Category Archives: Kick-ass! (Matt)

Matt says: go see it. Now.

TJFF: Future ’38

How do I explain this? . Future ’38 was filmed last year but is pretending to have been filmed in 1938. It is set in 2018 but, remember, this is the 2018 as imagined by fictional filmmakers from the 1930s. Or present day filmmakers imaging what 1930s filmmakers would think 2018 would look like.

Film historians or whoever’s job it is to uncover lost screwball comedies about time travel from 1938 have recently uncovered a lost screwball comedy about time travel from 1938. After a brief introduction by a real life scientist who praises the scientific accuracy of all the time travel bits, the film begins in black and white in the height of World War II. Essex (Nick Westrate) is the most dependable GI this side of the Atlantic. His mission: Leap 80 years into the future in search of the powerful isotope Formica which, according to Dr. Elcourt from the Laboratory of Science, will be strong enough by 2018 to win the war for the Allies.

Essex wakes up (in Technicolor) in 2018. A version of 2018 you just have to see for yourself. On the one hand, it’s a startlingly accurate picture of 21st century life. On the other, it’s filtered through the limited imagination of a fictional 1930s science fiction writer. They have a 24 hour news cycle, for example. it’s just a guy on a unicycle though yelling “Extry Extry”.

In 2018, Essex almost immediately meets Banky (Betty Gilpin), a streetwise hotel manager who thinks he’s just “a little queer” because he’s from Pasadena. Once she agrees to show Essex around (“I could use a little fun and you’re Coney Island without the smell”), Future ’38 quickly finds its rhythm. The way they get the 21st century both right and wrong at the same time is funny enough. But Future ’38 is at its absolute funniest as a straight 30s style screwball comedy that mimics the fast-paced dialogue, slapstick, and romance more than it mocks it.

There’s a joke or two here that are maybe just a bit much. Most do land though even once the novelty of the outrageous style and concept has worn off and Gilpin and Westrate play off each other like true stars of the 30s. This could have easily been unwatchable had the writing, casting, and attention to detail not been so spot on. I think you’ll like it.

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SXSW: The World Before Your Feet

Within the thousands of neighbourhoods in the five boroughs of New York City, there are 8,000 miles of streets, bridges, parks, beaches, and cemeteries to explore. For the past six years, 37 year-old Matt Green has been on a mission to walk every single one of them.

Go ahead and ask. He won’t mind. People ask him all the time. “Why?” He really doesn’t know, other than that he loves the city, wants to be doing this, and for reasons he can’t put his finger on he feels that he’s doing something important.

How does he find the time to do all this? He doesn’t have a job. “Are you like independently wealthy or something?” one skeptical onlooker asked. “No, I’m… I’m independently homeless”.

While following Green as he walks, couchsurfs, and catsits his ways around the city, director Jeremy Workman captures way too much beauty, detail, and history to be absorbed properly in a single viewing. And his documentary The World Before Your Feet will make you want to absorb every detail. That’s what Green’s journey and Workman’s film are all about. The beauty of travelling on foot, according to Green, is that you notice things. And with nothing to do but walk and take notice, he never misses a chance to stop to smell the roses, read the signs, and meet the people.

The World Before Your Feet can seem a little episodic at times but how can it not? Green has six years worth of photos, stories, and research to share and this delightful and inspiring documentary does its best to show and tell as much of it as it can. Green and Workman answer most of the hows and whys as well as they can but really this is a film about enjoying the moment which offers a whole lot of moments of its own for us to enjoy.

 

SXSW: They Live Here, Now

Since 1986, Casa Marianella has provided housing and assistance for thousands of recent immigrants, refugees, and asylum seekers from 40 countries around the world. Dedicated staff help create a healthy sense of community within their walls and help their guests learn English, find jobs, and see immigration lawyers.

Nayeli is a recent addition to the Casa Marianella community. She is 16 years old and would rather not say her last name. The story of her journey from Mexico (she’d rather not say what part) to Austin is a harrowing one, filled with loss, violence, and fear. She is seeking asylum in the US but, as a lawyer tells her, her chances aren’t great. It’s impossible not to feel for her while listening to her story and watching her make connections at Casa Marianella. Unbeknownst to the staff and residents, not to mention me as I was watching the film, she is a fictional character being played by an actress.

Knowing that the documentary I thought I’d been watching was in fact a “fiction/doc hybrid” changes the way I think about the film. My initial review, had I not bothered with some post-viewing research, would have admired the film’s subject and intentions but complained that, with only a 63 minutes running time, we don’t get enough chance to get to know the people staying thereI would have cited Nayeli as an exception because she gets the most screen time. I also probably would have said that this is one of those rare movies that I’d actually wished had been longer.

