Tag Archives: Rashida Jones

The Grinch

The original, made-for-TV How The Grinch Stole Christmas! will always be the version that’s near and dear to my heart. It’s as old as my mother, and like her, it’s a classic. That’s the one I’ll always need to rewatch. But I can see how 2018’s The Grinch will be a favourite for kids in the years to come.

It’s a safe retelling, sticking fairly closely to the original story, with a few embellishments here and there to puff it out to 86 minutes. The Grinch is a mean, green dude who lives in a cave with no one for company but his faithful dog, Max – and that’s the way he likes it. In the town down below, however, the Whos of Whoville are a happy, joyful people, who eagerly and lavishly celebrate the holiday The Grinch most despises: Christmas.

Whoville is an orgy of colour and action. Imaginative details abound – from the mouse skating by on candy cane skates, to the machine that cleverly collects snow MV5BNjJhYmE0NGYtOThhMC00ZGIwLWExNDUtZmU3NWI3NmNlNmViXkEyXkFqcGdeQXVyMjgxNTQwNw@@._V1_SX1777_CR0,0,1777,740_AL_and poops out snowballs for the trail of excited children behind it. The animators have outdone themselves drenching everything in lights and tinsel and Christmas cheer. The Grinch himself looks better than ever, his green fluffiness rendered hair by hair. And Max, half companion, half servant, all wonder dog, has fantastic and recognizable doggy traits.

A couple of noticeable differences: The Grinch doesn’t seem to be entirely bad, even while still misunderstood. He can be quite sweet to his pal Max, and he’s compassionate with new addition Fred, a rubinesque reindeer, dopey with good intentions. And The Grinch’s “nemesis” Cindy Lou Who is now the adventurous daughter of a hardworking single mother, a detail that helps move this timeless story into this century. I didn’t mind any of the new stuff, but I did miss just a few details from the original film, which I know and love so well.

A lot of the voicework was fantastic: Angela Lansbury, Pharrell Williams, Rashida Jones, and especially Kenan Thompson. Nothing against Benedict Cumberbatch but I found him terribly mis(voice)cast as The Grinch. And I found it baffling that they hired him only to make him do an American accent – he might have sounded better in his own voice. Ah well.

All in all, kids will love this movie. I know this for sure because my theatre was filled to the brim with some sort of organization’s boatload of kids. Their joy and mirth brought an extra layer of fun to the screening – not to mention squeals like “He’s naked!” followed by every single kid dissolving into giggles, the sound of which is sure to grow anyone’s heart by two to three sizes at least.

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Monogamy

A bored wedding photographer sets up a side business – ‘Gumshoot’, where he’ll surreptitiously photograph his subjects without being seen. Kind of like a private eye (hence the clever name), except he’s actually been hired specifically to do this. One day Theo (Chris Messina) arrives at a park to photograph a woman known only to him as ‘Subgirl’ and what he finds there, at 9am, is a beautiful woman touching herself. He takes her picture from behind his grassy knoll. He takes a whole bunch.

At home, he takes his time perusing them, and his fiancee Nat (Rashida Jones) can’t help but notice the close-up crotch shots. They share an intimate moment together, inspired by the wantonness of the photos. And maybe that would have been nice had Theo left it f0a9f8c6bd1adb17_monogamy-trailerthere. But does he? Oh no. He does not. He becomes obsessed, scrutinizing the photos for every tattoo, every freckle, every…clue?  And then he takes more pictures. Subgirl (Meital Dohan) leads an interesting life that seems to get more and more perverse. Would that excited you? Are you an exhibitionist like Subgirl? Or are you a voyeur like Theo? What would it be like to stalk someone with your camera? To film them in such compromising poses? To know that in a way, they are performing just for you. Sexy? Creepy? Both?

