Tag Archives: Kick-ass!

99 Homes

99 Homes, the fifth film from Ramin Bahrani (Chop Shop, Goodbye Solo), made me feel something no movie ever has. Movies have made me angry. Movies have made me cry. I’ve walked out of theaters sometimes feeling inspired and other times defeated. But until watching 99 Homes, no movie had ever made me feel heartbroken.

The old man got to me. In a movie about people losing their homes, it’s easy to grow as numb to the eviction scenes as the evictors do. Most refuse to accept their situation, hurl threats, and yell “How can you sleep at night?!” But not this old man. He just doesn’t quite understand what’s going on and doesn’t put up a fight. He seems to sense that something’s not quite right here but, confused by all the fancy talk and not wanting to cause any trouble, keeps his protests half-hearted as he is forced out of his home.

This poor old guy is one of many people we see forced out by real estate broker Dennis Nash (Andrew Garfield). Nash wasn’t always this way. When we first meet him, he is an out-of-work construction worker and single father who is behind on his house payments. He soon endures the humiliation of being escorted out of his family home by two sheriff’s deputies and moving his family into a sketchy motel. Needing money and having very few options, Nash goes to work for Rick Carver (Michael Shannon), the broker who profited in a big way both from Nash’s eviction as well as from the housing crisis in general.

We’ve all seen this story before. Carver’s business practices are ruthless and unethical and, as a recent victim himself, Nash is at first revolted by him at first. His questions about the legality and ethics of what their doing, though frequent at first, are quickly silenced when he starts to enjoy the steady cash flow. It’s a familiar arc but the back drop of the housing crisis makes it more relatable.

Garfield takes some getting used to as Nash. Best known for playing skinny nerds, his casting as a working man isn’t a perfect fit, even with the beard and tattoos. As his performance matures along with the character, I found the actor’s baby face to be gradually less distracting. The part of Carver, however, fits Shannon like a glove and he is always believable and never dull. The most compelling thing about the Carver character, and Shannon’s performance, is that the script knows when to stop just short of making him a complete monster. Carver does terrible things the way a real person does, not like a villain in a film. In my heart, the “film villain” label is reserved for Nash after what he did to that poor old man…

Frightfest 2015

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We all watch movies with our earphones on in our office but you can always tell when someone is watching a scary movie. We yelp, we jump, we scream, we swear. Sometimes the “scary movie” is one of the trailers before the movie starts or even just an episode of Homeland. Yes, Jay and I work in an office of scaredy cats, ourselves included. I once startled the room by crying out in terror during an episode of Twin Peaks.

So, welcome to our horror fest, one designed specifically for the squeamish. I can’t guarantee that our selections won’t startle you, revolt you, or terrify you. But that’s what Halloween is about, isn’t it? Venturing into the unknown and confronting the spooky, the twisted, and the horrifying in a fun and safe place. And if you’re working in our office, remember that there’ll always be one or two other trained counsellors standing by if it gets to be too much for you. Oh, and also help yourself to some spooky cereal as you watch.

The Frightfest 2015 selections are as follows…

The Babadook– The more you deny him, the stronger he gets.

Beetlejuice– Beware Jeffrey Jones, the creepiest character featured at the Festival.

The Blair Witch Project– Everyone knows by now that it’s not real, right?

The Corpse Bride– I give them an eternity.

Dead Snow 2: Red vs. Dead– The anti-Semitic Zombie Movie!!

Double Feature: The Shining with Room 237– If Jack Nicholson isn’t crazy enough for you, check out the fans of the Shining.

Frankenweenie– Not as pornographic as it sounds.

Halloween– How does Jamie Lee Curtis still have a voice?

Housebound– The only thing worse than being stuck in a haunted house is being there with your mother.

A Nightmare on Elm Street– See Johnny Depp before Tim Burton turned him into a cartoon character.

ParaNorman– How parents just don’t understand.

Scream– The movie that convinced us all that we need Caller ID.

What We Do in the Shadows– Vampires are people too.