I now think that maybe I’d been asking a lot of filmmaker Jason Outenreath and his participants. Outenreath spent a year visiting Casa Marianella and forming relationships and building trust. He did not conduct pre-interviews but instead asked his participants “Tell me whatever you feel comfortable with, about your experience as an immigrant coming to the United States”. The answers he gets vary both in length and in how much detail they are willing to provide. Many of the residents have been through unspeakable trauma and some have good reason to fear for their safety. When I think of what they’ve been through, I appreciate even more how giving they are with their trust in Outenreath and the audience and in how much they are willing to share.

What struck me the most about many of the interviews was the gratitude of the film’s subjects. Many take the time to thank the camera for the opportunity to speak, which is something I don’t see a lot of in documentaries. Outenreath sought to give voice to immigrants and refugees who are too often left out of the much politicized discussion on immigrants and refugees. With all the statistics and rhetoric being thrown around on both sides of the debate, Outenreath reminds us to take the time to listen to the people that we’re arguing about.

SXSW: From All Corners

Quick question: How do you feel about cardboard?

Unless your name is Fuyuki Shimazu, the subject of this documentary, your honest answer would probably have to be “I don’t have strong feelings about it either way’. Until day, it was virtually impossible for me to imagine anyone responding any differently. Well, Fuyuki Shimazu loves cardboard.

It all started when he was a poor student wanting a wallet of his own but not able to afford one. Left with only two choices- do without for awhile or get creative- he made himself one out of cardboard. I can’t remember offhand if he made it from cardboard he found in the garbage or if he started doing that later.

Fuyuki’s outside the box thinking turned into a passion and eventually a career.  Searching the warehouses and dumpsters all over japan, he began to collect cardboard that caught his eye and began to make a living off of making and selling wallets. And they’re nicer than you might think. Seen through Fuyuki’s eyes, yeah, I can sort of see it. I wouldn’t have noticed before but there are a lot of cardboard boxes out there with eye-catching designs.

It’s not easy to know what to make of Fuyuki at first as he travels the country to various factories to learn the stories and inspirations behind his favourite cardboard boxes. he worked at a prestigious advertising firm for 3 years as an art director where his colleagues said things like “Whenever you talk, it’s always about cardboard”, “He’s a different kind of species”, and “We have all sorts of employees so he was not the only weird one, but…”. He’s a likable guy though and seems to be able to make friends with anyone. His enthusiasm, if not exactly contagious, is endearing, inspiring, and unquestionably genuine. He’s a great subject for a documentary and director Ryusuke Okajima is smart to keep the focus mostly on him.

There’s a more universal point to all this, of course, about upcycling. With Earth’s resources dwindling as they are… Oh never mind. Just watch the movie. I promise it’ll be worth your time. And if you’re as burnt out on documentaries about the environment as I am, you’ll be relieved to know that Okajima doesn’t belabor this point and only mentions it in any detail towards the end. Fuyuki Shimazu and his wallets are fascinating and From All Corners is wise to keep the focus mostly on them.

 

NHFF 2017: An Exceptional Year for Documentaries (Part 1)

Last year, the New Hampshire Film Festival was as swept up in the 2016 election drama as I was. They featured an impressive selection of politically themed documentaries and even hosted a standing-room only panel discussion on Politics in Film. I couldn’t get enough last year and took in as much of it as I could.

The documentary selection this year was noticeably less overtly political, presumably because the NHFF is as burnt out on American politics as I am at this point. Still, in keeping with tradition, the New Hampshire Film Festival remains the one time of year that I favour documentaries. The four docs I saw this year have very little in common in either subject or structure but are all challenging and depressing in their own way.

sacred cod

Sacred Cod: The Fight for a New England Tradition– Due to climate change and overfishing, the cod population in the Gulf of Maine has been dwindling like never before. As a result, fishing communities in New England that have thrived for generations are now struggling as many are forced to sell their boats.

Far from being just another climate change documentary, Sacred Cod focuses instead on the people who are affected by federal government restrictions that severely limit the number of cod that they can catch. To many of them, it feels like government over-regulation is costing them not just their livelihood but their way of life and proud community traditions. Some even doubt the science that the government is citing, given that you can still cherry pick areas that are still rich with cod.

