Author Archives: Jay

What Did Jack Do?

Is this the Lynchiest thing David Lynch has ever done?

A train station is on lock down. Inside a station cafe, a hard-boiled homicide detective (Lynch) interrogates Jack, a murder suspect.

And Jack just happens to be a capuchin monkey in a tailored suit.

That sentence is inherently funny and yet it is not played for laughs at all. This short film, shot in black and white, takes itself very seriously. In its universe, this sort of thing is unremarkable. But in mine, in ours, it’s actually not so much funny as unsettling. Jack is a monkey but visual effects grant him a human mouth. He sounds rather like a Speak N Spell. But his words are quite grave; Jack is a tormented little monkey.

What Did Jack Do? is the film equivalent of an edible – trippy as hell. And yet it’s so simple that it’s easily followed, even while you’re constantly nervous-giggling, wondering what the hell is going on.

All great directors are voyeurs. They watch things intently in order to convey life authentically. But Lynch is also an exhibitionist. He likes to expose things, always exploring life’s dirty pockets and turning them inside out for all the world to see.

In this, it feels like Lynch is unpacking one of cinema’s favourite cliches: the interrogation. He plays with the language, the pace, the intensity. In casting a monkey he is rather blatantly pointing out the absurdity of what we’ve come to expect in a police procedural. He’s blowing that shit up, and as a lover of all things unexpected and bizarre, these were 17 minutes that have engaged me in ways that most full-length films do not.

Troop Zero

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A little girl named Christmas (Mckenna Grace) is fixated on the stars, in part because her mother died and now belongs up there, among the comets and the black holes. When she learns that the winners of the upcoming Jamboree will have the opportunity to record a special message to be sent into space, she’s determined to win. But first she has to assemble her very own Birdie Scout troop to compete.

Recruit #1 is her best friend Joseph, who will choreograph the winning dance. But with her short list of friends thus exhausted, she has to choose among the bullies to round out the numbers. Her father (Jim Gaffigan) is a mostly unpaid lawyer and busy dog owner and single father, so he appoints his long-suffering assistant Miss Rayleen (Viola Davis) as their den mother. She prefers criminals and murderers to little girls, but she’s getting paid, allegedly, so Troop Zero is born.

I could watch this for Davis alone. I’d watch a spin-off show of her character reacting to courtroom dramas all day long. Or her going head to head with Allison Janney playing rival troop mother, Miss Massey. But you know what was a nice surprise? Because Davis and Janney excelling is on-brand and totally expected. But the kids in this are actually interesting little characters. It’s an underdog-outsider story, as many tales about childhood are, but screenwriter Lucy Alibar has some tricks up her sleeve and directors Bert & Bertie know how to make a mark.

Christmas longs to break away from what’s expected of her, but the lessons learned here are more like pride and dignity. Owning who you are and realizing we all contain multitudes. And of course there’s always value in shelling out for a well-placed Bowie tune. Charmed the pants right off me. In fact, by the end of this little film, it gathers enough steam to laugh a sneak attack on my emotions. There’s a cosmic feel-goodness to it that’s hard to resist.

A Fall From Grace

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Grace is a grandmother, a devout church lady, a steadfast volunteer. Also a murderer. Also a murderer? That one doesn’t fit. But she’s in jail and she confessed. So how come no one believes she did it?

Jasmine (Bresha Webb) is a young public defender. She’s already questioning whether the law the right career path for her, so to get throw this case as her first murder trial is a little daunting. She’s inching along cautiously but Grace (Crystal Fox) isn’t making things easy for her. She’s more concerned with protecting other people than herself.

In court, her story unravels: after a post-divorce depression, Grace meets an artist, a younger man who sweeps her off her feet. This is her alleged victim. But obviously things are not what they seem or else they wouldn’t have bothered to make a movie. Well, they hardly bothered to do even that. It’s pretty bland as courtroom dramas go, with a pedestrian script by writer-director Tyler Perry.

And yet this movie was fractionally entertaining to me, for a few reasons.

