Tag Archives: dead dog alert

Top 10 Disney Dogs

You’ve likely heard about our trip to Disney World by now, and you may have even seen me in one of several Disney dresses. One dress that I did not buy was the Disney dog dress (praise be – yes, there IS such a thing!) and Sean was very disappointed in its exclusion. The dress featured so many of our favourite canine characters that I decided to dedicate a list to our furry friends – especially mine, who have been left home for the duration of our travels. Miss you love you see you soon!

tenor10. Lady, Lady and the Tramp. This is a pure romantical addition to the list. Not only are she and her beau #couplesgoals, she inspires pure #hairenvy too. And she’s a dog! But dogs are better than people, and I’ve never had a date half as romantic as slurping noodles for two (though I likely have nosed a meatball onto my partner’s plate – don’t ask).

9. Pluto, various. Mickey Mouse has a pal named Goofy, who is an anthropomorphic dog. He wears clothes and walks upright and has fingers and speaks. Mickey also has a pet dog, and his name is Pluto. Pluto does none of the above. He’s all dog, mouse’s best friend. He’s adventurous and friendly, though prone to panic when encountering something unknown. Since he doesn’t talk, he relies on physical comedy, and those beloved bits have ensured him a place among the sensational six (Mickey, Minnie, Donald, Daisy, Goofy, Pluto) though Pluto rarely if EVER has a starring role. He proves yet again how well Disney does sidekicks.
8. Percy, Pocahontas. Percy the pug is the pampered sidekick to the evil Governor Radcliffe. Though the other sailors slop around below-decks, Percy lives a life of percy_bannerluxury, taking bubble baths and eating dog bones off a carousel. If only I lived so well! But once they land in America, Percy switches allegiances, befriending not just Pocahontas, but her animal friends as well – notably, a scampy raccoon named Meeko who is the real reason I’ve included Percy. Meeko is not a dog, but he may as well be. I think these are a beautiful inclusion because they do something their humans are unable to do: they put their differences aside and build a friendship. Dogs really are better than people.
7. Bolt, Bolt. Bolt is a white German shepherd and the star of a TV series about a canine super hero. But this work has led Bolt to believe that he is in fact a super hero though he is actually just an actor. However, that theory’s going to be put the test when he becomes separated from his owner and has to prove his mettle on his own and find his way home.  It’s a very sweet story about self-discovery and self-worth, and the star is an adorable cartoon dog that you can’t help but love.
6. Sparky, Frankenweenie. Victor and his dog Sparky are incredibly close. When tumblr_naagudxrk11t3ly41o5_500Sparky dies, Jay cries. That’s just how it is. We’ve only spent a few opening scenes with 11 year old Victor and his pal Sparky, but Sparky’s end is tragic, and we feel it deep in our bones. But Victor is a cunning, smart kid – and very interested in science. So he manages to resurrect his dog. Sparky lives again, even if he is a little worse for wear, a little Frankenstein’s monstery. I live with 4 dogs who are my little floofy loves, and it would destroy me should they pass before me. So this movie speaks to me. Loudly. And it’s just a great film.
5. Sultan (Footstool), Beauty and the Beast. Beauty and the Beast is a beautifully animated fairy tale with a problematic plot. If you’re worried about it on account of the whole kidnap-victim-stolkholm-syndrome-bestiality bit, you’re not wrong. But let me tell you about what also bothers me: an old lady visits a castle on a stormy night and begs to stay the night. When the prince refuses, she turns him into a beast and he has until the age of 21 to make someone fall in love with him in his hideous state. This old witch doesn’t just punish the guilty party though – she somehow feels justified in turning the entire service staff into household objects even though 243542bac940896166a1a4fdc1dccda0they’ve done nothing wrong, and leaves them that way – “ten long years we’ve been rusting” sings a chandelier. Record scratch. 10 years? That’s right. The prince was only 10 years old, home alone, a latchkey kid when a stranger knocked on his door one night. Probably his parents warned him to never, ever let a stranger into the house when they weren’t there just like mine and yours did. And for that sin he receives this cruel punishment? He spends his formative years completely isolated and disfigured and yet still has enough humanity, enough sensitivity to impress a haughty young bookworm named Belle? Astounding. Also noteworthy: his staff has also managed to remain in good humour. Especially the castle’s pet dog Sultan, who gets turned into a footstool. I love seeing that footstool bounce around in the snow. He relishes being “pet” but then rushes to provide foot support to his guests as well. He’s loyal and sweet, proving that the dog’s spirit is just as much alive as ever in the footstool – which is actually kind of a harrowing realization for everyone else, but let’s not dwell.
flat,550x550,075,f.u24. Dante, Coco. Dante is a skinny Xoloitzxuintle, a street dog when Miguel adopts him, and forever obsessed with food, which often gets him (and Miguel!) into embarrassing situations. But their bond means Dante will forever be loyal to Miguel and his clan; he even follows him into the land of the dead and becomes the world’s most adorably neon spirit guide. Though Dante appears to be a simple-minded goofball, he actually imperceptibly guides Miguel toward where he needs to be – “Who’s a good spirit guide? You are!”