I confess I’ve always had a thing for Chris Messina. He’s dark and brooding and kind of an asshole. Why do we always fall for the assholes? To be clear, I don’t even know Chris Messina. I just lust after his character on The Mindy Project, and then fantasize about breaking all his limbs for all the terrible things he’s done to my precious MindyWhoCanDoNoWrong. My Rashida Jones crush is possibly even stronger. Does she actually emit the light of a thousand suns or have I just soaked for too long in Leslie Knope’s love for best friend extraordinaire, Ann Perkins?

Anyway, I guess you can only photograph cock sucking for so long before your own relationship starts to suffer. So too does his mental health, I think.

But this movie isn’t just about a Brooklyn hipster. It’s about the fraudulent wedding industry, and the stereotypically male knee-jerk reaction to marriage (and its inherent mysogyny), and the sad sac, boo hoo, woe is me, self-pity-party of the man’s end of a breakup. On the head, as my brother-in-law would say (as in, nailed it).

TIFF18: Quincy

Quincy Jones is an icon, a man who needs no introduction from the likes of me. He’s worked with the best because he is the best – not just at composing music or creating trends, but at transcending them, and transcending culture itself. If you listen closely, this movie is about a man who consistently allows his talent to break down barriers. He’s accumulated a lot of “firsts” in his life (the first African American to be nominated for an Academy Award for Best Original Song – and the first African American to be nominated twice in one year as he was also named in the Best Score category; the first African American to hold the position of vice president of a white-owned record company;  the first African American to be the musical director and conductor of the Academy Awards ceremony) but as far as I’m concerned, he’s also a man with a lot of “onlies” to his name – the first, and the only, because this man is a trail-blazer of incomparable talent and drive.

With his daughter Rashida Jones co-directing the film, they skate lightly over the more scandalous periods of his life and focus on his love of family and his impressive musical career. He composed for Frank Sinatra and for Sidney Lumet. He MV5BYzZhMTY1YjQtNWRjNi00YzVkLWEwODAtNzk1MjMzNzZiMWE1XkEyXkFqcGdeQXVyNTc5OTMwOTQ@._V1_wrote movie scores and TV theme songs. He traveled the world making music, and he’s given back to the community by mentoring young musicians and passing the baton, literally, to new composers. He met Michael Jackson while working on The Wiz, and went on to produce Off The Wall, Thriller, and Bad with him. Oprah credits him for ‘discovering’ her for The Color Purple, which he scored and produced. He also composed the music to Will Smith’s Fresh Prince theme song – he was a show producer, and Will Smith auditioned for and signed a contract at Quincy’s 57th birthday party.

Between his art and philanthropy, there isn’t a corner of culture the man hasn’t marked and this documentary offers an excellent overview of his accomplishments while also providing insight to the life he lives at home. I love the many Quincy-isms up for grabs in this doc. There aren’t many topics where he doesn’t offer some bit of wisdom. But neither he nor his daughters (he’s got 6 – it’s almost biblical) believe him to be without flaws, but perhaps at the age of 85, we can afford to concentrate more on his activism and artistry, and the terrific impact he’s had on music and pop culture. You can check Quincy out right now on Netflix.

TIFF18: Female Voices

I am proud to say that the Toronto International Film Festival has been at the forefront of committing to diversity and gender parity in its films. Everyone with half a brain is doing it this year, but TIFF’s been doing it for a while. They have shown us repeatedly that screening a higher proportion of female-directed films doesn’t affect the overall quality of the films shown at all. They have continued to curate fantastic films no matter who’s in the director’s chair. It’s just that programmers have to dig harder to unearth gems that aren’t always backed by studios. For every Wonder Woman or A Wrinkle In Time, there are dozens of indie films with hardly any attention, just waiting for someone smart enough to see it for what it is (Julia Hart’s Fast Color comes to mind as a recent example).

This year at TIFF, 34% of films are helmed by women. A few to look out for:

Can You Ever Forgive Me? Marielle Heller directs Melissa McCarthy in this movie about a sad sack writer (Lee Israel) who can’t get any work so she turns to forgery to pay her rent.

