Category Archives: Matt

Gifted

Apart from dramatic courtroom confessions, dick jokes, and Shia LaBeouf, there’s nothing more obnoxious onscreen than smart kids.

The smart kid in Gifted- Marc Webb’s first non-Spiderman film since 2009’s 500 Days of Mckenna Grace as “Mary Adler” and Chris Evans as “Frank AdSummer- is a 7 year-old math prodigy named Mary. Mary (Mckenna Grace) has been doing just fine being home schooled by her uncle Frank (a bearded Chris Evans) and hanging out with their neighbour (Octavia Spencer) until Frank decides she needs friends her own age and sends her to public school. It doesn’t take long for her first-grade teacher (Jenny Slate) to discover that she’s a genius and word travels fast to Mary’s estranged but suddenly very interested British grandmother Evelyn (Lindsay Duncan).

For a child prodigy in a movie called Gifted, Mary isn’t that bright. And, believe it or not, that’s a good thing. Compared to the smartass, impossibly wise and witty kids in most Hollywood movies, she’s surprisingly and refreshingly childish. She acts like a kid, talks like a kid, and plays like a kid. She’s just crazy good at math. Like Rain Man good at math. But apart from the advanced calculations that she can do in her head, she’s just an ordinary 7 year-old. And, as played by the also very gifted Mckenna Grace, she’s the best thing about this movie and is much more convincing than an uncharacteristically charismaless Evans.

Chris-Evan-GiftedScreenwriter Tom Flynn doesn’t handle complex problems quite as well as Mary does. Because the question of how best to raise any child, never mind such an unusual one, can’t be as easy as his script seems to think. The drama unfolds at a tense custody battle between Frank (who just wants Mary to have a normal childhood) and Evelyn (who wants her to go to some fancy school and dedicate herself to reaching her full potential). There are interesting questions to be had here but Flynn comes up with enough sneaky screenwriting tricks and twists to get out of having to have any of them.

If you can forgive Evans’ bland performance and Flynn’s sentimental approach, there’s a lot to like about Gifted. Actually, I’m quite confident that most people will love it and even be annoyed with me for nitpicking at it. The local audience at Wednesday’s preview screening applauded wildly at at least a half-dozen zingers and speeches. Which is my only real problem with it. It’s an entertaining movie about characters that we care about but it’s more interested in soliciting applause than it is provoking discussion.

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The Last Word

the last word 2So, Harriet (Shirley MacLaine) likes things done a certain way. She gets so impatient with those who can’t follow her instructions that she often winds up having to do everything herself as she frequently pushes her gardener, cook, and hairdresser aside. So it should come as not surprise that she would want final say on her own obituary.

Enter Anne (Amanda Seyfried), the aspiring writer who Harriet hires to write her obituary. It’s not an easy job. Not just because Harriet is a demanding micro-manager. Despite all her considerable success, everyone Anne interviews about her-even her priest- hates her. So an 81 year-old who’s spent her life being nasty to people sets out to use the time she has left to rewrite her own history, dragging the almost-always exasperated Anne along for the ride.

If you’ve heard of this movie at all, by now you’ve probably heard that it’s pretty bad. And it really kind of is. But I honestly think there is a really good idea for a movie hidden somewhere within this unapologetically trite screenplay. One of the movie’s better scenes features a hilariously confident Harriet barging in on an independent radio station making a shockingly effective case for why she should be hired as a DJ. They give her a chance and it’s kind of awesome.

the last wordIn the right hands, a dramedy featuring the 82 year-old MacLaine playing an unlikely host of a radio show for hipsters could be a lot of fun, which The Last Word generally isn’t. More importantly though, making this subplot the actual plot might have given the movie some much-needed focus. Because for a movie about making every moment count, The Last Word has an astonishing number of throwaway scenes and uninspired subplots.