3. Slinky, Toy Story. Slinky dog is a friend to all toys, but seems especially loyal to Woody, and sometimes acts like his pet, which I suppose is fitting. He was voiced byslinky-dog-dash_full_32389 Jim Varney, who died of lung cancer shortly after Toy Story 2’s release; he has since been voiced by Varney’s friend, Blake Clark. In tribute, Slink’s catchphrase is “Golly bob-howdy” just like Ernest. Disney World has just opened up a new section of Hollywood Studios dedicated to Toy Story and one of its most popular attractions is the Slinky Dog Dash – which is a misleading way to describe a roller-coaster, if you ask me. Will I be too chicken to ride it? All signs point to yes.

2. Stitch, Lilo & Stitch. Technically, Stitch is an illegal alien science experiment (#626) dagg4hrgone wrong, not a dog. But when he’s exiled to Earth, he winds up in a dog pound, and adopts a more dog-like shape when he’s adopted by Lilo and her sister Noni. His nature is to destroy everything he touches, but when he becomes part of Lilo’s family, a valued and beloved pet, he changes in some essential ways. This movie is all about family, and a good reminder of a pet’s precious place in a family home.
1. Dug, Up. Dug is a chubby golden retriever, loyal and silly and lovable. And easily giphydistracted by squirrels! He likes people instantly, he bonds fiercely, and best of all, he talks! Rather, he wears a collar that decodes his thoughts into understandable English. And wouldn’t you just die to have that for your own pet at home? Dug is my favourite dog in my favourite movie, and everyone agrees: he was awarded the Palm Dog Award by the British film critics as the best canine performances at Cannes, beating out the fox from Antichrist, and the black poodle from Inglorious Basterds. I’ve already met Dug once, on a previous pilgrimage to Disney, and you bet I’m going to stand in line to do it again!

Polar

Duncan is two weeks away from a cushy retirement. He can’t wait. But his former employer is thinking better of letting him escape to Florida, or whatever it is that ex-assassins do when they’re all used up. So they pit him against an elite army of young killers and hope nature will take its course.

I kind of love how director Jonas Åkerlund introduces his team; the film’s opening scene makes me shockingly optimistic that I may actually enjoy this film. Duncan (Mads Mikkelsen) is very much the classic, gritty assassin, but many of other characters seem to belong to some heightened reality. Åkerlund isn’t afraid to establish Polar as a little mv5bzdcyn2iyywutmzy0ny00mza5lwfhmgutmgy5ndqwmdbiotizxkeyxkfqcgdeqxvyntcwmti4mtc@._v1_sx1777_cr0,0,1777,875_al_outside the normal bounds of action thrillers, and I admire that, though I quickly lost my patience with his clumsy stabs at auteurism. And I don’t mean to imply that he shouldn’t have the opportunity to put his flashy  mark on things, only that you have to have 110% of the talent and style to pull off such a ballsy attempt.

