The Only Star Wars Trilogy that Matters

So you may have heard that my darling husband Sean has used my recovery from back surgery as the perfect excuse to finally induce me to watch the very thing I’vimagesCANZSY7Ve spent my whole life avoiding – Star Wars. No, I hadn’t seen a single one, and no, I never wanted to. And believe me, going 30 years in North America without seeing Star Wars is like going 30 years without a pregnancy scare: nearly impossible, and not without effort (I did both, and if I had to break the seal on one, damn right I’m glad it was George Lucas’s baby and not Sean’s).

Sean successfully dragged me to see The Force Awakens back in December, and I had to admit I didn’t hate it. I thought it was fun, and I knew that with a little oxy in my system, my resolve would crumble. And it meant so much to Sean, well, fine: let’s call it one of those marital compromises I usually think are a load of bullocks (after all, compromise usually just means you’re both a bit disappointed – might as well just make me happy, right, dear?).

First we watched the prequels, Episodes I-III. I can’t say I was inspired to go on with Star Wars OG, but you all were nearly as persistent as Sean, and so with minimal doping and only a little more whining, we did.

Did I love them???????

No.

Sorry, guys. I don’t know why I’m apologizing. I just know these films are beloved. They mean something to people, Sean included. They were part of his childhood. He was once a little boy who looked at the stars differently after this movie. Han-Shot-First-meme-Star-Wars-BlogThey informed the way he’d watch movies for the rest of his life, the way he’d tell stories, even, the way he knew good and evil. Fuck.

But me? I’m an old lady with half a back who’s watching them for the first time with my 2016 eyes. Which is not a comment on the technology. I think the prequels versus the original trilogy makes a strong statement in favour of practical effects. No, what I mean is: I’ve been living in a Star Wars-soaked world my whole life. They debuted before I was born. Our popular culture is not just influenced by these movies, but built around them. Never having seen the movies, I could still tell you what sound a light saber makes, or at least the sound young boys (and let’s face it – young men) make when they pretend play them.

So I know who Darth Vader is. SPOILER ALERT! I know he’s “the greatest villain ever.” And I know he’s the father. I know the iconic music John Williams wrote for him. And I know he was a socially awkward, whiny emo kid with weird, murdery impulses and an inability to talk to women. See how I said “spoiler alert”? That’s like, something that’s evolvdarthvader_starwarsed in the last 3 years, not the last 30. This stuff has just permeated culture at large. But in real life? Darth Vader doesn’t seem all that scary to me. I mean, Vader elevated the game, sure. But I’ve only ever exited in this elevated world. You got to compete.

But also: everyone complained about how Jar Jar Binks was so damned annoying in the prequelsc3po, but hello – isn’t he just the new C3PO? I wanted to find a wrench and beat his arms straight with it. Shut up  you insipid, whining good for nothing sorry excuse for a robot (any droid built by Anakin would be whiny though, wouldn’t it?).

And Luke? What a wimp. How is it possible that the Skywalkers are constantly called upon to save the galaxy, or the Jedi way, when in fact the male lineage in that family is so damned lame (props to the ladies – Leia and Rey are tough as shit)?lukeleia They whine and bumble and it makes me feel like the Jedis aren’t  super-cool badasses like I’ve been led to believe, but a group of guys probably living in their parents’ basement, meeting up to wear costumes and braid each other’s hair and play magic card games and pretend that not getting laid is a “code of honour” when it’s really just “never gonna happen” and “beyond their imaginations” anyway.

star-wars-9gagSo yeah, if you were 9 when you first saw this, I get it. Super cool space ships, weapons just aching to be turned into toys, and practically no kissing. Heaven! Or, you know, hell if you’re me.

The Program

Lance Armstrong: hero or villain?

A liar and a cheat, that’s for sure.

And that’s what this movie is about: one man’s relentless, ruthless pursuit of the only thing that matters to him – winning. And it’s not just that he was willing to cheat to keep up with the others, no, you have to cheat the best to be the best. He didn’t just cheat, he hired a whole team of cheaters in order to boost his performance while cloakitheprogramng his dishonesty. And he flaunted his power and prestige (that he largely earned being “The Face of Cancer through his Livestrong foundation) to intimidate and coerce others into staying silent.