High Life: Claire Denis directs Robert Pattinson, Juliette Binoche, Andre Benjamin, and Mia Goth in a sci-fi film about a bunch of criminals who get sent into space for an experiment on human reproduction that of course goes wrong because IT’S IN SPACE and then they just have to struggle to be, well, not dead IN SPACE. Despite the caps lock, I honestly cannot wait to see this one.

Galveston: We’ve already seen this one, so we can recommend it wholeheartedly. Mélanie Laurent directs Ben Foster and Elle Fanning in a real doozie of a crime thriller, with a distinctly European flavour despite its very American setting.

Destroyer: Karyn Kusama directs Nicole Kidman as an undercover agent who has to reconnect with the gang member she once worked, a situation that ended in life-altering tragedy. There’s already Oscar buzz about Kidman’s performance.

The Weekend: Toronto-born writer-director Stella Meghie directs Sasheer Zamata in this film about a stand-up comedian who gets embroiled in a weird love-triangle with her ex and his new girlfriend on an awkward weekend away.

Quincy: Who better to (co)direct the documentary about Quincy Jones than his talented daughter, Rashida? It’s sure to be an intimate portrait of an influential man, and I can’t wait to see what she does with it.

A Million Little Pieces: After James Frey’s “autobiography” got a lambasting from Queen Oprah for its inauthenticity (read: fabrication, read: lies), this screenplay cooled its heels while the furor died down and apparently Hollywood thinks we’re as ready for it now as we’ll ever be. Aaron Taylor-Johnson plays the “Frey” character and his wife, Sam Taylor-Johnson directs him and a cast including Charlie Hunnam, Billy Bob Thornton, and Juliette Lewis.

Where Hands Touch: The crazy-talented writer-director Amma Asante tells the story MV5BZDIxNjIwNjktZTQzNS00ODI1LTkyZGItNDhkYjJlM2FhODcyXkEyXkFqcGdeQXVyMTMxODk2OTU@._V1_SY1000_CR0,0,690,1000_AL_of a biracial teenage girl struggling to survive in Nazi Germany, starring Amandla Stenberg and George Mackay.

The Kindergarten Teacher: Sara Colangelo’s film already has tremendous buzz coming out of Sundance. Maggie Gyllenhaal plays a teacher (duh) who becomes obsessed with a young student she believes may be a child prodigy (is that redundant? I think adult prodigies are just, you know, educated).

The Land of Steady Habits: Nicole Holofcener directs Ben Mendelsohn in this film about a man who has everything but still feels vaguely dissatisfied so he leaves his job and family and ends up down a rabbit hole of regret.

So, yes, it’s entirely possible to feast on female-directed films alone at TIFF, and leave feeling fully sated. But before you go, there are a couple other initiatives you should know about.

  1. Via Brie Larson, who was herself a director at TIFF last year, the festival announced a commitment toward media inclusion. They accredited 20% more journalists this year to bolster their under-represented numbers. I absolutely believe that female critics are essential to female-directed films being seen and appreciated, and I want and need all voices to be heard and represented. Love this initiative.
  2. TIFF has made a five-year commitment to increasing participation, skills, and opportunities for women behind and in front of the camera, with a focus on mentorship, skills development, media literacy, and activity for young people. Join the movement!
  3. TIFF’s Festival street will host the Share Her Journey rally on Saturday, September 8th. Everyone who’s remotely able to should come fill the streets (King St. West between University Ave. and Peter St.) and talk about the inequality plaguing the industry. Sign up here to live-stream the event if you can’t make it – beginning at 10am we’ll hear from Mia Kirshner, co-founder of #AfterMeToo, the above-mentioned Amma Asante, and many others.

 

Thanks for helping make this the best TIFF yet – because movies only matter when everyone’s represented.