The movie is overstuffed with cartoonish deaths and gruesome flashbacks, including a crucifixion that Jesus Christ himself would find cruel and unusual. It’s so busy being cool and shocking and weird that it mostly forgets to be a movie that makes sense or is watchable. If you think that kind of thing is overrated, then hey, Netflix is catering to your dark and closeted fantasies. I wanted to celebrate Polar’s oddball tendencies, but it does as much to alienate even the most open-minded audiences as it does to stoke our need for something we haven’t seen before.

Despite my misgivings, I must admit that Mads Mikkelsen exudes mustachioed magnificence. If you don’t mind wading through the hot mess, or if you have an appetite , not to mention a high tolerance for, the strange and unusual, this role is truly something special for him.

TIFF18: Life Itself

If you watch Dan Fogelman’s This is Us, then you know what to expect from the writer-director: a love story to make you swoon, a family saga to make your heart swell, emotional manipulation to milk your tearducts dry. Life Itself is This Is Us on steroids, and with swearing.

Will (Oscar Isaac) and Abby (Olivia Wilde) have the kind of love story only found in movies and imaginations. She’s wounded in a sexy way, he’s wildly devoted to her, they’re both unbearably attractive, he talks about his feelings, which are grandiose and pointed solely toward her, she doesn’t complain when he kisses her with stubble.

But – record scratch – this isn’t some ordinary rom-com, this is Life Itself! We can’t stop MV5BOTAwMjU4NjA5Nl5BMl5BanBnXkFtZTgwODgyOTY4NTM@._V1_SX1500_CR0,0,1500,999_AL_there. No, Dan Fogelman grows the concept to include generations that cross continents. The ensemble cast includes  Antonio Banderas, Annette Bening, Olivia Cooke, Sergio Peris- Mencheta, Laia Costa, Alex Monner, Mandy Patinkin, and Jean Smart. Like his hit television show, Life Itself is not so much about the destination but the journey. Fogelman plays around with the chronology, as he does, and with an unreliable narrator and its delicious implications.

I love the casting. I loved seeing Jean Smart. Oscar Isaac was a stand-out for me. He’s playing Prince Charming, only sexy, and he sells it. Coming from almost anyone else on Earth I’m sure I would have been rolling my eyes but for Oscar I was nodding and tilting my head, and wanting desperately to touch him lightly on the forearm. Alex Monner was also really solid. His part isn’t huge, but he leaves quite an impact. And I loved that his story line shot in Spain was done in Spanish and subtitled in English. I think there’s been a trend in films lately to see more characters speaking in their native tongue, and I’m all for it. It worked really well here and I hope to see this trend continue.

But before you start thinking this is to good to be true, to be honest, I had some problems with the film. Specifically with the direction taken by some of the characters that just didn’t feel right to me. I admit those choices fit the narrative; Fogelman knew where he was going and he got us there. Does that excuse it? Ugh. I’m struggling because the movie gave me emotional release, I had such a satisfying, cathartic ugly-cry that I sort of want to excuse it anything. But the truth is that no, you shouldn’t shit on your characters. If you’re going to ask me to buy some pretty extreme things, you shouldn’t spend so much time letting me get to know them first, know them well enough to call bullshit when they suddenly start acting out of character.

In the end, fans of This Is Us are extremely likely to like this movie if they aren’t too shocked by Dan’s potty mouth. I liked it myself. I can’t help it! This movie hits you right in the feels and there’s no use trying to logic it away.

The Heyday of the Insensitive Bastards

Seven stories. Self-contained, based on short stories from Robert Boswell’s collection. They have some commonalities, I suppose: toeing the line between fantasy and reality, or the gray area between memory and what really happened. Inventing shit when we’re young and have no experience. Blurring reality when we’re old and looking back. Life is bittersweet. We’re all bastards sometimes. It just depends on the day.