Ben Foster stars as Lance Armstrong, and it’s a good fit. He does the smarmy bravado well, with glimpses of vulnerability that humanize him. Jesse Plemmons (the low-rent Matt Damon) co-stars as his team-mate, and Chris O’Dowd, my Irish boyfriend, as the sports journalist who MTMzMTA1NDUyODAzMjEzMzIythinks he smells a rat.

The script is the problem. It has to race through more than a decade of doping, and it does so pretty frenetically, not really dwelling on much other than his downfall. The story doesn’t seem to know if it’s about Lance Armstrong’s power-hungry cheating or David Walsh’s (the journalist) determined reporting, or about generalized ambition and abuse of power in the sports world.

Lance Armstrong is not a nice guy. He lied, repeatedly, unapologetically. He cheated in pursuit of fame and money and all things deplorable. He also beat cancer and raised a lot of money for its research. But it’s likely the reason he got cancer in the first place was all his doping. But his doping and his subsequent winning led him to rejuvenate his sport, and imagesthe Tour de France, inspiring many. So who is this man? Don’t look to The Program for the answer. It has little in terms of insight – it’s mostly a scrapbook of Lance’s greatest hits and David’s best articles about them, and questioning them.

The only part of this movie I found interesting is when Dustin Hoffman briefly appears as an insurer. U.S. Postal sponsored Armstrong’s team and paid him out bonuses for each win, and an insurance company backed them up. Armstrong won a LOT of Tours de France, and they owed him a LOT of money…except what if he cheated, then he didn’t really win, did he? Armstrong is prepared to throw EVERYONE under the bus to keep his lie alive, but we all know how that ended up. The truth is, there is little in this movie that we don’t already know. And with scattered story-telling and shoddy characterization – well, what’s the point?

 

The Force is Forced Upon me

It was only a month ago when I took in my first Star Wars movie, ever (The Force Awakens). The original trilogy was a big deal to Sean, as a kid, but he failed incite the same domnic-west-star-warspassion in me. Lucky for him, I underwent a hefty back surgery a couple of weeks ago and ever since then have been a) trapped in bed b) under the heavy influence of drugs. So it was under these influences that Sean took advantage of his poor, sickly wife, and we tackled the first three movies in the series, Episodes I, II, and III.

The Phantom Menace: Watching these movies turns out to be like playing peekaboo with celebrities. I may be in and out of consciousness, but I’m pretty sure I’ve spied Dominic West (of The Wire) as a guard, and handmaids greatly resembling Keira Knightley and Sofia Coppola. I like Ewan McGregor and Liam Neeson together, but almost everything outside of those two feels a bit silly. I’m definitely not a fan of Jar Jar Binks and while I’m not sure he was intentionally meant to be a racist caricature, he does make me cringe every time he talks. Interesting to see Darth Maul in action – I’ve long heard this DotF_TPM.pngvillain praised, and am disappointed that he turns out to be over and done with so quickly. Definitely digging his double-bladed light saber, though his fight with the two Jedis was uneven for me, sometimes thrilling, other times downright implausible. What I find most unforgivable in this movie are the cheesy screen wipes. Shouldn’t we, as a society, be above those by now?

Attack of the Clones: This one feels familiar when it opens – maybe a little The Fifth Element-ish? I also spent way too much time wondering – is that Rose Byrne? (yes, it is) and – that’s not Joel Edgerton, is it? dorme-star-wars(again, it is). Again I’m finding Ewan McGregor to be the best thing about this movie, and am missing Liam Neeson. Hayden Christensen isn’t great but mostly I’m stuck on why a photos-star-wars-attack-of-the-clones-23124364-1600-1200Queen and Senator would be attracted to such a whiny kid (last movie there was an 8 year age difference between the actors; this movie there’s none). I’m having a hard time keeping track of good guys and bad guys. I’m very WTF about Jimmy Smits appearing – um, really? Jimmy Smits? And same with The Phantom Menace, the very evident over-usage of green screens is tiring and flat. Also I’m wondering how it is that every time someone fights, they’re either on a very narrow bridge, or on the rim of a very big hole. Seems unlikely.