Zombeavers– Exactly what it sounds like.

NHFF: The Best For Last (Chicken)

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The New Hampshire Film Festival was full of great movies – in retrospect, we didn’t see a single bad one, and that’s not supposed to be possible when you’re ingesting just as much film as possible in a single weekend. There has to be a dud in there somewhere – that’s science, isn’t it? Or mathematics? Law of averages? Just my luck? But no, not a bad one in the bunch. There were, however, some super duper standouts.

You’ve already heard Sean crow over his favourite, Robert Eggers’ The Witch, but you haven’t yet heard me swoon over Chicken, the absurdly titled (and I should know) movie that will break your damn heart. There is no way to summarize this movie and do it justice. It’s about a 15-year-old kid named Richard (Scott Chambers) who suffers from some unspecified developmental delay. He lives in a trailer with his brother Polly, who is neglectful at best and I’ll let you use your imagination for his worst. Richard’s only true friend is a chicken who gets included on his many adventures about the property he and his brother (Morgan Watkins, Kingsmen: The Secret Service) are illegally squatting upon. But then one day he meets the daughter of the new owners, Annabel (Yasmin Paige, Submarine), whose abrasive tongue might lose its barbs for such a gentle creature and his faithful chicken. Now take that inadequate synopsis and sprinkle it with magic.

Director Joe Stephenson absorbs us into Richard’s world immediately, and we can’t help but fall in love. There isn’t much plot wasted on this character-rich drama, but you’ll never be bored. Richard is not quite like any character you’ve seen before, aptly and considerately brought to life by the excellent Scott Chambers who wisely chooses empathy over pity. Stephenson knows that Richard is the key to the audience’s heart, but he’s not after some melodramatic tear-jerker, he’s looking for honesty, and he finds it in unlikely places. You’ll be startled to find such compassion from such a young filmmaker but he’s brave enough to give his actors lots of room – literally and metaphorically. You’ll see this translate on the screen as he often takes full advantage of his scenic location rather than closing his characters into too-close shots. He injects a strong cinematic element into what was once a play and has room to spare. Though there’s some unevenness to the script, I easily forgave all not because I cared for Richard, which was easy enough to do, but because I came to care for the brute Polly. And once you have seen Polly in action you will appreciate the enormity of Stephenson’s accomplishment of making you care about both brothers.

You don’t always feel it, but the movie is lathering up to something bigger than the sum of its parts, and once you get there, you won’t want to watch but nor will you be able to look away. At the climax, just as through the whole movie, the characters are complex, sympathetic, and real, and that’s what sets this movie apart and elevates it to a whole new level. These wonderful characters make this movie one you have to watch and one that will stick with you long after you leave the theatre.

Both Chambers and Stephenson were in attendance for this, its North American premiere, and the audience was all too glad to be able to reward their effort with a heartfelt standing ovation. And yet, as I’ve found myself thinking back on this movie even as I’m attending other film festivals, and in fact have watched more than a dozen movies in the week since, I realize that it’s not enough. It’s not every day that a movie gets under my skin, and I’m probably more cynical than most.

This film took home the Narrative Grand Jury prize, and jury member John Michael Higgins presented the award to Stephenson noting “It was a very special experience for me to watch. This film had an incredibly delicate tone, sustained over each event, which is very hard to do.” I’m glad these guys have a trophy to lug home, because this movie’s not going to win an Oscar but it does deserve something that will sit on a mantle and proclaim: I made something moving, and people saw it, and they fucking loved it. Because all of us who were lucky enough to see this film loved it and I have no doubt that you will love it too.

The Witch

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Let’s get it out of the way right up front: The Witch will make your skin crawl. If you like horror movies then mark your calendars and track this down when it comes out next February!

We jumped at the chance to see the Witch at NHFF last weekend, where it won Best Feature (the festival’s top prize). The Witch has also screened at Sundance and a few other festivals, but the NHFF screening was the last one prior to release, so if you haven’t been lucky enough to see it yet then you have to wait until February. I got the sense this screening only happened because director Robert Eggers is a New Hampshirite, particularly because at the distributor’s request, the balcony of the Music Hall was blocked off in order to keep the screening as small as possible (only around 400 people ended up being let in).