 

Zoe

Got your fill of rom-coms? How about a sci-fi romance for a change?. Ewan McGregor plays Cole, an artificial intelligence engineer who creates a beautiful and highly realistic synthetic “woman” named Zoe (Lea Seydoux). Cole’s lab isn’t just making convincing companions, it’s also revolutionizing love. “The Machine” is a highly complex algorithm that can predict whether a relationship will ultimately work out. It has also synthesized a drug that can mimic the feeling of falling in love. But all of these things together don’t exactly mean a world full of meaningful relationships: humans will always exploit emotions. And Cole is lonelier than most.

MV5BZDZjOTUyNTctM2E0Zi00MGIwLWEyZmYtYTIzNDg2MmZiN2FmXkEyXkFqcGdeQXVyNzk3NjQ1MTc@._V1_SX1777_CR0,0,1777,999_AL_Zoe doesn’t understand that she’s synthetic at first, and it’s a little heartbreaking when Cole has to tell her. Then she questions everything. Like these unrequited feelings she has for him – was she programmed to have them? She was not. But as the two grow closer, and become a couple, she senses things are still unequal. Knowing who she is, what she is, has him holding something back.

Zoe is a movie about the complexities of love, and what happens when technology disrupts it. Men are eager to visit synthetic brothels (Christina Aguilera plays a robot hooker, for some reason) but will they ever trust synthetics to have real feelings? Of course, in a world where those feelings can be manufactured and manipulated with a pill, I wonder if they haven’t been sufficiently devalued that synthetic or not, it shouldn’t really matter anymore.

At any rate, there are some really interesting ideas here, they just aren’t executed all that well. The movie opens up this delicious Pandora’s box but then offers almost no social commentary, and its protagonist’s navel-gazing is immature and insensitive. There are no glaring problems with any of the movie’s moving parts, it’s just that they don’t add up to anything all that gripping or compelling (except for the soundtrack, which was the only notable standout). With themes of authenticity of both personhood and emotion, Zoe pales in comparison to Ex Machina and even Her, and you can’t quite forgive its shortcomings. I suppose movies are a little like robots in that, if you can’t make it better, why bother making it at all?

Tag

Tag is a movie about grown men playing tag. They’ve played every month of May for the past 30 years, since they were kids. They’re crazy competitive about it, and it rankles that Jerry (Jeremy Renner) is the only one who’s never EVER been tagged. Not once. In 30 years. But this May Jerry’s getting married, and that seems to the rest of the gang (Ed Helms, Jake Johnson, Hannibal Buress, Jon Hamm) like the perfect opportunity to finally make him IT.

This movie is based on a true story, which sounds absurd except I knew a couple of brothers who did something similar – they played a game they dubbed Touch You Last (you can probably extrapolate what it involves) throughout their adulthood. In MV5BMjNjYzVkNmMtY2VhNC00ZDg2LTlkNmItMzYzOTI4NzIwYTQ5XkEyXkFqcGdeQXVyNjMxMjkwMDg@._V1_SY1000_CR0,0,1333,1000_AL_the movie, the guys find it a good excuse to get together and stay close well past the time that most friendships fall to the way side. Wives and girlfriends (Rashida Jones, Leslie Bibb, Isla Fisher) are not allowed to play because they made the rules when they were 9 (no girls allowed) but over the years the game has been mythic and this year a reporter from The Wall Street Journal is following them around so the stakes are extra extra high and nothing, believe me NOTHING, is sacred.

The film is a mashup between comedy (hit or miss) and absurd and insane stunts that no grown, sane man should attempt in the name of a game of tag, or ever, unless a bear is chasing you AND you owe that bear money AND that bear has ties to organized crime AND your hair is on fire.

The script isn’t overly strong but there’s a lot of funny people in this (I might give the win to Hannibal Buress, who delivers a straight-faced one-liner like nobody’s business) so it does have its moments. It’s just not in danger for being mistaken for a classic, or, you know, an actual good movie. Which is not to say it’s bad. It’s just pretty content to be a medium-funny diversion which you may or may not wait to see as a rental rather than in theatres, where you damn well better make me laugh out loud.