The boring reason: the performances were good. Ish. If you can look past the bad wigs.
It’s always fun to watch Sean, an actual real-life lawyer, squirm through what Tyler Perry (or whomever) thinks is the law. As a non-lawyer myself, there was plenty of objectionable content that even a lay person could easily point out, but yelling “I object!” from my bed hasn’t persuaded a single Netflix judge yet.
Perry boasted that this film was shot in just 5 days. What he didn’t say was that he edited in just 5 minutes. At least that’s how it feels. You could play a very saucy drinking game just pointing out the plot holes, continuity errors and other fun editing mistakes of which there is a continuous parade.
My grandmother, who turns 87 this week, recently received a jury summons. God bless her little heart but even IF she could drive there and then by some miracle find the right place, and let’s be clear that I do not believe she could do either of those things, she would then not hear any single thing that anyone said. Not a thing. But let’s for a minute pretend she somehow gets there, and somehow hears things. She’s still not going to understand them. Not a damn thing. My grandmother speaks a hybrid of French and English but understands neither. For the past three decades she’s been getting by on the popular “nod and smile” technique. Later she’ll ask my mom, if she remembers. Which she probably won’t. So I’m mentally inserting my grandmother into the jury box, picturing her confused scrunched up nose, picking invisible lint off her slacks, balling up kleenex and putting it in her sleeve, and if she thinks anyone’s looking, smiling vaguely and nodding uncertainly in the direction she thinks is appropriate. Wouldn’t you be pleased to have her on a jury of your peers?

But wait just a minute y’all: my daddy is sleepin and mama ain’t around. There’s a twist!

My Hindu Friend

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Diego has been fighting cancer for a decade. The chemo has helped keep it at bay but is no longer working. The only chance he’s got is a bone marrow transplant but Diego doesn’t want to die in a hospital. To do nothing, his doctor warns him, means things will happen very quickly. In months.

Diego (Willem Dafoe) is a talented film maker who has managed to alienate a great number of his friends and family during his decade-long battle with cancer. But he somehow stumbles into a relationship and marries quickly – til death do them part. And then, having found the will to live in a beautiful woman, he goes to Seattle to face treatment.

Writer-director Hector Babenco is telling his own story in My Hindu Friend though he gives the character another name. His 1985 film Kiss of the Spider Woman was nominated for 4 Oscars, including best picture and best director, and won William Hurt best actor. 1987’s Ironweed earned acting noms for both Jack Nicholson and Meryl Streep. My Hindu Friend was Babenco’s last film.

Have you ever noticed that when someone dies we forget every single thing we ever bitched about them and start saying things like “her smile lit up a room”? And when someone has cancer we call them a “brave warrior” and back track on the whole “Karen’s a narcissist” agenda? Well this film doesn’t paint over the ugly portrait. It takes a ‘warts and all’ approach to the whole cancer crusader bit and Dafoe is of course up for both sides of the coin.

My Hindu Friend is a deep-dive into what makes life worth living – love, art, and how for some of us, the two are different words for the same thing. It’s a frank and often raw assessment of one’s life and the meaning we give it when it’s on being threatened with extinction.

Speed of Life

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June (Ann Dowd) is nearly 60 but hasn’t yet filled out the obligatory paperwork for relocation after 60. So says her house. Not in a weird way. The year is 2040 and her house is wired with a bunch of monitors and an Alexa-like voice tells her when her bills are due or the pH in her urine is less than desirable. June rips out all the monitors and buries them in her garden but you can’t really keep Big Brother out.

June has a good reason for not wanting to leave her home. Well, depends who you ask. A good reason to June sounds perfectly crazy to everyone else. You see, back in 2016 she and her boyfriend were having a fight. She’d just found out that David Bowie was dead and Edward, as usual, wanted to crack jokes. His inability to take anything seriously was a pretty big sore point in their relationship and they were on the verge of a blow-out fight about it when Edward disappeared. Like, a rip in the universe opened up and he went through it and was gone. Gone forever. Gone for the past 24 years.

But guess what? One night, Edward (Ray Santiago) reappears. He hasn’t aged a day. He doesn’t know that he was missing, presumed dead, mourned. Doesn’t recognize this older woman as his girlfriend June.