Revenge of the Sith: Whoa, this one’s got quite the body count. There’s a lot of beheadings\behandings\beleggings going on. And Anakin catching on fire? Brutal. And it star-wars-episode-iii-revenge-of-the-sith-hd-movie-2005-4goes on a for a LONG time. I was really feeling that Anakin’s back story was insufficient to explain why he’d gone over to the dark side but he might just be crispy enough to warrant it after all. As a fan of the original trilogy, Sean had a lot of problems with the prequels, not least of all because everything is so damned shiny and new in these movies. CGI makes everything look sleek and sparkly. All the ships and robots are rendered flawlessly, a huge contrast to the more practical effects used in the original movies, but chronologically, it makes no sense that 30 years later, the technology looks so much clunkier. I noticed that things like R2D2 and Vader’s mask are also so sleek that they end up looking like cheap plastic. But I’m having an even harder time justifying Padme’s death scene. Lost the will to live? Oh, is that an official medical diagnosis now? Look, lady, I’m sorry your first marriage didn’t work out and your husband turned out to be a bit of a dick (although let’s face it: Darth Vader is much sexier than joel-edgerton-star-warswhiny, emo Anakin, an entitled millennial from another millennium) but you can’t just check out. She was a fighter this whole time, politically savvy and a better shot than any of her male counterparts, but she can’t face raising her babies alone? Come on! So the babies get split up, to be raised by Jimmy Smits and Joel Edgerton. Is that weird? Yes it’s weird! Almost as weird as creepy little Hayden Christensen somehow morphing into James Earl Jones. That’s the kind of math that only George Lucas can account for.

 

So what did I think? I was as underwhelmed as I always suspected I’d be. These movies aren’t shitting all over my childhood since I still haven’t seen the original trilogy, but at no point was I glad that there were 3 whole movies to sit through. I never cared to see more. I never felt really attached to the characters, although Yoda grew on me. What did the prequels do for you?

Where does that leave me on the original trilogy? I suppose I’ll have to see them. And seeing how I’m still bed-bound, I’m sure Sean will have plenty of opportunity to foist them upon me. I am defenseless against The Force.

 

Dirty Grandpa

Robert De Niro clearly relishes his role in Dirty Grandpa as, you guessed it, the dirty grandpa. He cusses lots and spikes drinks with Zanex and flirts with Aubrey Plaza and takes his shirt off a lot and clearly is having a ton of fun all the way through.  Zac Efron also takes his shirt off a lot but throughout this movie he looks as uncomfortable as the middle aged, flip-phone owning couple sitting directly in front of us at last night’s screening. Maybe, as Jay observed, Efron is coming to the sobering realization that being shirtless is his thing and the best he can hope for is to be brought back as the shirtless grandpa if this movie is the start of a Rocky-like franchise.

My money’s on there being no sequel. Dirty Grandpa has a lot of laughs and an abundance of dick jokes, but it also seemed unnecessarily long and unnecessarily concerned with plot. I didn’t need to see everyone learn a lesson. I certainly did not need three generations of lessons being taught to De Niro, Efron, and Dermot Mulroney. And we see stereotypes of hippies, lacrosse jocks, and gang members learn something too. The only ones exempt from this rule seem to be the very funny Jason Mantzoukas (a.k.a. Rafi from the League!) as a Daytona Beach drug dealer, and Adam Pally as Efron’s cousin.  At least the writers had the good sense to allow those two to do their crazy guy routines the whole way through Dirty Grandpa.  I wish they had given everyone such free reign.  I was just there to laugh and didn’t need everything to be wrapped up perfectly, or at all.