The Witch has gathered significant acclaim everywhere it has screened, and all those accolades are well-deserved. In addition to Best Feature at NHFF, Mr. Eggers has also been awarded the Directing Award (Dramatic) at Sundance and the Sutherland Award (for best first feature) at the London Film Festival. I hope that acclaim helps secure a wide release for this movie. It truly is worth watching even if horror movies are not your usual fare. Because this is not your typical horror movie. It is so much more.

What sets the Witch apart is the unique journey that we are taken on. One of the most memorable aspects for me is how completely authentic the Witch feels in every aspect, from dialogue to sets to costumes to the woods themselves (even though, to Mr. Eggers’ stated regret, for financial reasons he had to film in Ontario rather than New Hampshire). This level of authenticity and the care taken in crafting this movie clearly demonstrates Mr. Eggers’ deep love of New England’s lore, history and folk tales. In applying that love to the horror genre, he has come up with something unique and captivating. I was drawn in to this film’s world and that is an impressive feat when I am a polar opposite to the isolated 17th century pioneer family who are the Witch’s protagonists. The loneliness and eeriness of the family farm and the surrounding woods are themes of the movie that we are made aware of instantly by Mr. Eggers, and in every shot the suspense and tension builds. The music is particularly noteworthy, as again and again the score completes these scenes and tells us that worse things lie ahead (and oh my god, do they ever).

I don’t want to spoil anything about this movie so I’m not going to get into the plot at all. It’s one of the creepiest movies I have ever seen, and I did not see the ending coming at all. The climactic scenes in particular kept me on the edge of my seat and gave me even more of a payoff than I could have hoped for. I hope all of you are able to see this because it’s a truly incredible movie.

The Witch gets a score of ten old-timey brooms out of ten.

Halloween Thursdays: Alfred Hitchcock Movies

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Wandering Through the Shelves has us celebrating Halloween all month, representing a bit of a blindspot for me since I have a pretty low tolerance for being scared. So, when paying tribute to the Master of Suspense, I have selected three of my favourite (but not necessarily the scariest) of his films.

Lifeboat (1944)– I watched Lifeboat last night in a Greyhound bus station. It was the first time I’d seen it in over a decade and I couldn’t believe how well it holds up. Set entirely in a lifeboat, it’s staged and written like a play with some of the best dialogue in Hitchcock history.

Rear Window (1954)– I’ve already written a full post about my weakness for characters that share my love of voyeurism. James Stewart and Grace Kelly find themselves wrapped up in a murder investigation when eavesdropping on their neighbors.

Vertigo (1958)– I’ve watched Vertigo several times but almost always skip the last scene. It just gets to me. Most of you will know this classic well but, if you haven’t seen it, the less you know going in the better so I will avoid giving much away. Just see it.

Adopted/Foster Familes

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I don’t have much to contribute for Thursday Movie Picks this week and- in two out of my three picks- adopted/foster familes are mostly incidental to the movies as a whole.

The Royal Tenenbaums (2001)– This is really the story of one big unhappy family where only one of the kids (Gwyneth Paltrow) is adopted. According to narrator Alec Baldwin, “Royal always noted this when introducing her (‘This is our adopted daughter Margot’)”. The family dynamics get even more complicated when Margot and her adopted brother Richie (Luke Wilson) fall in love, which is either illegal or just frowned upon. Possibly his most ambitious film to date, this is still my favourite Wes Anderson movie and he and co-writer Owen Wilson manage all the chaos like the pros that they are.

Moonrise Kingdom (2012)– I felt so guilty that I couldn’t find room for The Darjeeling Limited when we did Trains a couple of weeks ago that I opened up two slots for him this week. Ranking a close second to Tenenbaums in the Wes Canon, Moonrise Kingdom tells the story of a troubled young Khaki scout (Jared Gilman) who causes so much trouble with his foster family that they “can’t invite him back”. On the run from his troop and the dreaded Social Services (Tilda Swinton), our hero bonds with a sad dumb policeman (Bruce Willis) who is willing to adopt him so that he can be with his true love (Kara Hayward).