Speed of Life, written and directed by Liz Manashil, is interesting on a few levels:

a) The wormhole: where did he go, where has he been?

b) The relationship: is everything still there 24 years later, when June has changed so much and Edward not at all?

c) What happens in a few days when June turns 60 and “The Program” takes over?

The Program is a very interesting aspect; seniors 60 and over are given mandatory government housing where they no longer go outside, or socialize with other age groups. They are medicated, zombie-like. It’s a little funny because the old people in 2040 are Millennials. Old Millennials. It’ll happen to all of us. And I realize that Baby Boomers are sort of ruining everything just by reaching retirement age in such voluminous numbers. It’s crushing to the generations underneath them. So I get why you would want to deal with the problem. And yet Baby Boomers are also proving that 60 is hardly old at all. It used to be. Now it’s practically the same as 40. I know lots of Baby Boomers who are fit and busy and contributing in many ways, even outside employment (in fact: perhaps particularly outside employment). They are redefining old age even as they seem to reach it. They are living longer, yes, but also, I think, better. There are many more healthy years after retirement than ever before. So think of June (again: Ann Dowd) as somehow so old that she is now irrelevant to society…it’s jarring. It feels very Atwood. God I love sci-fi/ speculative fiction when it’s written by women.

Sword of Trust

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Cynthia’s a little disappointed to learn that she won’t inherit her dead grandfather’s house. In fact, the only inheritance Cynthia (Jillian Bell) and her wife Mary (Michaela Watkins) will receive is an old civil war-era sword that they can’t wait to dump at a pawn shop.

Mel (Marc Maron) owns just such a pawn shop. He isn’t overly impressed with the sword, or with Cynthia’s story about her GrandPappy, but when he learns that this sword may be of value to a certain kind of collector, his assistant Nathaniel (Jon Bass) puts him in touch with a man crazy enough to shell out big bucks. So now these four people are going to partner up and travel down to the deep south where a “proofer item,” ie, a sword that purports to prove that the south won the civil war, is high in demand.

You can imagine what kind of idiocy you invite into your life when you start hanging out with someone who vehemently believes in a southern victory. What other conspiracy theories are you likely to wind up in?

Sword of Trust is slow in the good way – it takes its time getting to know folks, and really probing the dirty corners of people’s wildest speculations. This is the kind of movie where the players just get in a room and hang out. Even when they’re locked in the back of a U-Haul they’re pithy and quippy and full of spunk.

We got to see Marc Maron at Just For Laughs this summer, and while I expected to be entertained, I wasn’t prepared to see a truly energizing and exciting set. This film gives him the space to act and react. Writer-director Lynn Shelton crafts the perfect opportunity for him, and then casts people around him with similar improvisational aplomb, especially Jillian Bell who has really blossomed in her last few roles. By the time Dan Bakkedahl makes his appearance, we’re already sold, and the rest is just icing on a confederate cake.

Girl Most Likely

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When you meet her mother, you’ll understand why Imogene Duncan would rather fake a suicide than go home when her boyfriend dumps her unceremoniously. Zelda isn’t the most nurturing of mothers given she spends more time in casinos than at home. A chronic gambler and hence constantly broke, Zelda (Annette Bening) isn’t much better now than she was then. Her boyfriend claims to be a time-traveling samurai (Matt Dillon), she’s renting Imogene’s (Kristen Wiig) bedroom to some stranger (Darren Criss), oh, and, her dead dad? Isn’t dead (Bob Balaban).

So displacing her disappointment in her failed relationship with her boyfriend to her father, she goes to New York in search for him but gets ejected from the city AGAIN. Poor Imogene. New Jersey is her worst nightmare but she just keeps winding up there no matter what she does. And spoiler alert: finding her absent father is not the key to her happiness. In fact, it’s very possible that Imogene doesn’t need to be saved by any man, not her dad, not her spoiled boyfriend, not even the samurai-CIA agent sleeping in her mother’s bed. If Imogene can just grow a tougher outer shell, she can take care of herself, face the truth, and fulfill her potential.