I thought all the lessons really took away from Dirty Grandpa’s momentum, mainly by taking the focus off dirty De Niro.  That hurt this movie a lot because De Niro as the dirty old guy is by far the best part.  He’s really, really funny, but all too often he’s jolted out of that role when sad Efron calls him the worst grandpa ever (which happens every ten minutes or so).  Take out all the grandpa-grandson make-up sessions and Dirty Grandpa would have been far more enjoyable.

Dirty Grandpa is a decent comedy, much better than I expected, but since the story seriously impedes these characters’ escapades, it seems like an opportunity missed.  I give it a score of seven horny octogenarians out of ten.

How to Change the World

From How to Change the World’s title, you may be expecting a self-help documentary or at least a few useful life tips. If that’s the case, look elsewhere. The subjects of this documentary do not in any way seem qualified to dispense that sort of wisdom, nor are they interested in doing so.

How to Change the World tells the story of Greenpeace’s founders. They were (/are) a bunch of hippies, 99% white males, and absolutely unqualified for the job. They couldn’t agree on much as a small group and then when film of their anti-whaling stunts gave them fame/notoriety, they how to change 1completely imploded. Protests are aborted, physical injuries are sustained, lawsuits are commenced (Greenpeace v. Greenpeace!), turncoats are identified, and shots are taken liberally at one another. Essentially, it’s an episode of Big Brother starring a bunch of 65-year-old grouches.

That sort of thing normally does not appeal to me. Still, I found How to Change the World very interesting for several reasons.

First, the amount of footage these hippies compiled in the 1970s is astounding and makes the film feel alive. We do not just hear interviews about their adventures, we see these escapades on screen, and that makes this movie extremely easy to watch (aside from the awkwardness of the in-fighting) as well as entertaining (possibly because of all the awkward in-fighting!).how-to-change-the-world-3

Second, the rise and fall of this branch of Greenpeace is a fascinating study of the effect of fame. Most of the conflict we see seems to arise out of the external attention and accompanying pressure this group faces after they hit it big. Not that they all get along at the start (they don’t, even then they fight regularly), but initially they can look past those disagreements because they are agreed on the bigger goal. But once there are no clear goals, or too many, the interpersonal issues take centre stage. It doesn’t help that none of these guys is remotely qualified to run a multinational organization, but it sure adds fuel to the fire!

Third, it is remarkable to see the different paths these characters take after their initial adventures. The conflict between the turncoat and the injured member in particular is given a whole new perspective by movie’s end.

Overall, I enjoyed How to Change the World even though I was frequently annoyed or exasperated by these characters, especially by the pseudo-philosophical musings of the journalist-turned-leader of this motley crew. The fact the movie overcame that annoyance says a lot about the content. How to Change the World is well put together and it feels very honest, which makes it feel real.

I give How to Change the World a score of seven bumbling hippies out of ten.

Yes, #OscarsSoWhite, but can we really blame the Academy?

The truth is, the Academy’s demographics are a problem. They’re too damned white. But this year’s white-washed ballots are only a symptom of a much larger problem: the fact that talented black actors just aren’t getting cast.

A lot was made earlier this year when a role that was originally meant to be male (and in fact was based on a real-life man) was rewritten for Sandra Bullock (in Our Brand is Crisis). That movie aside, it turned out to be a banner year for women in film. So why can’t we do the same for people of colour? White has been the de facto race for far too long, the product of unimaginative directors and casting agents who refuse to acknowledge that most parts could and should be colour-blind.

The race for best actor and best actress Oscars this year lacks diversity. It’s a fucking vacuum where only white people may enter. But what choice did the voters really have? Last year we could easily feel that Selma had been grossly ignored, but can you think of a black actor, or any non-white actor, who was unfairly overlooked this year?