So in a comedy with no real focus except that Life is Precious So Don’t Waste It, it falls on its stars to keep it watchable. And although “watchable” may be a strong word for a movie like this, MacLaine’s still got it. Actually, to carry any movie in your 80s is pretty impressive and I give her full credit for finding a way to breathe some life into a character that would otherwise have been too vaguely written to be interesting. Seyfried isn’t exactly bad so much as she just doesn’t do anything to really help make Anne stand out from any of the other Millennials who have learnt valuable and unexpected life lessons from seniors in the movies lately.

MacLaine does impressive wok but neither the script or her co-stars are there to back her up.

 

 

Julieta

“I don’t make motion pictures. I make EMOTION pictures”.

I can’t promise that the great Pedro Almodóvar actually said this but this quote was how my film teacher introduced me to the filmmaker’s work before showing us All About My Mother. As a 19 year-old college student, the only EMOTION I felt with any sincerity while watching Almodóvar’s 1999 classic was boredom.

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I’m glad I gave him another chance. I’ve seen many (though certainly not all) of his films and have re-watched Mother at least twice and have come to appreciate the focus on genuine human emotion that make up his films as well as the beautiful colours that are signatures of his cinematography.

It’s a beautiful thing when a work of art can transport you back to your youth and Julieta is that rare film. It’s the kind of film that reminds you what it’s like to be 19 and bored beyond belief by a Pedro Almodóvar film. So bored that I was willing to risk the glares of my fellow theatergoers by momentarily turning on my cell phone just to see how much more of this I had to sit through.

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Which isn’t so say that Julieta is a bad movie because it’s far from it. It’s script is inspired by three interconnected short stories from renowned Canadian writer Alice Munro, a fact that I am somehow irrationally a bit proud of as a Canadian. As a teenager, Julieta has a flirtation and affair with a mysterious man on a train. As a young mother, she visits her parents only to discover her mother doesn’t seem to be getting the care that she needs. And as an aging widow, she tries to reunite with her estranged daughter who left in search of spiritual enlightenment and never returned.

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The mother-daughter segment is the strongest of the three stories and Almodóvar is smart to use his somewhat non-linear structure to tease it throughout the film. As usual, he favours emotion over motion and the feelings always ring true and the film is always lovely to look at. Despite his fascination with the feelings and inner lives of his characters though, he’s usually much more generous with plot. While my favourite Almodóvar films tell riveting and unpredictable stories, there isn’t enough to connect the three parts of Julieta to feel like one story. Ironically for a film with three stories, there doesn’t seem to be enough story in Julieta to fill a full movie. It’s not bad but I’ve come to expect better.

Passengers

passengersImagine being stranded on a deserted island. Would you wish for company, even though you knew that that person would then be stranded too? What if you discovered that you had the power to make that dream come true?

Jim (Chris Pratt) faces a futuristic version of this very dilemma in Passengers, director Morten Tyldum’s follow-up to The Imitation Game. Jim, along with 5,000 others, has chosen to leave his life on Earth to start fresh by colonizing a distant planet. When his hibernation pod malfunctions, Jim finds that he has somehow woken up 90 years before the ship is scheduled to reach its destination. Meaning that he will almost certainly die of old age long before he’ll get the chance to even speak to another person.

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The loneliness is palpable but becomes downright excruciating once he discovers that he’s figured out how to wake another passenger. One sleeping beauty in particular has caught his eye. Aurora (Jennifer Lawrence), as Jim discovers through extensive research of the ship’s files, is smart, pretty, and funny and seems like the perfect companion for this 90 year voyage.

It’s quite an interesting predicament. What if Tom Hanks had gotten so lonely in Cast Away that he was able to magically sentence Helen Hunt to life on the island with him? Or if James Franco had been able to trap his buddy Seth Rogen under that rock so that he would have some company? Obviously, it’s a pretty shitty thing to do to someone and Jim knows it. He doesn’t take the decision lightly and it’s a tribute to Pratt’s talent that we can feel his struggle enough to forgive him.