Of the documentaries I saw at the festival, Sacred Cod is the most traditional in style but is exceptional in its compassion. The decreasing cod population and the necessity of government intervention is indisputable at this point and directors Steve Liss, Andy Laub, and David Abel know it but they show as much empathy to those affected by the quotas as they do commitment to the facts.

the reagan show

The Reagan Show– “So, what is a Canadian doing in New Hampshire watching a documentary about our greatest president?”. A young guy I met in line asked me this before The Reagan Show and I have no idea whether he was being sarcastic or not about that last part.

Nor can I tell you with any confidence what the filmmakers behind The Reagan Show thought of America’s 40th president. There are no narrators or even original interviews with which they can betray their political biases. They rely exclusively on footage from the White House archives and TV news segments to tell their story. Specifically, they’re focused on the story of how Reagan exceeded the expectations of most critics in his arms race negotiations with then Soviet Union President Mikhail Gorbachev.

If The Reagan Show has a point of view, it’s that Reagan was the first President to really understand television and how to play to the cameras in shaping the public’s perception of him. As far as politics goes, your own point of view will likely be challenged. I went in with an anti-Reagan bias and found that point of view challenged just as I’m sure the Reagan enthusiast I talked to earlier had his challenged too.

TIFF 2017: Bingo! I Got Bingo!, Part 2

Catching 3 films by female directors is easy. The TIFF lineup this and every year has lots of interesting films to choose from, many of them directed by women. Getting full TIFF Bingo isn’t so easy.

I have stress dreams about the Midnight Madness ball and avoid it like it’s a not deep-fried vegetable so that’s out. And, while Battle of the Sexes had its moments, I can’t honestly say that I thought “Now this I’ve got to try”.

But I did…

Thank a Volunteer

Mom and Dad– The festival and the city that hosts it can be a little overwhelming at first. Even though I feel like an expert by the end of my stay, every year I’m feeling a little disoriented when I first get into town. So I’ve just checked into my hotel, it’s 11:40 at night, and I’ve got a Midnight Madness screening of Brian Taylor’s Mom and Dad in 20 minutes. I’m running around trying to find Ryerson theater and I’m getting stressed out imagining all the ways that I could humiliate myself trying to volley a beach ball in a crowded theater. Luckily, a friendly orange shirt is never far away and I was very thankful to the volunteers who helped me find where to line up. I never miss a chance to thank a volunteer and I applaud for them every time the TIFF commercial prompts us to.

So, anyway, Mom and Dad. Taylor (Crank, Ghost Rider: Spirit of Vengence) seems to be just begging us to make this a cult classic. An unexplained virus suddenly hits suburbia in the middle of the school day that infects parents with an uncontrollable urge to violently murder their offspring. Poor Carly (13 Reasons Why’s Anne Winters) and Josh Ryan (Transparent’s Zackary Arthur) are forced to fend for themselves against their now-deranged parents played by Nicolas Cage and Selma Blair.

Mom and Dad is bananas. Almost every aspect of the film- from the basic concept down to the music and over-caffeinated editing- seems driven by the same manic energy that fuels Cage’s typically unhinged performance. The actor, who in the eyes of the enthusiastic Midnight Madness crowd may as well have been John Lennon, already starts overacting long before the virus starts making everyone crazy. He outCages himself in this movie and- while it would be a stretch to call it a good performance- it feels like the right performance for this movie. But it’s Blair, surprisingly, who somehow finds a way to keep this runaway train from going off the rails. From the start, we can tell that her character is a good mom. She loves her kids but she’s exhausted and taken for granted. She’s the only believable character in the whole thing and her presence brings Mom and Dad back to earth. It’s through her that we start to sense that the virus is tapping into an existential crisis that was already in place before the infection.

To call Mom and Dad good would be ridiculous but it’s not really trying to be. It just wants to be fun and, for the most part, it is. It’s often funny, even coming dangerously close to smart, especially when it’s in terrible taste.

Phone Dies

I got some great photos this year, many of which you can see if you follow us on Twitter. I like sitting in the front row so I was able to get some shots of Nicolas Cage, Alicia Vikander, Alexander Payne, and Darren Aronofsky that I’m really happy with. But you won’t see a photo of Ellen Page (who, if I’m not mistaken, counts as a superhero out of spandex) because my phone died.

The Cured– So I did manage to get a couple of pictures of Ellen Page during the Q&A for The Cured. They’re just not tweetable because my phone didn’t have enough juice left for the flash to work. So it’s not a great picture. It’s a shame because I love her.

And, yes, fortunately for my TIFF Bingo card, my phone officially died on my way back to my hotel.