Don’t say Will Smith. Sure the Globes love him, he’s the freaking Fresh Prince, but he didn’t deserve an Oscar nomination for his work in Concussion. You could maybe argue Idris Elba, for Beasts of No Nation, but you’d have to argue. It’s a tight race this year, and only 5 roles can be acknowledged. Mark Rylance, Tom Hardy, and Sylvester Stallone are likely locking up most votes for best supporting actor. Christian Bale and Mark Ruffalo are more interchangeable, but it’s not clear cut. I do wonder, though, if perhaps the roles those two played could have been fulfilled by a non-white actor? I realize they’re both based on real-life people, but don’t we have a moral obligation to represent all people a little more fairly in the mainstream media? Movies are supposed to represent and reflect the audiences watching them, but they’re failing to do that over and over and over. And relying on “black movies” like Selma or 12 Years A Slave to provide the only colour at an awards ceremony is egregious and embarrassing. It’s also a little embarrassing that the only nominations for Creed and Straight Outta Compton, movies that actually did feature black talent, still somehow went to white people.

We can do better.

 

Oscar Nominations 2016

Matt and I are super excited to present this year’s list of Oscar Nominees. I’m still recovering from back surgery but between a special little seat cushion and some good drugs, I think we’re down for some good discussion. Please join in the comments!

73rd Annual Golden Globe Awards - Arrivals

I thought Brie Larson looked beautiful in gold at The Golden Globes – kind of like an Oscar statuette. I know she’s down for a nomination today. Who else are we feeling good about?

Best Picture:

Best Directing:

  • Adam McKay, The Big Short
  • George Miller, Mad Max: Fury Road
  • Alejandro G. Inarritu, The Revenant
  • Lenny Abrahamson, Room
  • Tom McCarthy, Spotlight

Best Actress in a Lead Role:

  • Cate Blanchett, Carol
  • Brie Larson, Room
  • Jennifer Lawrence, Joy
  • Charlotte Rampling, 45 Years
  • Saoirse Ronan, Brooklyn

Best Actor in a Lead Role:

Actor in a Supporting Role:

  • Christian Bale, The Big Short
  • Sylvester Stallone, Creed
  • Mark Ruffalo, Spotlight
  • Tom Hardy, The Revenant
  • Mark Rylance, Bridge of Spies

Actress in a Supporting Role

  • Alicia Vikander, The Danish Girl
  • Rachel McAdams, Spotlight
  • Jennifer Jason Leigh, The Hateful Eight
  • Rooney Mara, Carol
  • Kate Winslet, Steve Jobs

Best Animated Feature Film

Cinematography:

  • Carol (Edward Lachman)
  • The Hateful Eight (Robert Richardson)
  • Mad Max: Fury Road (John Seale)
  • The Revenant (Emmanuel Lubezki)
  • Sicario (Roger Deakins)

Costume Design:

  • Carol
  • The Danish Girl
  • Cinderella
  • The Revenant
  • Mad Max: Fury Road

Documentary Feature

  • Amy
  • Cartel Land
  • What Happened, Miss Simone?
  • Winter On Fire: Ukraine: Fight For Freedom
  • The Look of Silence

Film Editing:

Foreign Language Film:

  • A War
  • Son of Saul
  • Embrace of the Serpent
  • Theeb
  • Mustang

Makeup & Hair Styling:

  • Mad Max: Fury Road
  • The 100 Year Old Man Who Climbed Out A Window and Disappeared
  • The Revenant

Music, Original Song

Original Score:

  • Bridge of Spies (Thomas Newman)
  • Star Wars: The Force Awakens (John Williams)
  • Carol (Carter Burwell)
  • The Hateful Eight (Ennio Morricone)
  • Sicario (Johann Johannson)

Production Design:

  • Bridge of Spies
  • Mad Max: Fury Road
  • The Danish Girl
  • The Martian
  • The Revenant

Sound Editing:

  • Mad Max: Fury Road
  • Sicario
  • Star Wars: The Forst Awakens
  • The Martian
  • The Revenant

Sound Mixing:

  • Bridge of Spies
  • Mad Max: Fury Road
  • Star Wars: The Force Awakens
  • The Martian
  • The Revenant

Visual Effects:

  • Ex Machina
  • Mad Max: Fury Road
  • Star Wars: The Force Awakens
  • The Martian
  • The Revenant