Passengers begins to unravel though once Aurora wakes up. A brief meditation on what isolation can do to a person quickly becomes a typical romantic comedy with an atypical setting. Boy meets girl based on a lie. Everything seems to be going great until girl discovers lie. Girl makes up with boy. If you think the fact that Jim’s deception is somewhat more serious than a How to Lose a Guy in 10 Days article (“He murdered me,” as Aurora puts it) would alter this formula in any way, unfortunately you’d be disappointed.

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It’s also worth commenting that Jim chooses Aurora for her looks and charm. Yes, she’s actually quite bright but she’s a journalist. Out of 5,000 passengers, you’d think he could have found someone more qualified to help maintain a spaceship for 90 years and maybe even help him figure out how to get back to sleep. She’s clever and tough but still pretty useless once the ships starts to fall apart and Jim the mechanic needs to figure out how to save her and everyone else on board, thus winning back her heart. The cop-out is downright insulting.  Besides, as cinema, watching someone fix a broken spaceship is neither as suspenseful or exciting as you might think.

What many critics panning Passengers won’t tell you is that the first 20-30 minutes are actually quite gripping. From there on it’s pretty much as bad as they say.

Miss Sloane

miss-sloane-32016 Golden Globe nominee Jessica Chastain plays Elizabeth Sloane, a notorious Washington anti-regulation lobbyist taking on the biggest challenge of her career when she’s asked to help take on the powerful gun lobby.

It’s timely and potentially divisive subject matter that will surely be attacked in many online comment sections as Liberal Hollywood Elites trying to take your guns away. But, honestly, can’t we use a rational discussion on gun control right now?

Well, you won’t find any of that here. Neither Sloane nor her opponents are particularly interested in facts or rhetoric. They are masters of spin, manipulation, and trickery. Never mind guns or politics, this is really a movie about sleight of hand. It has more in common with movies about magicians, con artists, or thieves  than movies about politics.

Film Review Miss SloanAnd maybe this is supposed to be the point. The only problem is that and Miss Sloane (the movie) seems to love the thrill of the chase as much as it claims to be outraged by her methods. For awhile, this behind-the-scenes look at what it takes to pass a bill in Washington (or keep one from passing) is almost fascinating and thought-provoking but the endless double crosses and Sloane’s nearly superhuman foresight make it harder and harder to take any of this seriously.

Needless to say, Chastain is pretty much the best thing about the movie. Any insight miss-sloane-2we get into her character comes more from her performance than Jonathan Perera’s script. But even she occasionally fails to convince during some scenes where she seems to be acting more for the trailer than the actual film. I can only assume director John Madden is to blame for this given that Miss Sloane also showcases inexplicable overacting from the likes of Michael Stuhlbarg, Sam Waterston, and Mark Strong that I can’t believe made the final cut. You’d think  a director of a Best Picture winner (Shakespeare in Love but still) would have done a better job of reining them in.

Madden may have had trouble keeping control of his hammy cast but he still manages to make a watchable film. It is slickly edited and never boring. And I have to admit, its most outrageous twists are the best ones. It just feels like a bit of a missed opportunity.

Maybe I shouldn’t complain. I knew almost nothing about this movie going in and expected something serious and dry. I was anticipating a chore and got a preposterous guilty pleasure that I’m still trying to forgive myself for kind of liking.

 

 

Manchester by the Sea

I knew going into Manchester by the Sea that it was one of the most critically acclaimed American movies of the century so far but I was still somehow surprised by how blown away I was.

Kenneth Lonergan has made a fantastic film about family, grief, and how easy it is to push people away when we’re hurting. It’s one of 2016’s best films not because it has any particularly new ideas or innovative style but simply because it’s refreshingly honest.

Casey Affleck (believe the hype, he kills it in this) plays Lee Chandler, a reclusive janitor who returns to his hometown after the sudden death of his brother (played by Kyle Chandler). Lee is surprised to learn that he will need to be staying home a lot longer than he had planned when he discovers that his brother’s will has named him as the guardian of his teenage nephew (Lucas Hedges). Losing a brother and raising a grieving teenager is further complicated by the memories of unspeakable pain and tragedy that his hometown holds.