Philomena (2013)– Not written by Wes Anderson, this adoption story doesn’t end happily. Director Stephen Frears and writers Steve Coogan and Jeff Pope do a brilliant job with the true story of Philomena Lee and her journey to reunite with the son that she was forced to put up for adoption by the Catholic Church 50 years ago. It’s a sad story but Frears, Coogan, and Pope give it a light touch, focusing on the chemistry between Lee (Judi Dench) and journalist Martin Sixsmith (Coogan). It’s less of an angry story about unquestionable injustice and more about one woman’s faith and resilience.

Straight Outta Compton

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Finally! It’s hard to say there was a downside to TIFF but it monopolized my movie-watching for its entire 11 days. And since Jay and I were busy before that doing Amazing Races and Oddball Festivals and other summertime stuff, I didn’t get to see Straight Outta Compton until yesterday. Which was making me itch a little because I had heard really good things, and I am happy to report that those good things were accurate. Straight Outta Compton is a very enjoyable history lesson/tribute to some of hip-hop’s founding fathers, most notably Eazy-E.

Having been a 12 year old small-town Canadian kid when N.W.A. broke, they were a little fuzzy to me at the time. But now I’m older and wiser, and since turning 13 I got into mid-90s hip-hop, Ice Cube made a lot of movies, and as my record collection grew I got Straight Outta Compton and The Chronic (and All Eyez on Me), so this movie brought N.W.A. into sharper focus. It’s really staggering to think of how much talent was in this group and how soon it all ended. It’s also staggering to think about how much more to the story there is in the Aftermath, which gets hinted at in the end, and which was a nice touch.

I thought this movie flowed really well and was grounded enough in reality to feel authentic. Again, since I was 12 at the time, I don’t know much about Eazy-E aside that he died from AIDS when AIDS was just becoming real for me because Magic Johnson had it. So it was really neat to see him be the focus of this movie along with Ice Cube and Dr. Dre. I expect that DJ Yella and MC Ren had more to do with the group than just being faces in the background but if you are fans of theirs, you will have to wait for their version of this story to get greenlit in order to learn anything about them. Fortunately for me, I am a Dr. Dre fan primarily and Straight Outta Compton paid lots of respect to his genius.

It helped that O’Shea Jackson Jr. looks so much like his father, but a great casting job was done with the other roles as well. Even cameos like Snoop Dogg and Tupac work, especially because the voices are eerily similar. I felt like maybe there was some auto-tune trickery at play but whatever was done, it works to immerse you in this world if you are at all familiar with it. And Suge Knight is well portrayed too, he’s a dead ringer for the real thing and comes off as bad as he should. As Jay said while we were watching it, whoever thought it was a good idea to trust that guy deserved what they got.

If you like hip-hop at all, this is a must see. And even if you don’t, this story is one that may grab you regardless. It’s an enjoyable movie that captures a lot of N.W.A.’s ups and downs, and is more or less accurate as far as I can remember! For that, Straight Outta Compton gets eight police brutality charges out of ten.

TIFF 2015 – Anomalisa

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Going into Anomalisa, I had already seen (and greatly enjoyed) some of the strange things Charlie Kaufman creates. But even with that little bit of preparation, as I left the theatre after seeing Anomalisa, it occured to me that I may have just had the strangest experience of my movie life. And I mean that as the highest possible compliment. Duke Johnson’s animation work is unbelievable and fits perfectly with the story being told here to make a seamless whole. I have never seen animation look like this, or used to tell such a weird yet believable story. I don’t want to go into the plot at all because I think going in cold will be the best way to experience this movie. I am sure you can find details elsewhere if you want them, and i am sure the movie will be amazing either way. Just find a way to experience Anomalisa, but please don’t be like the people directly behind us at yesterday’s screening – leave your 11 year old son at home.