On to The Cured. This debut feature from Irish director David Freyne finds yet another way to breathe new life into a genre that seems to never run out of ways to reinvent itself: the zombie movie. Once this version of the zombie apocalypse has died down, two thirds of the “infected’ have been successfully cured and are slowly being reintegrated into society. Ex-zombies don’t have it easy though. They still have painful memories of the suffering that they inflicted and most people still don’t trust them.

Senan (Sam Keeley) has just been released from a treatment facility and is taken in by his brother’s wife Abbie (Page) who has been widowed by the outbreak. When he falls in with a militant group of zombie rights activists, Senan struggles to find a balance between his desire to fit in and atone for his crimes and his instinct to stand up for his fellow cured.

To Freyne, his film is really about how we treat each other in today’s mixed up world. It’s a serious movie with serious themes that somehow finds time to deliver the goods when it comes to zombie scares. Freyne’s direction is confident and precise, more so than almost any other movie I saw at the festival this year.

So there you have it. I wore out my phone battery, saw 3 films by female directors, thanked every volunteer that I spoke to, and even managed to see some good movies while I was at it. By now, experienced Bingo players have probably already spotted my path to victory but please feel free to stay tuned for more details.

 

Genocidal Organ

In the near future, a devastating terrorist attack in Sarajevo shocks the world. The governments of most industrialized countries use the widespread panic to justify an increase in surveillance of their own citizens. While the developed world is safer than ever before, the third world- without the means to conduct such widespread surveillance- descends into chaos and mass murder.

Captain Clavis Shepherd  is one of the few Americans unfortunate enough to have to navigate this chaos. As a covert intelligence agent, Shepherd conducts bloody and dangerous missions around the world while his superiors monitor his vitals from Washington to make sure he’s not feeling too much compassion. His latest mission is to track down the mysterious John Paul, the architect of so many genocides around the world.

Genocidal Organ is not always easy to follow but will reward those who try to try to keep up. It took me about twenty minutes, given that this is a Japanese film with Japanese animation and Japanese voice actors speaking Japanese, to realize that most of these characters are supposed to be American. It feels weird at first. This must be how Russian people feel watching Eastern Promises. Once you’ve figured out who everyone is though, it’s easy enough to settle in and just enjoy the movie.

Visually, Genocidal Organ is an impressive film. The animators create a believable setting and the shootouts have better choreography than most live-action films do. As I’ve said before, I’m no good at describing animations so here are some stills to give you an idea.

genocidal organ 1

genocidal organ 5

genocidal organ 4

genocidal organ 3

As a story, it’s an engaging spy thriller that tricks you into having fun because it looks so good. At its heart though, Genocidal Organ is hopelessly bleak. It’s a movie that, like John Paul (who is quite fond of monologuing), has a lot to say. While the script probably has a couple of speeches too many, its musings on linguistics, psychology, American foreign policy, and freedom are always interesting and often troubling. Be prepared to sit and think about this one for a few days after you see it.

The Honor Farm

Honor farm

I hadn’t seen my friend Josh in months and was eager to tell him all about the exciting new movie I saw at the Fantasia Film Festival. “I just saw The Honor Farm and I’m still trying to figure it out,” I told him while seated at a nearby Mexican restaurant.

I hadn’t seen the baby boomer somehow standing right over me until he chose this moment to cut me off. “I just saw that,” he complained. “It was terrible“.

I didn’t really want to get into it with this guy nor was I even confident that I had understood the film well enough to defend it so I just smiled politely as he told me that it wasn’t even scary. I bashfully admitted that I was the guy who jumped and cried out during the final act.

honor farm 2

The Honor Farm is exactly that kind of movie. It’s the kind of movie that you need to let sink in while you ignore those who will immediately and loudly dismiss it. Lucy (Olivia Grace Applegate) seems to feels like she’s just going through the motions as she prepares for her prom. After her drunk date embarasses her and tries to force himself on her, she reluctantly agrees to accompany her best friend Anne (Katie Folger) and a classmate she barely knows into the woods to take shrooms in an abandoned prison farm.

Other than that, the less you know about The Honor Farm the better. Although you should probably be warned that horror fans like the one described above may be disappointed. Because the set up seems bloody perfect. Eight teenagers, most of them seeming to fit a typical scary movie stereotype, entering a creepy prison on prom night might make you start placing bets on who will be first to die but this isn’t your typical scary movie. What follows is truly surreal and genre-bending and few of these character arcs play out like you’d expect.

I may have been a little lost during the closing credits but The Honor Farm keeps getting better the more i think about it. And I’ve been thinking about it a lot.

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.