Manchester by the Sea isn’t always pleasant but, with its sense of dark humour, never feels like a chore. Lonergan is an expert at finding humour in the unlikeliest of situations without it ever feeling forced. Actually, nothing really feels forced. It’ll make you feel powerful emotions without resorting to sentimentality. Even its non-linear structure doesn’t feel like a gimmick.

And there’s not a bad performance to speak of. Affleck has never been better and his scenes with Hedges are priceless. 2016 Golden Globe nominee Michelle Williams makes great use of her limited screen time as Lee’s ex-wife in her emotionally rawest performances in years.

Go see it!

Zero Days

I was so nervous the morning of the election that I could barely concentrate on anything else. I worried about voter intimidation at polling stations and about what would happen if Donald Trump and his supporters refused to accept a Hillary Clinton victory. I think my biggest fear  was a close enough race that would send the message to future candidates that, despite Trump’s loss, there was still a place for his brand of inflammatory rhetoric.

Well, most of you now know that I may have lacked imagination when dreaming up Donald Trump Holds Campaign Rally In Keene, New Hampshirethe 2016 American Election’s worst-case scenario. Misogyny and xenophobia  seem to have its place in American political discourse after all- the Oval Office on weekdays and Trump Tower on the weekends. A lot of people have said a lot of things to try to make me feel better. “Geez, give him a chance. If he succeeds, we succeed,” they say. “He’s not going to do any of the things he said,” seems like a popular response, which even if true seems to miss the point. One person even made the bizarre claim “Don’t worry. Orange people never do anything”.

zero-days“Sure, he’s unprepared and easily distracted but give him time,” would makes more sense if the world was a simple place where nothing all that important or complex were going on. Zero Days, the new documentary from Alex Gibney and the film I’m using as an excuse to talk about the feelings I can’t shake since the election, paints a scary picture of the complexity of the security threats that face the United States and the world. Specifically, Zero Days is focused on cyber security and the story of  the Stuxnet virus.

If you are as unfamiliar with Stuxnet as I was, I won’t spoil it for you. Even thoughzero-days-2 Gibney (Taxi to the Dark Side, The Armstrong Lie, Going Clear) takes his subject seriously, his documentary can’t help feeling like a Hollywood thriller and the twists can feel pretty exciting until you remember that this is real life. The director is wise to play up the suspense given that all this talk of worms and centrifuges can get a little technical and continually reminding us how high the stakes are is an excellent motivator to pay attention to all the tech talk. The interviews with the security company that discovered Stuxnet, the politicians who can neither confirm nor deny anything, and the NSA whistleblowers are all gripping.

Maybe it’s all these film festivals that have me so worried. If you’ve been watching the documentaries we’ve been watching lately, the future- even without Trump- can seem like a pretty uncertain and scary place. From cyber attacks to nuclear weapons, climate change to sexting scandals, the challenges facing our and future generations can seem overwhelming. Electing wise and level-headed world leaders would have seemed like a logical place to start.

 

 

American Honey

American Honey is one of those rare American movies that are so beautiful that even Shia LaBeouf couldn’t ruin it.

I’m not exaggerating. It really is that good. In fact, Shia’s in it. And he’s really goodamerican-honey-3. Really, really good.

American Honey works neither in spite of or because of his performance. Instead, he is just one of many important parts of an impressive cast of mostly non-actors with not a single weak link in the bunch. Jake (LaBeouf) leads a team of about a dozen runaway youths who earn their living by travelling across the United States selling magazine door-to-door. Their newest recruit Star (Sasha Lane) isn’t so sure that she is comfortable with the lies that her new colleagues use to sell their product but, having seemingly nowhere else to go and having quickly fallen for Jake, she starts to feel at home with them anyway.

american-honey-2I struggle to communicate what it is that works so well about American Honey. My writer’s block was so bad that I went to see it a second time, quite a commitment with its 163-minute running time. All I’ve really learnt from two sittings is that writer-director Andre Arnold creates a believable world around these characters and makes it easy for the audience to feel like they’re a part of it. (Well, maybe I should just speak for myself. At my first screening, the film had lost over half its audience by the end).

