood and actually let them vote…or run! But no, these kids are petty and ruthless. They’ve come to win at any cost, and there’s no pretense in running clean campaigns. While organizing political parties, their fundamentals are decided upon by what tracks well, not by anyone’s actual beliefs. They’ve already learned about identity politics, and they’ll comb each other’s social media, looking for any weakness they can leak and exploit. They make empty promises, pass harmful bills, and shamelessly pander for votes.

It’s clear that as far as American politics goes, the corruption is baked right in. It’s being taught and endorsed by the American Legion! While I of course abhor the Boys State program for what it’s allowing, I applaud the documentary for exposing it for what it is. It’s important to understand just how ingrained these dirty politics have become. By the age of 17, it is clear to these kids that a life and career in politics is not about values or beliefs or doing what’s right or helping people or serving one’s country. It’s about winning, at any cost, and being willing to make any compromise in order to cross that finish line in front of one’s opponent. If adult politicians are varying degrees of good at concealing that naked fact, these kids are not. Some of us (by which I mean myself) often make the mistake of believing that things will be better when the old guard dies out, but this film makes it clear that this is a dangerous expectation – not only have the bad habits already been passed down, these kids are honing them. Soon there will be no pretense at all in the game, simply undisguised greed and self-interest.

Ready Or Not

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Alex and Grace are getting married! Well, Alex (Mark O’Brien) and Grace (Samara Weaving) think it’s exclamation point worthy anyway. Well, Grace does. Well, Alex and Grace are getting married. How’s that? They’re happy, they’re in love. Grace has been alone so much of her life, she’s ultra excited to be getting a family, even if Alex’s family is quite intimidating. They’re wealthy, they’re snooty, and they’re not all approving. Alex isn’t exactly approving of them either, and he’s mostly stayed away. He would have been happier to stay away, and remain unmarried, but Grace insisted, and he complied. So now they’re at the family estate, being treated to a beautiful wedding, even if most of the relatives glower at Grace like she’s a gold digging bitch. Which she isn’t, just for the record, but it isn’t exactly unprecedented. Alex’s brother Daniel (Adam Brody) is married to a woman who quite openly married for money. Alex’s father Tony (Henry Czerny) is visibly disapproving of Grace, but aunt Helene (now played by Nicky Guadagni) even more so. Only Alex’s mother Becky (Andie MacDowell) is at all welcoming, reminding her that only Alex’s opinion matters.

Later that night, Grace and Alex have retired for the evening and are about to do that things couples tend to do on their wedding night but are interrupted by Helene, who reminds Alex that as per tradition with every new addition to the Le Domas family, Grace has to join the family for a game at midnight. The whole family gathers around a table while Tony explains that this tradition was started by his great grandfather Victor, who made a deal with a mysterious benefactor who granted Victor and his future generations their wealth, and in exchange left a special box, their price to pay. The family passes Grace the box to draw a card from it, a game that they must play. She draws hide and seek.

To win, Grace must stay hidden until dawn. In fact, to survive, she must stay hidden until dawn, though she doesn’t know this yet. As she goes to hide, the family arms themselves with guns, ax and crossbow. The Le Domases believe they need to hunt Grace and kill her before dawn, or else they themselves will die. Alex finally confesses the truth, admitting he didn’t tell her about this because he feared that she would leave him, but he promises to find a way to get her out safely. Alex shouldn’t make promises he can’t keep. And he probably shouldn’t keep secrets that involve murder.

Anyway, the movie is a straight-up game of hide and seek where the consequences are deadly. It’s gripping and terrifying, and reminded me of childhood games played in the woods, after dark, where the consequences were not murdery whatsoever, but sure felt like it as I hid, heart pounding, fearing that I’d be discovered, and fearing that I wouldn’t.

Samara Weaving is a delight to watch, from beautiful bride to deeply enraged, she goes from one extreme to the other over the course of a single night, and does it convincingly and with gleeful abandon. I struggle with scary movies as you may know, but found this one to be good fun. It’s macabre, and darkly funny. Not many directors manage this careful balance in tone but Matt Bettinelli-Olpin and Tyler Gillett don’t just get away with it, they revel in it, and it works. We were late to the party, had heard plenty of good things, but were still surprised by how fun it was to watch, how entertaining, and what a subversive little twist on the genre it offered. If you haven’t seen it yet yourself, you might think about correcting that.

Folklore: The Long Pond Studio Sessions

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Many of us used our time in lockdown to rediscover an old skill or perhaps to hone a new one. Nearly everyone baked. Some knitted, others took to Tiktok. Taylor Swift used her down time to write music, which, considering Folklore is her eighth studio album and she’s only 30 (but 31 next week!), it seems song writing is pretty much her default setting.

I have never considered myself a Taylor Swift fan but have really come to appreciate and admire her for her business savvy and her musicianship. Like a lot of us, both her job and her creativity were tested and inspired by being more restrictive in movement but more free with time. We had to find new ways of doing old things, and even Taylor Swift was not immune. But she didn’t let that stop her.

