ScreenFish

where faith and film are intertwined

Jason Thai

The Black Phone: Answering the Call to Fight Back

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Set in a suburban town in Colorado back in 1978, The Black Phone begins as five children go missing. A mysterious (and presumed) serial killer that targets children–who the media calls ‘The Grabber’–is on the loose and abducting children one-by-one in the area. For his 6th victim, The Grabber abducts Finney Shaw, a clever but weak 13-year-old that’s frequently bullied. Trapped in a sound proof basement by the sociopathic lunatic, Finney needs to get out of his prison as quickly as possible. However, when a seemingly disconnected black phone keeps calling him, he learns that the mysterious callers are, in fact, the Grabbers previous captives with a plan to help him escape.

(from left) The Grabber (Ethan Hawke) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

Directed by Scott Derrickson, The Black Phone presents itself as a horror movie with an interesting premise but it’s really about overcoming your fears and standing up for yourself. Constantly getting beat up throughout the film, Finney always takes the abuse without fighting back. (In fact, his friend and even his little sister have to be the ones that fight his battles for him.) As a representation of the ultimate bully, The Grabber only picks on those who are much weaker than him to be his victims, tormenting them for his amusement. When the time comes, Finney has no other option but to stand up to The Grabber. However, in order to fight back, he must use all of the tools and knowledge of the previous victims to defeat his bully and set himself free.

Mason Thames as Finney Shaw in The Black Phone, directed by Scott Derrickson.

Personally, I really loved how they went about the horror and premise of the movie. By using a lunatic abductor as the villain, Derrickson gives a sense of realism to the film as this could easily happen to anyone. Trapped in a small confined space, the film has maintains an eerie claustrophobic feel. (A sense that’s further emphasized by Finney’s reliance on the Grabber for food.) What’s most shocking about the film is the effectiveness of its fight scenes. Inspired by The Karate Kid, the hits are surprisingly heavy with a lot of weight to them, allowing the violence to feel satisfying in the end.

At the same time, although the film seems grounded, The Black Phone also has a supernatural influence to it that should engage horror fans. With each call from those who died at the hand of the Grabber, Finney taps into their power and influence. As a result, the film feel feels almost as though The Grabber is the final boss in a video game and Finney is using tips from the other dead children to ‘level up’.

(from left) Vance Hopper (Brady Hepner) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

In many ways, Black Phone becomes really inspirational as it gives anyone who’s ever been bullied the motivation to fight back. As the film builds to its cathartic finale, it’s hard not to empathize with (or even relate to) Finney. One cannot help but put themselves in his shoes as he finds the strength to stand up to his kidnapper.

Derrickson has always been a master of horror and it shows here. Balancing both ‘realistic’ and ‘supernatural’ horror, The Black Phone proves to be a solid horror film with a satisfying ending. In short, this is definitely one scare-fest that will Grab you.

The Black Phone is available in theatres on Friday, June 24th, 2022.

Doctor Strange and the Multiverse of Madness: Emphasis on the Madness

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Have you ever had regrets in your life or made decisions that you wish you could’ve done differently? 

Now, what if you had the opportunity to go to any possible reality that you can think of? A place that would allow you to change anything that you’ve ever done or have whatever life you want. For those who struggle with guilt or shame, the idea would be very tempting.

Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Following the events of Spiderman: No Way Home and WandaVision, Doctor Strange and the Multiverse of Madness takes us on a trip through the horrors and wonders of the multiverse. With the universe seemingly falling apart Doctor Strange (Benedict Cumberbatch), Wong (Benedict Wong), and Wanda Maximoff (Elizabeth Olsen) take on threats they’ve never faced before. In the wildest MCU movie to date, Multiverse really opens up the Madness of the live-action cinematic universe that Marvel has spent so long developing.

Directed by Sam Raimi, the creativity of the film is spectacular. Although the first Doctor Strange began to feel like an acid trip in places, the reality jumping that happens in Multiverse is absolutely nuts. Ranging universes of animation to one of paint, Raimi makes good use of the opportunity to push the boundaries of the MCU. (For what it’s worth, Marvel’s What If series is a good primer that prepares the viewer for all the different possible realities that the MCU can give us.) 

A scene from Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios 2022. ©Marvel Studios 2022. All Rights Reserved.

Without question, this is the bloodiest MCU film to date. In fact, by leaning into its horror potential, Multiversebecomes not only becomes the first to attempt this style from the MCU, but the first successful attempt in the genre. (BrightBurn doesn’t count…) With her powers finally unleashed, Wanda is perfect at being horrifying. Broken by the loss of her kids in WandaVision, Wanda has become increasingly unstable as she pushes to get what she wants. Covered in blood and performing reality-bending witchcraft, she becomes almost an unstoppable ghost. (It’s worth noting that the magic fighting has also become more creative. For example, Wanda’s fight with the Illuminati is just horrific and beautiful at the same time.)

One of the best additions to the franchise is their new character America Chavez (Xochitl Gomez), a young girl from another universe who can travel through dimensions. Bringing great banter with Strange that balances out his seriousness and cool powers of her own, she’ll likely be key to setting up any major multiverse related stories in the MCU. 

(L-R): Xochitl Gomez as America Chavez, Benedict Wong as Wong, and Benedict Cumberbatch as Dr. Stephen Strange in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

Personally, I also really am noticing and appreciating Marvel’s diversity initiative as well. Despite the controversy created by the fact that that America Chavez has 2 moms, Marvel continues to push forward towards inclusion. Handling her story with love by showing her parents and treating it as “normal” was great. It really normalizes same-sex marriage and I respect Disney for not cutting it out.