To keep from getting too bored or discouraged while on the road, Jake’s team engage in american-honeyany number of traditions and rituals that are often somehow both unsettling and charming. Their favourite songs, games, and chants serve the film well in helping create a subculture that we can believe and relate to. Beautifully naturalistic performances from an exceptionally well-chosen cast, great choice of music, and some terrific (though sometimes elf-indulgent) cinematography help bring their world to life.

It’s hard to describe what works about American Honey because it works mostly on an emotional level. Intellectually, I’m not sure if it’s really “about” anything other than an unusually honest and surreal coming of age story but the power of the filmmaking gave me chills.

 

Weiner

“Good to see a bunch of political junkies like me,” quipped a beaming NHFF programmer as he introduced last week’s screening of Weiner. “You’d think most people have had enough of political scandals at this point. But not you”. The packed Music Hall Loft cheered in agreement.

I’ve been so busy feverishly reading everything I can find about the American election lately that I couldn’t help seeking out anything the festival had to offer on elections and the issues facing voters this year.

There’s nothing quite like a public meltdown. I’ve caught myself snickering out loud all morning just thinking about some of Trump’s most quotable sulking from last night’s debate. I didn’t know nearly as much about Anthony Weiner’s crash and burn so was looking forward to learning more with Josh Kriegman and Elyse Steinberg’s documentary Weiner.

Directors Kriegman and Steinberg were given seemingly unlimited behind the scenes access to Weiner’s 2013 campaign for Mayor of New York City, just two years after his resignation from Congress after his first sexting scandal. Amazingly, everything seems to be going just fine with the campaign until another embarrassing photo resurfaces. Kriegman and Steinberg’s cameras are there from day one to capture his staff’s attempts at damage control and some seriously uncomfortable moments between Weiner and wife Huma Abedin.

“So, yes, I did the thing,” Weiner admits at the very start of the film. “But I did a lot of other things too”. His self-destructive habits, of which his fits of public anger are as damaging as his possible sex addiction, make it hard to find anyone but himself to blame for his downfall. But as tempting as it is to laugh at him (the festival audience laughed, cheered, and jeered at he screen so much you’d think you were at a midnight genre screening), a nagging feeling  of weird sympathy for him may give you pause. There’s something almost unjust about seeing a charismatic politician fighting so passionately for his constituents brought down by such an embarrassing scandal. Sure, the story plays well on late night comedy shows and his last name- hilariously appropriate to the fourteen year-old boy in all of us- makes his mistakes impossible to forget. But he did other things too. And this documentary makes a strong case that his wiener isn’t the only thing he should be remembered for.

Holy crap. Never mind. I literally just read an article about him carrying on texting a 15 year-old girl. Fuck that guy.

So…. still. It’s worth watching for the voyeuristic pleasure of watching an ambitious and prideful man dig a hole for himself. And it might just make you ask some important questions about what really matters when deciding who to vote for and about the media’s obsession with scandal.

 

 

 

 

Shorts: ImagineNative Film Festival

God’s Acre

You hear the squelching of his boots before you register much else. An older godsacre_02Aboriginal man is paying his respects at a rustic grave. The mud takes hold of his boots, lets go only reluctantly. He plods back to his humble shack, and sets to work counting stores. His traps are empty. Nothing grows. A way of life very likely already threatened is now near extinction with floods inching ever closer.

Two Mounties shows up to serve him a final evacuation notice; he’s the last hold out. “Even the animals knew enough to get out of here,” they tell him, and though he knows this to be true, he is unable to leave. With less than 15 minutes running time, we can only guess at this man’s bond to the land, why it means so much to him, why he feels so tied to his home that he puts himself in peril just to stay. Likewise we can only guess at what life in the city would be like for him, a man who still finds dinner in a trap he laid in woods he knows like the back of his hand; a man who signs his name with an X.