Conrad (James Franco) identifies his father’s dead body and is comforted by his death, comforted by the fact that he wasn’t the only one his father wanted to kill.

Paul (Jim Parrack) goes home to visit his father, whom he barely recognizes. Dementia has taken him further and further away from the man he used to be. All that seems to be left is his meanness, and even knowing it’s the product of disease doesn’t quite mitigate it. It cuts particularly close to home when it involves Paul’s ex wife (Natalie Portman) and the kid who looks disturbingly just like him.

Monica (Kristen Wiig) is a single mother who works as a maid. She gets through the day by fantasizing about using her wealthy clients’ lives as inspiration for the writing that will make her rich and famous one day.

A huge cast, including Kate Mara, Amber Tamblyn, Thomas Mann, Matthew Modine, Rico Rodriguez, Tony Cox, Jimmy Kimmel, and Keir Gilchrist assembles to pull this thing together, along with more than 7 writers and more than 7 directors. The stories are not uniformly good, or uniformly  memorable, and though I enjoyed some, I don’t think they really mean much as a whole.

 

 

SXSW: Isle of Dogs

Read the title out loud and kind of quick, and it’s hardly distinguishable from “I love dogs” but the conflict in the film actually comes from not loving them enough. A city in Japan has a dog-hating mayor who selfishly spreads lies and rhetoric about the dog flu, and gets and\or manufactures enough support that he succeeds in banishing all dogs to Trash Island.

As most of you know (because my bursting heart can’t shut up about it), I’m lucky enough to share my life and home with four of the sweetest doggies in the world. I Isle of Dogs 1 via Fox Searchlight Headersometimes wonder if I prefer dogs to people, and I certainly do prefer my dogs to most people. I think dogs are so much better than we deserve. They are 100% heart. So it’s hard for me to imagine a bunch of dog owners so willing to sentence their dogs to a terrible, lonely, miserable life and death. Of the thousands (hundreds of thousands?) of dogs sent to live and die on Trash Island, only one is lucky enough to have an owner come looking for him – a 12 year old boy named Atari. When Atari becomes stranded on the island, a scruffy pack of dogs generously decides to help him find his beloved Spots. Duke (Jeff Goldblum), King (Bob Balaban), Rex (Ed Norton), Boss (Bill Murray), and even the reluctant Chief (Bryan Cranston) band together to reunite boy and dog on a journey that you  might just say belongs in a Wes Anderson movie.

And it is a Wes Anderson movie, horray! So of course it’s got some truly absorbing attention to detail, a sweet soundtrack, and a poignancy verging on nostalgia. Like Fantastic Mr. Fox, Isle of Dogs is beautifully rendered in stop-motion animation. Each dog puppet is a thing of beauty, with fur (made of alpaca hair, apparently) so pettable and little noses that you’re sure are moist to the touch. Their expressive eyes bore into you, and as Bob Balaban so eloquently put it during the Q&A following the film, it could have been a silent film and still been just as affecting.

As saturated as they are aesthetically, some may argue that Wes Anderson movies are ultimately style over substance. Isle of Dogs has some pretty obvious themes about mass hysteria and maybe even fake news, but for me the takeaway is simply to love better – dare I say, more like a dog, fully, and with devotion.

Wonder

Auggie is a very special little boy. Born with a genetic condition called Treacher Collins syndrome, Auggie’s facial deformities are the least threatening of the complications but they’re what make him look so different. He’s most comfortable when he’s wearing an astronaut helmet that keep prying eyes and hurtful comments at bay. For the first ten years of his life he’s had countless surgeries and has been schooled at home, but he’s about to start middle school for real, and a classroom of students is more daunting to him (and his mom) than any operating room.