1976 in Film (Happy 40th Sean)

Sean and I are cruising around the Hawaiian islands to celebrate his milestone birthday, which is why you’ll find a common theme in the movie reviews here  for the next week and a half.

1976 was a noteworthy year in film. Rocky was the highest grossing movie, and it won the Oscar – for best picture AND best director (John G. Avildsen). It was p5214_p_v8_aaNetwork though that all but cleaned up in the acting categories – Peter Finch for best actor (he was the first actor to win posthumously); Faye Dunaway for best actress, and Beatrice Straight for best supporting actress. The fly in their soup was Jason Robards for All the President’s Men – poor Ned Beatty was shut out. In an upset, Barbra Streisand’s Evergreen (Love Theme from A Star Is Born) won best original song over Gonna Fly Now from the Rocky soundtrack but I don’t need to tell you which has had the more lasting impact culturally.

George Lucas began filming Star Wars in 1976, perhaps sensing that little Sean would definitely need to grow up playing light sabers. In a stroke of genius, Lucas waived the half-million-dollar director’s fee in order to maintain complete ownership on merchandising and sequels, which means that today he’s a mother fucking billionaire.

Carrie came out in 1976. So did Family Plot, Alfred Hitchcock’s final film taxi-driver-movie-1976starring Bruce Dern. And Freaky Friday with Jodie Foster. And Scorsese’s Taxi Driver. And To Fly!, a documentary about the history of flight produced by the National Air and Space Museum that was the second-highest grossing film the of the year and was the highest grossing documentary of all time until Fahrenheit 9/11 in 2004.

Kelly Macdonald, voice of Merida, the heroine from Disney’s Brave, known for roles in Trainspotting, Gosford Park, No Country for Old Men, and Boardwalk Empire was born in 1976 (the bitch. She’s married to my favourite bassist ever, Dougie Payne). So was fellow redhead Isla Fisher.

Rashida Jones turned 40 this year too. She’s currently working on the script to Toy Story 4. Reese Witherspoon turned 40. David Oyelowo turned 40. Cillian 3t0kxqbttyjlMurphy. Benedict Cumberbatch. Audrey Tautou. Colin Farrell. Happy 40th to all.

Ryan Reynolds has been making 40 look good for nearly 2 months now, paving the way for the likes of Sean to do the same.

Albert Brooks made his film debut in 1976 in a little movie called Taxi Driver. Jessica Lange made hers in King Kong and Brooke Shields first appeared in Alice, Sweet Alice.

1976 was kind of cool outside of film too: the Steelers won the Super Bowl. The first commercial Concorde flight took off. Innsbruck, Austria hosted with Winter Olympics (and Montreal the Summer). The Toronto Blue Jays were ramones-ramones1born. Apple was founded by a couple of punks you might have heard of, Steve Jobs and Steve Wozniak. The Ramones released their first album and the Sex Pistols play their first shows, but it’s (Peter) Frampton Comes Alive! that tops the charts. The Boston Celtics defeated the Phoenix Suns in triple overtime in Game 5 of the NBA Finals – still considered the greatest game of the NBA’s first 50 years. The CN tower, then the world’s tallest free-standing structure on land, opened to the public. Jimmy Carter defeated Gerald Ford. Megamouth sharks are discovered off Oahu, Hawaii 4c33c725f6feaf2ce254254f6f1201fc(nothing to be concerned about Sean, I’m sure it’s just coincidence you’re both turning 40 in the same place). Bob Marley survived an assassination attempt. California repealed their sodomy law. Peyton Manning was born. And Ronaldo. And Mark Duplass, just a day after Sean. And as much as I love me some Duplass, Sean is still my favourite thing from 1976, and I’m so glad I get to spend the day looking for megamouth sharks on a submarine ride on the ocean’s floor with him.