With very little dialogue, Lorne Cardinal masters the character and gives him dignity as he wrestles with a life-changing decision, with only hinted-at spiritual repercussions. First-time director Kelton Stepanowich shot God’s Acre in Fort Chipewyan, Alberta, and manages some striking imagery within his limited budget. The sound mixing is perhaps not what it should be but this is clearly a film maker with something to say about Aboriginal identity, and his is one of many voices that needs to be heard.

Dig It If You Can

This film by Kyle Bell serves as an introductory piece to Native American artist, Steven Paul Judd. Judd is a mostly self-taught man, whether it be film, Photoshop, even writing for television. The need to create drives him but his Native (Kiowa-Choctaw) ancestry is what inspires him.

spj3Growing up on a reservation, Judd had limited exposure to outside influences like film and television, and what little he did see never reflected his own image. Today he creates the kind of images that would have comforted his younger self in a style blending pop culture and Native art that’s all his own. Banksy-esque, even Warhol-esque, his art is at once familiar and thought-provoking. His bold, “indigenized” pieces, overtly or covertly political, give people pause. But more than that, they offer his people representation, a chance to see their own culture and identity as a direct influence on the popular culture of today.

Director Kyle Bell (himself Thlopthlocco/Creek) takes a cool approach to the film’s subject, never quite achieving intimacy, unafraid to use up 2 of the film’s economic 20 minutes keeping Judd at a remove. But he accomplishes what he sets out to do: he gives voice to a subversive Indian artist, and thus gives voice to an entire people.

7 Minutes

Marie’s walk home from her campus library is almost exactly 7 minutes. After being aggressively harassed one night, she can no longer help noticing just how vulnerable a young Native woman in Saskatoon can be. Her experience of reporting the incident, to the seemingly uninterested local police, only makes her feel less safe.

7 Minutes, the 7-minute documentary short from Tasha Hubbard, recreates 7min.pngMarie’s experience through a re-enactment narrated using Marie’s own words.

I’m not always a fan of re-enactments in documentaries. Like most people, for example, I was captivated by 2008’s Oscar-winner Man on Wire, but could have done without the fake footage. The recreation of Marie’s walk home, however, serves 7 Minutes quite nicely. First, it spares its subject, who is already brave enough to tell her story, from having to appear onscreen. Second, it is artfully shot, edited and, though I would have rather they tone down the spooky music, does an excellent job building tension. Lastly, it gives us the chance to imagine what it must have been like for her on that very scary night.

As a film, 7 Minutes turns out not to be long enough; Hubbard is very effective at covering the night in question in great and harrowing detail. Marie’s summary in the film’s final minutes about her experience with the police and her conclusions about violence towards First Nations women feel rushed. As a result the film feels like a short segment of an important and thought-provoking feature-length documentary.

Mannahatta

Films like Mannahatta are always tough to watch as a white male. They serve as a reminder that what’s mine has come at someone else’s expense. Manhattan is the classic example of that, a chunk of land “bought” for nothing where the tiniest square of land is now worth millions of dollars, from high-end department stores to small neighbourhood pizzerias.

mannahatta_fb6a8815_movMannahatta focuses on one of those Manhattan pizzerias. The film maintains a tight focus in order to convey its message, and that is a wise choice. Mannahatta is a small story of a new employee at the pizzeria who is haunted by a man that no one else sees. At first he is confused and annoyed by this ghost but eventually he listens to and understands him. It’s a cooperative awakening and we see that a joint effort is required to truly bury the horrors of the past.

The biggest problems are best dealt with by breaking them down into smaller, manageable bits. Mannahatta takes that approach and it succeeds in its endeavour. It is thought-provoking without being preachy, and its message is both obvious and worthy of repetition. We are all in this together, and while we cannot change the past, we can move forward together if we are guided by compassion and empathy. One step at a time.

 

 

Check out Cinema Axis for more coverage from the ImagineNative film festival.