Girl Most Likely is a good reminder to fill your life with the right kind of people. And it’s a good reminder to me to fill my film appetite with a little more June Diane Raphael. Even playing the bitch best friend she was a scene-stealer and I almost hoped she’d reappear to fuck up Imogene’s life just a little more. Because she does it with such pizzazz! I love pizzazz. Although what an odd word to have just written twice. Amiright?

Atlantics

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In a suburb of Dakar, workers on a construction site go without pay for months. They decide to leave the country by boat for a better future in Spain. Among them is Souleiman (Ibrahima Traoré), Ada’s lover. But the men never reach Spain. They are presumed dead, lost at sea. Poor Ada (Mama Sane) cannot afford to spend time pining or mourning for her lost love because she’s betrothed, by arranged marriage, to someone else. Omar is wealthy and handsome. The only problem is that Ada’s still thinking of, and worried about, someone else. Oh her wedding day, Ada is withdrawn, depressed, but her friend Fanta (Amina Kane) is seduced by Omar’s beautiful home and its furnishings – particularly what is to the marital bedroom, outfitted in new, luxurious furniture. The wedding is interrupted by a fire, thought to be an act of arson: Omar’s beautiful bed burns.

The next day Issa (Amadou Mbow), a young detective, arrives to investigate. Ada soon finds herself under suspicion, subject to invasive interrogations and even a virginity test. But as Fanta, Issa, and others fall sick, certain people wonder whether this mysterious illness is actually the spirits of the lost men possessing their bodies to exact revenge.

Mati Diop’s film addresses economic disparity and gender inequality but first and foremost it remains a love story, beautiful and ethereal. Claire Mathon’s cinematography gives the film a distinctive feel. Mixing social commentary with the supernatural, Diop may be Senegal’s Jordan Peele, crafting a film that is unexpected and unpredictable, like nothing you’ve seen before.

Observe and Report

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When we were in Mexico I was reading a book about cyber warfare – not your typical beach read mind you but very informative and interesting (David Sanger’s The Perfect Weapon). Among many things it discussed the Sony hack. Basically, North Korea was very mad about a Seth Rogen movie called The Interview that involved the assassination of their leader. Apparently North Koreans can’t take a joke. I mean, lots of North Americans don’t find Seth Rogen particularly funny either, but most of them don’t commit cyber crime in retaliation. They released a whole bunch of very embarrassing emails for Sony but it actually had the opposite effect. Whereas the big whigs had been debating pulling the plug on The Interview, now they HAD to release it so that the terrorists didn’t win or some such American flag-waving sentiment. So they got a theatre and VOD release and a bunch of us watched it just to see what the fuss was all about.

I rewatched it out of curiosity but found that I’d already reviewed it on this site and I was shocked to find that we’ve been at this that long (it came out in 2014) but my opinion hasn’t wavered much. It is profoundly dumb and yet if you’re a fan of Rogen’s, you will find a chance or two to chuckle. But the movie really did benefit from North Korea’s interference, spurring a marketing campaign that money couldn’t buy and Hollywood couldn’t think up.

On a Seth Rogen kick, I gave Observe and Report a second chance as well. And the truth is, I found it even harder to laugh at this one. Rogen plays mall security guard Ronnie, hopelessly in love with makeup counter girl Brandi (Anna Faris) and even more hopelessly determined to be a real cop. When a flasher starts haunting the mall, Ronnie sees it as his opportunity to shine and does not take kindly to a real detective, the surly detective Harrison (Ray Liotta), stealing his thunder.

Possibly it’s hard to genuinely laugh at Ronnie because he’s dubbed bipolar and his single-minded delusions just come off as illness. Or possibly it’s because the film has a real mean streak. But probably it’s because the script is bad and director Jody Hill didn’t have the chops to wrangle his cast and crew. The film is simply too sloppy to guess whether Hill’s script is subversive or actually deeply racist and misogynistic. I can tell you that it feels like laughter borne in ignorance and I’m just not comfortable joining in. We deserve better, and frankly, so does Ronnie.