Wonder is based on the wonderful YA novel by R.J. Palacio, which you should, should, should definitely, definitely read. But happily, this is a rare case where the movie does MV5BMTIwOTUwNTEtYzMwNS00N2YxLTg0ZWYtNzM0YzVjOWYwZWM5XkEyXkFqcGdeQXVyMjg5NDY3Mw@@._V1_SY1000_SX1500_AL_the book justice. And even happilier, the movie doesn’t suck, period, which was a major concern of mine. It seemed far too easy to just let it coast on its sentimentality. But while director Stephen Chbosky doesn’t have a lengthy track record to ease my worrisome nature, he does have one credit under his belt that’s all I really needed to hear: he adapted and directed The Perks of Being a Wallflower, which he’d also penned.

Wonder is a much different beast, however. First, it necessarily involves casting the perfect but very young star. A bad child actor in a lead role will ruin the whole thing, and in this case you have to find someone who can convey a whole range of complicated emotions from underneath a mask of scars. Chbosky went with Jacob Tremblay who’s already proven his chops with the most trying and powerful of roles in Room; Chbosky calls him “a once-in-a-generation talent” and I think he may be right. But we can’t discount the fact that Chbosky surrounds Tremblay with talent.

The secret to Wonder’s success, both in novel and in film, is that yes, it tells the story from the perspective of a sweet and brave 10 year old boy who’s been through hell and is still going through it. BUT it also shares the stories of the people around him. His mother Isabel (Julia Roberts) has had to pause life itself in order to become his warrior. His father Nate (Owen Wilson) copes with humour and cries by himself. His big sister Via (Izabela Vidovic) feels like a mere planet revolving around Auggie, the sun. A disease like Auggie’s is a family affair, energy-stealing, all-encompassing, leaving no one unaffected. And no one likes to complain about that because it seems petty in the face of something life-threatening, but it’s true and Palacio’s book as well as Chbosky’s film really add legitimacy to a family suffering as a unit. Even Auggie’s only friend isn’t untouched – being his friend is a social sacrifice most 10 year olds won’t be strong enough to make. Another formidable young actor, Suburbicon‘s Noah Jupe, lands and aces this role.

Wonder is not about the suffering though; that would be too easy. It’s about overcoming that suffering, in ways that are clunky and ungraceful and sometimes accidental. That’s why Auggie’s family seems so real, and why so many real families with sick kids can relate to the material. It’s emotionally raw stuff and you may find that it touches a nerve. But it’s got a takeaway message of positivity that’s irresistible, and will help justify the numerous soggy kleenexes in your lap.

A Dog’s Purpose

This is the movie I promised myself  I would never see. The trailer itself made it crystal clear: this is the story of one dog who keeps coming back to life as different breeds with different owners. And in order for a dog to be reborn – you guessed it – he has to die. A lot. And it’s never, ever not sad. But the film makes no bones about death not being the worst fate for dogs – and THAT was the worst part. The part when he didn’t die, but lived a miserable life.

27-dog-purpose.w710.h473Anyway, as if a dog’s repeated death wasn’t enough to deter me, there was some controversy prior to the film’s release when a video of one of the actor dogs revealed it looking completely terrified during a stunt. Abuse was alleged, which led people to boycott the film. Not that it mattered; A Dog’s Purpose is not terribly good. It was never going to win the box office. It preys on your heartstrings. The director is so shamelessly over-sentimental that I felt like a dog on a leash being yanked along against my will.

If you’ve been paying attention here, you may have noticed that Sean and I are dog lovers, or that I am a dog lover and Sean never really stood a chance. I already had Herbie when I met Sean, and Sean had to win his approval in order to stick around. Then we got Gertie so that Herbie would always have a friend. And then we adopted Fudgie on the day we bought our house. And Bronx was given to me as a post-surgery recovery gift. So that’s 4 – the maximum amount of animals we can have on our property without legally declaring ourselves a farm. They keep my life full and happy. There’s no better way to feel like a million bucks: simply leave home and return 10 minutes later. Tails will wag, joyous barks will sound, big sloppy kisses will greet you at the door.