Over long distance, she not only wrote songs, but collaborated with longtime producer Jack Antonoff and new friend Aaron Dessner (of The National), recording separately, even putting up an impromptu recording studio in her own home for vocals. With others also cooling their heels, she also snagged a duet with Bon Iver’s Justin Vernon, which is good enough to make a fan out of anyone, I’d bet. Clearly there is a great deal of musical chemistry happening between these talented folks, making for an album that is different from Swift’s usual fare. This one’s a little more pulled back, telling stories from a more macro point of view rather than the personal, confessional stuff she usually writes (and believes fans expect), as she explores some indie and alt rock sounds.

In this Disney+ documentary, Swift, Antonoff, and Dessner are finally able to get together together and perform their new songs together, at the studio where they were mixed. Sitting fireside, Swift opens up, giving us insight into how each song was conceived, what her influences her, and who her muses were. One surprise collaborator turns out to be boyfriend Joe Alwyn, who apparently plays piano and has a lovely voice, but appears on the album under a pseudonym (look for “William Bowery”).

If you’re not a fan of Swift’s yet, well, that’s just it – you’re not a fan yet. But it’s getting harder and harder to resist.

The Croods: A New Age

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So the last time we met the Croods, back in 2013, Grug (Nicolas Cage), the overprotective patriarch of a caveman family, was struggling to adapt to his teenage daughter Eep’s (Emma Stone) new modern friend Guy (Ryan Reynolds). Guy has new ideas, new inventions, and Grug senses that his position as leader of the hunt is threatened by this little punk. But out of pure necessity they agreed to work together, Grug searching for safety for his pack, and Guy seeking the ever elusive “tomorrow.” Eventually Grug is forced to admit that Guy’s modern thinking is in fact better for their survival, and he must have been right because the family’s still intact for a sequel.

They’re all still following the light toward “tomorrow,” but Eep and Guy are starting to think of starting their own pack, which Grug takes rather hard. Any plans for splitting up are put on hold when it seems they may have found tomorrow: huzzah! In fact, it’s a gated community, a lush oasis, an exotic land of safety and plenty. Its inhabitants, and in fact creators, are Hope (Leslie Mann) and Phil (Peter Dinklage) Betterman, and their teenage daughter Dawn (Kelly Marie Tran), who are actually family friends from Guy’s childhood. The Bettermans are beyond ecstatic to be reunited with Guy, who would make the perfect mate for their daughter (not that there are any other options), and to show off their better way of living. Indeed, their treehouse is the absolute zenith in modern living, with every convenience, every comfort, and best of all, loads of food. Grug doesn’t necessarily appreciate its “privacy” or Phil’s emphasis on individualism, but wife Ugga (Catherine Keener) and the rest of the family seem awfully keen – even Eep, who is rather happy to have her first female friend, at least until she starts to see Dawn as competition for the one and only teenage boy in the vicinity. And after all, Guy is a modern human like them; what could he see in a cavegirl like her?

There’s lots of adventure to be had in A New Age, new lands to discover, new characters to sneer at, and plenty of wacky, zany stuff, like land sharks and punch monkeys, which may make tough critics like my nephews, who will not appreciate the teenage romance aspects, feel a little more forgiving. And while parents won’t be as keen to watch this as, say, Soul, which is hardly fair comparison, I’m sure we can all relate to fearing change, especially when it comes to family. There is a balance between the modern and the traditional that every generation must find for itself, and according to Dreamworks, that’s been true since before humans walked fully upright.

Strange But True

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Since their son Ronnie died 5 years ago on prom night, Charlene (Amy Ryan) and Richard (Greg Kinnear) have grieved differently, and separated. Charlene and her younger son Philip (Nick Robinson) still live at home and are surprised one day to find Ronnie’s girlfriend Melissa (Margaret Qualley) on their doorstep and even more surprised to hear her news. She’s pregnant. With Ronnie’s child. Yes, Ronnie who died five years ago. He’s the only boy she was ever with.

Charlene and Philip remain skeptical despite Melissa’s “proof,” ie, a recording of a psychic reading that confirmed it. Melissa’s been distraught ever since she lost her boyfriend, and has been obsessed with his death. Her parents have thrown her out because of her interest in mysticism so she lives with a sweet elderly couple, Bill (Brian Cox) and Gail (Blythe Danner), who have all but adopted her. But Bill’s health is questionable, and while Gail worries about him, we worry that Bill and Gail may not always be around to care for Melissa or her baby on the way. Meanwhile, Melissa isn’t totally healthy herself. She’s had blackouts recently and needs to take care of herself and the baby that’s growing in her belly. Shaken, Charlene has been researching furiously, but rather than learn anything useful about frozen sperm, but learns that her ex-husband Richard has been secretly been paying Melissa’s rent at Bill and Gail’s. Philip’s also holding on to his own secrets; there are so many threads to entangle that Charlene won’t be able to keep up, and frankly, neither will we.

Turns out, dead baby daddies were the least of our worries. Rowan Athale’s thriller isn’t thrilling in the traditional sense, but it did surprise and horrify me, and I did find it compelling and interesting. It’s a great cast, a little wasted, who take us to places far scarier than merely the supernatural. The film is indeed quite strange, unapologetically so, and while it is not and never was true, it is a pretty decent watch.