Writing, Adapted Screenplay

  • Brooklyn, Nick Hornby
  • Carol, Phyllis Nagy
  • Room, Emma Donoghue
  • The Big Short, Charles Randolph & Adam McKay
  • The Martian, Drew Goddard

Writing, Original Screenplay

  • Bridge of Spies, Matt Charman & Joel Coen & Ethan Coen
  • Ex Machina, Alex Garland
  • Inside Out, Pete Doctor & Meg LeFauve & Josh Cooley
  • Spotlight, Josh Singer & Tom McCarthy
  • Straight Outta Compton, Jonathan Herman, Andrea Berloff, S. Leigh Savidge, and Alan Wenkus

Best Documentary Short Subject

  • Body Team 12
  • Chau, Beyond the Lines
  • Claude Lanzmann: Spctres of Shoah
  • A Girl in the River Last Day of Freedom

Best Live Action Short

  • Ave Maria
  • Day One
  • Everything Will Be Okay
  • Shok Stutterer

Best Animated Short

  • Bear Story
  • Prologue
  • Sanjay’s Super Team
  • We Can’t Live Without Cosmos
  • World of Tomorrow

 

 

 

 

 

 

Slow West

Slow West tells the story of a young Scot named Jay (Kodi Smit-McPhee doing his best Jay Baruchel impression) travelling across Colorado in search of his lost love Rose (Caren Pistorius).  Almost immediately, Jay is saved from bandits by Silas (Michael Fassbender) and from then on, it’s a western version of The Odd Couple, except writer/director John Maclean replaces much of the comedy with despair.  The wild west depicted in Slow West (which incidentally is New Zealand standing in for the midwestern plains) is the saddest, loneliest place imaginable.  Still, in spite of its melancholy, Slow West manages to be a very enjoyable movie, and even a surprisingly funny one at times.

Going into Slow West, I had one expectation: that the title would have some deep meaning to be revealed during the course of the movie.  I was let down in that regard but that was really the only disappointment I had coming out – I still don’t understand the title and feel like there’s something there to get.

Anyway, as far as the movie itself, Fassbender and Smit-McPhee make a very good pair, and that’s fortunate because we spend a lot of time with them as they make their way to Rose.  Fassbender gives us a convincing tough guy with a heart of gold silver tin.  Smit-McPhee is well cast as the naive, good-hearted foreigner.  Ben Mendelsohn, who really impressed me in Mississippi Grind, makes a quick appearance as a scummy outlaw and looks the part.  And yes, everything in this paragraph reads like a back-handed compliment, but it’s coming from a good place, I swear.

Slow West climaxes in a shootout.  I don’t
think I have to tag that as a spoiler,  do I?  You knew it was going to happen.  The way the shootout plays out, though, is well done and is much different than I expected.   It even includes a few surreal moments that worked really well (especially one involving a jar of salt).

Overall, Slow West is a solid, though sad, tale from the wild west.  Much like the story told by an old gang member, it entertained me throughout its 85 minute run time with its unusual mix of sadness and death with a hint of offbeat comedy.  It’s definitely worth tracking down, and I give it a score of eight wanted posters out of ten.

 

Let’s Rap

Like many young Canadians, my first experience of Ryan Gosling (apart from him occasionally

That's Rachel Wilson in the middle...and Ryan Gosling in the blue suede shoes.

That’s Rachel Wilson in the middle…and Ryan Gosling in the blue suede shoes.

living in my hometown) was not on the Mickey Mouse club but rather an embarrassing teen drama that seemed to only play late at night when anyone who knew better should be in bed. It was called Breaker High and for some reason it was about a high school that just happened to be on a cruise ship. Because that happens! The ship would dock at all kinds of amazing, exotic locations (okay, technically they were all shot in British Columbia) and the kids would get into inoffensive hijinks, like Saved By The Bell, only milder, if you can possibly imagine that (this was, after all, a Breaker-High-breaker-high-1282246-240-180polite Canadian production). It starred Ryan Gosling as a nerdy wannabe ladies’ man – not the heart-throb by any  means. And it also starred Rachel Wilson, an actress born right here in Ottawa (not to further the stereotype of all Canadians knowing each other – I’ve really never met her), who I was delighted to rediscover in a movie I just watched called Let’s Rap.