While watching the movie, Sean had an epiphany: what if the only god that exists is the god of dogs. And this world belongs to the dogs. And we’re just here to act as their humble servants. And OUR purpose is to create better and better domestic situations for them. If that’s the case, dogs are benevolent masters, friendly and forgiving. Me? Not so much. This is one movie that deserved to be put down, but since it wasn’t, I caution you to tell it it’s a bad boy, a very bad boy, now maybe hit it in the nose with a rolled up newspaper and tell it to go lie down in its bed. And go hug a real dog instead.

Wiener Dog

I love dogs. I have 4 dogs and I like them more than I like most people. They’re just more genuine, you know? You always know where you stand with a dog. I have 2 shih-tzus, 1 yorkie, and 1 beautiful little mutt. No wiener dogs, but not because I don’t like them. It’s because Sean thinks it’s cruel to breed a dog to be disabled. And he’s right; the short legs and long back of a Dachshund causes them to suffer from ruptured vertebral discs on top of bowed legs and elbow dislocation. Seeing my dogs joyfully running around outside, I would be heartbroken to have one little dog who just couldn’t join in.

Wiener-Dog is a movie ostensibly about a super cute Dachshund who gets homepage_wiener-dog-2016-2passed from one weird owner to another. The film is more like 4 shorts that only have a dog in common. I didn’t even believe that it was the same wiener dog in all 4 vignettes. The first two are clearly linked, the last 2 not so much. The shorts also become increasingly non-entertaining. I thought the first one was the strongest: a father picks up a puppy for his young son, who has recently survived cancer. The dog sparks many serious conversations between mother (Julie Delpy) and son – motherhood, personality, free will, death. But all of the conversations are straight out of a what-not-to-say handbook, with Delpy literally telling her son that her childhood dog Croissant was raped by a dog with AIDS named Mohammed. The satire is delicious. There’s an explosion of joy on the screen as a boy and his dog play together, but this outburst of happiness is quickly punished, and the dog changes hands.

This is how it is with director Todd Solondz. He doesn’t care about your wiener-dog-film-trailer-stillcomfort, he’s not here to cushion the blow. And he’s sure as hell not here to give you a happy ending, so keep that in mind. Next up for Wiener Dog, she gets adopted by a character from another Todd Solondz movie, Welcome to the Dollhouse. Dawn is all grown up now, and played with Greta Gerwig. She runs into childhood…acquaintance (?) Brandon (Kieran Culkin) in a 7-11, and suddenly Wiener Dog’s on a road trip through some really heavy issues. She also meets disgruntled professor Danny DeVito and bitter old hag Ellen Burstyn. Through it all, Solondz’s camera is unflinching, perversely lingering over the gross and unbearable.

Solondz’s rage is evident in spades, from the meta film school vignette to the open mocking of the audience’s queasiness with a tongue-in-cheek intermission (and a great song – The Ballad of the Wiener-Dog). Solondz is all about finding humour in the darkness, and Wiener-Dog is an innocent bystander to all kinds of human stupidity. The film drips with cynicism. It was too much for Sean. And while I can’t really profess to enjoying it, I deeply appreciated the fuckedupness of it.

La guerre des tuques

You likely know the Assholes are proud Canadians but you may know not know that I (Jay) am French-Canadian. I didn’t grow up in Québec (the traditionally french-speaking province), but in a small eastern Ontario town that borders it. I grew up speaking both languages but for the first ten years of my life, I was educated solely en français . It was a little school, about 100 kids covering grades from la maternelle (pre-kindergarten or jk) to la huitième année, or grade eight. When the temperatures dipped below -20 into frostbite snowtime_stillterritory, the whole school would assemble into our tiny gym, and one of the few movies screened for us on a 24-inch TV was La guerre des tuques. It was a movie about a bunch of kids who wage an all-out snowball fight in the vicinity of a huge snow fort during their winter break. La guerre des tuques literally translates to war of the tuques, but the English version was called The Dog Who Stopped The War.