The writing here is remarkable. I am realizing that more and more as everyday things remind me of a part of the movie and make me laugh again at the movie’s jokes. They come quick and often here in what is not at all a happy story. The jokes feel integral to the movie without taking away from the very real and very sad journey that Anomalisa will take you on. That is a very difficult balance to strike and Anomalisa nails it.

The writing would make this a must-see on its own even if the animation was awful. But here is the remarkable thing about Anomalisa: its animation would make this a must-see even if the writing sucked. Anomalisa is absolutely breathtaking to watch. I have never seen anything like this. The two directors deliver a mind-blowing visual experience. The characters and sets are unbelievably beautiful and have such a striking visual style. Anomalisa makes absolutely perfect use of animation – almost real but not quite, which for me only added to the movie’s charm and mystery. The visuals tell us this is not necessarily our world, which keeps us wondering what is possible and what the rules are in the world we’re seeing. Anomalisa’s art is amazing and expands what I thought was possible for animation. I have no idea how this masterpiece came to be. Anomalisa totally blew me away.

Of all the great movies we saw at TIFF over the last ten days, I think Anomalisa is going to be the one that sticks with me the longest. It is unique. It is spectacular. It is brilliant. Anomalisa is a movie for the ages. Just not all ages – leave the kids at home.

Anomalisa gets a rating of 190% (because 90% just isn’t enough).

TIFF 2015: Remember

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So begins Day 4 of my trip to the Toronto International Film Festival. It’s 9:30 in the morning and I’ve already seen 9 films and am worried that TIFF fatigue may be setting in. How much enthusiasm ccan I possibly muster up in four days?

If I didn’t have such high hopes for the latest film from Atom Egoyan (The Sweet Herafter), I probably would have been more tempted to sleep in. Unfortunately, the trailer and write-up on the festival’s website had really caught my attention. I was not disappointed.

Egoyan specifically asked us to write spoiler-free reviews, which I have to admit made me feel pretty special to be getting a direct appeal from such a respected filmmaker so I want to respect his wishes. I can tell you that Christopher Plummer plays Zev, a Holocaust survivor who is now living in a nursing home. With his memory beginning to incline, he has no choice but to follow the mysterious Max (Martin Landau)’s step-by-step instructions to escape from the home and track down and exact vengence on the former Auschwitz guard who murdered both their families over 70 years ago.

Remember works equally well as a thriller as psychological thriller as it does meditation on memory and trauma. There are elements throughout the film that you may have seen before but the creative casting of the 85 year-old Plummer as the lead keeps the story from ever feeling too derivative.

TIFF 2015: The Missing Girl

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Colin Geddes, director of both the Vanguard and Midnight Madness programs at the Toronto International Film Festival, introduced The Missing Girl as “probably the gentlest” of the films that he would be introducing to Festival audiences this month. Normally a fan of the sick and twisted, Geddes deserves a lot of credit for introducing us to this surprisingly charming comedy about a missing persons case.

Character actor Robert Longstreet plays Mort, a middle-aged comic book store owner who’s found himself in a bit of a rut after the death of his father, a well-respected detective with the local police. Painful memories of the disappearance and presumed murder of his high school crush still haunt him and come flooding back in a big way when his young and hot employee fails to show up to work one day. The longer her absence, the more extreme the measures he’s willing to take to find out what happened to her.

“Gentlest” or not, The Missing Girl did stress me out a little about having to walk back to my hotel alone after midnight in a strange city. Director A. D. Calvo takes our expectations of the genre as well as the film’s title and makes them work in his favor for awhile until he doesn’t need them anymore. While the mystery of whatever happened to the two missing girls will grab your attention, the character of Mort will hold it until the end. Longstreet is both believable and charismatic in a sad way, not an easy task given that you’re likely to find his behaviour increasingly bizarre. Less a story about a missing girl than a lost man, The Missing Girl examines the ways our growth can be stunted at any age and what it takes to come back to the land of the living.