It took me a moment to place her, and I’m sure you know that feeling of…what’s she from? I recently had that very same feeling watching Jewel Staite in How To Plan an Orgy in a Small Town, which makes me think this may be a particularly Evvy-livelinks2Canadian experience, kind of like watching Lost for the first time and realizing Evangeline Lilly finally  made it big after a series of embarrassing dial-a-girlfriend commercials.

Anyway, it was nice to see Rachel Wilson all grown up and not playing the “quirky misfit” anymore.

Oh wait.

Well, okay, she may still be playing a bit of a quirky misfit, but in 2016, that’s a title we’re owning and embracing. If skinny Ryan Gosling can grow up to give Brad Pitt a run for his money, then Rachel Wilson will have an easier time of it, having been cute all along.

And in this movie, she proves she’s more than capable of keeping up with a fast-talking script that would wind Aaron Sorkin. Wilson plays opposite Brendan Gall as Melanie and Bo Schnurr, a MV5BMjA0OTI1OTYwMV5BMl5BanBnXkFtZTgwMjIxNDMzNzE@._V1_SY317_CR0,0,214,317_AL_brother and sister team who dream of taking their witticisms straight to the big time, carpeting their way to stardom with pop-culture landmines exploding left and right, making puddles out of their Beau’s beer (shout out to Vankleek Hill, hometown of Beau’s beer and my mother’s husband). I’m wary of any movie that credits itself with pop-culture banter, and yet this one won me over quickly. Wilson is too warm and the Schnurr charm proved irresistible – plus, hello, a well-timed Jason Priestly cameo (okay, fine, I admit it: Canada is its own small world).

One of the hands-down best things about this movie is the strong material it’s working with, and that’s a credit to the real-life brother-sister team who wrote it, Jesse and Samantha Herman, who were born and raised in the very city where this film was shot – Toronto.

I asked Samantha a few questions about what it was like to work on this film, and to collaborate with her brother, and she was kind enough to respond.

Jay: Do you think indie screenwriters have to effectively function as a producer in order to get their movie made?
Samantha: Yes, especially for first-time writers.  There are so many scripts out there looking for a home and without a proven track record it’s difficult to get other producers’ attention.  As your own producer, you also have more opportunity to preserve your material and be involved in the entire production, which is fantastic.

Jay: What would we be surprised to learn is part of your role as producer?
Samantha: I don’t know if you’d be surprised, but since I don’t cook in my real life, I was always shocked by the amount of decision-making, planning and time management pertaining to meals and snacktime. Basically, I learned I should never host a dinner party.

Jay: How did you manage to write this with your brother? Were you in the same room, or were you emailing back and forth from different cities?
Samantha: We started with ideas, jokes and concepts that we could share in person or over maxresdefaultemail. But when it came time to actually structure the script and write dialogue we always did that in person.  The style of our banter, which can be pretty fast-paced, is simply not conducive to an email exchange.  We had to capture the flow together.  Plus it’s just more fun that way.

Jay: What’s it like to give up control of your baby to a director?
Samantha: There was a bit of anxiety going into it because the director takes over the driver’s seat with the project.  But, we had extremely positive conversations with our director, Neil Huber, during pre-production so that alleviated all the concern.  Knowing his sensibility for our style and hearing his great ideas, I knew he would capture the comedy we wanted to achieve.  Since I have no aspiration to be a director myself, I was happy to entrust the job to Neil.

If you’re interested in checking this movie out, and you should be, the good news is: it’s available everywhere! It’s now online on iTunes, Amazon Video, Google Play, Vimeo & Xbox; here are a couple of the links-
https://itunes.apple.com/us/movie/lets-rap/id1056898946
https://vimeo.com/ondemand/letsrap

And because Samantha is a particular brand of sweetheart, she included a link to check out a delightful short film produced by the same team called Street Meet – for free:  https://vimeo.com/105094852