This year, a new, animated version of the movie was released so a new generation could appreciate it. I was excited to revisit my childhood. Matt and Sean, dumb anglos, didn’t know it from a baseball cap battle, so they were in for a treat. It’s screening this week as part of Ottawa’s International Animation Festival, conveniently in English and everything (this time the English title is Snowtime!)

Being animated, they can take things a little further than a live-action movie made in the 80s could. The fort is several stories high, with CCTV, a secret railroad, and constantly simmering hot chocolate (though they draw the tech line at telephones: the old tin can method is still used, despite the fact that kids today rarely see a landline with a cord). It’s still got all the things kids look for in a fun movie: fart jokes, slightly crude humour, references to girls being icky and boys being stinky. It’s also quintessentially Canadian: snowtime-still-1yes there are hockey sticks, but also lacrosse sticks and curling brooms.

There’s a lot of good fun to be had and despite it being a “war”, most of it pretty benign. However, the end forcibly inserts a teachable moment and a dog must make the, ahem, ultimate sacrifice. It doesn’t quite fit and I wish it went differently.

Sandra Oh makes her second appearance as a voice actor in this festival (she was in Window Horses as well); this time she plays 4-eyed Frankie, and despite it being a bigger stretch, I’d say she does it more seamlessly this time around. And because this is a shamelessly Canadian production, it wouldn’t be complete without a soundtrack featuring Walk Off The Earth, Simple Plan, and Celine Dion. Is this a great movie? No, it’s not. But I can see kids liking it. And when you have winters as harsh as ours, you need entertainment aimed specifically at getting us through it.

Ginger Snaps

Some horror movies take place in dark alleys, or abandoned houses, or deep woods. But others, like this one, know that real terror lives and hides in the suburbs – perhaps in your own backyard.

Ginger (Katharine Isabelle) and Brigitte (Emily Perkins), two twisted teenage sisters, social outcasts by default, are totally and completely obsessed with death. Their parents have come home to so many gruesome death scenes, no amount of blood, nor dismembered body parts, nor daughter’s corpses can faze them. The teachers at school, however, are not so desensitized. Trips to the guidance counsellor remain ineffective.

One night, at a park just like the one where you pushed your toddler on the swings, the sisters are attacked, and Ginger is mauled by a large and aggressive creature. Bigger than a dog, uglier than a bear, Brigitte just barely wrests her sister away from the blood thirsty animal, its pursuit interrupted by its encounter with a van. Creature eviscerated all over the quiet neighbourhood cul-de-sac, the sisters flee, leaving driver Sam (Kris Lemche) to guess at the impossible. Ginger’s been bitten by a werewolf, and her life (and her body!) are about to change in unexpected ways.

The film puts a twist on the classic werewolf tale by equating it in some way to womanhood. Ginger is bitten on the full moon, also the day of her belated first menstruation. “The curse,” my grandmother used to call it, though she never suggested it might accompany fur on my knuckles or a tail on my heinie. Ginger is transforming in more ways than one. With wolf blood in her veins, she is confident, more alive. She withdraws from her sister as she enjoys this new feeling of self-determination. Though she confuses her new need to hunt as a new need for sex, she manages to satisfy both, sometimes in one go. Her wolf side is like her newly discovered sexuality, both grant a marginalized young woman a certain power over men, and that’s an intoxicating feeling no matter how tragic the consequences.

John Fawcett’s film is clearly low-budget; even for 2000, the effects are unimpressive. Yet it forces him to explore the theme in creative ways, defining womanhood and femininity in new terms. There is a subversive, feminist filament running through this film, with generous deposits of coal-black humour and diamond-sharp wit.

There is a beast inside each woman, and she’s hungry like the wolf.

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