As they reach infinite possibilities for stories and universes, the overarching theme within Multiverse is the idea of regret and coming to terms with that decisions that we’ve made so that we can move on. In many ways, the journeys of both Doctor Strange and Wanda parallel each other throughout the film. Unable to accept her actions in Westview (see WandaVision), Wanda wants to find a reality where she can really have the family and life that she has always wanted. [Potential Spoiler] For her, the quest is so important that she’s willing to go out of her way to steal another version of herself in order to find the reality that she wants. [Spoilers end]

Elizabeth Olsen as Wanda Maximoff in Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS. Photo courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.

At the same time, Doctor Strange’s regrets stem from a deeply personal loss that took place during the Blip. Similar to Wanda, his guilt consumes him, pushing him to become something sinister. As a result, both are living unhappily and are willing to take the lives of others in order to have the universe that they want. After meeting alternate versions of themselves, Multiverse shows that you never really know which choice was the “right choice” and living in regret because of your choices is foolish. No matter how terrible the little decisions may be, they lead you to who you’ve become now and accepting that these moments happened allows us to move forward.

Overall, Doctor Strange in the Multiverse of Madness is a horrifying and beautiful trip into the multiverse. For his first venture into the MCU, Raimi steps up his game and offers us something that we’ve never seen before that I definitely recommend. Wild and weird, Raimi truly lets the Madness out of this Multiverse.

Doctor Strange and the Multiverse of Madness is available in theatres on Friday, May 6th, 2022.

HotDocs ’22: My Old School

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Set in 1993, My Old School tells the story of Brandon Lee, a 17-year-old fifth year Canadian who became a student at Bearsden Academy, a high school near Glasgow. Brandon was a model student who was on the way to becoming a future doctor. However, in reality, everything about him was a lie. Strangely, Brandon’s real name turned out to be ‘Brian McKinnon’, a 32-year-old man who was not from Canada at all.

When the story broke, ‘Brandon’ quickly became worldwide news. After all, why would a grown man want to pose as a teenager unless something sinister was behind it? My Old School details the life of Brian (played here by Alan Cumming), as he attempts to relive his glory years by becoming the popular kid once again. More than this though, his hope was to achieve his dream of enrolling in university for medicine, something that Scotland will not allow anyone over 30 to do. Directed by Jono McLeod, School interviews present school faculty, classmates and, of course, ‘Brian’ himself for their perspective on the story.

More importantly though, the film offers a unique look at what a lot of us would love to have in our lives: a second chance at life. With age and experience, few people would pass up a chance to redo everything that they know now. In the case of Brian, he was able to do just that. Even though he was living a lie, Brian was able to have cool friends, get the grades he wanted, play lead in the school show, go on the vacations he wanted and even get into the University of Glasgow to study medicine.

Overall, My Old School has a sense of sadness about it, especially for Brian. Whereas one might judge him for his actions, it seemed that he truly only did what he did in order to make something his life. Liked by those around him, his classmates still have a fondness and admiration for him to this day. 

My Old School is screening at HotDocs ’22. For screening information, click here.

Ambulance: Sound the Alarm. Bay-hem has Returned!

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Like the siren announcing the arrival of an Ambulance, Michael Bay likes to make some noise.

Ambulance tells the story of brothers Will (Yahya Abdul-Mateen II) and Danny Sharp (Jake Gyllenhaal), two sons of an infamous bank robber. Following in his father’s legacy, Danny has become an expert in bank heists. At the same time, former Marine Will is a family man who loves his wife but struggles to find a job. When his wife falls ill, Will finds himself in desperate need of $200K in order to pay for the surgery. With no other options, Will begrudgingly decides to join Danny in his most ambitious bank heist yet. With the potential of a $32 million dollars haul, this duo’s robbery unexpectedly goes haywire and their plot becomes entangled with a dying cop and LA’s best paramedic as they plow through the streets in an ambulance.

Directed by Michael Bay, Ambulance is a fun ride (pun intended) around LA, spanning multiple areas and highways throughout the vast city. Without question, it’s Michael Bay at his most Michael Bay-ish. Featuring huge gun fights, cars rolling off of cliffs, loud explosions and rapid banter between characters, it’s got everything that you would want or expect from the director. (After all, there’s a reason they refer to his films as ‘Bay-hem’.) The implications of Will’s journey throughout the film also provide some commentary on how American soldiers risk their lives for a country that seemingly abandons them. With little support from healthcare and insurance companies, veterans continue to struggle yet no one seems to notice (or care). 

Danny and Will are complete contrasts to each other. Danny is rich, smug and egotistical while Will is a caring, selfless man. Although both men embark on this robbery together, they also participate in the heist for wildly different reasons that reveal their character in the process. Fueled by his desire to add even more luxury to add to his already massive fortune, Danny takes on the job by pure choice. Will, however, has to do so because of his circumstances, as he is unable to pay for his wife’s surgery or take care of his child. What’s more, throughout their high-speed pursuit through LA, Will actively attempts to mitigate Danny’s actions and reduce any causalities. For example, Will even gives blood to aid an injured cop and helps the paramedic perform surgery. (To be fair, there’s a surprising complexity to Danny’s character. Although he appears to be only an entitled rich person, he genuinely cares for his brother and actively tries to set himself apart from the violence of his father.)

By the end of Ambulance, the film suggests that “good karma” helps offset our actions. Similar to the age-old ethical question about whether stealing bread is justified to feed your family, Ambulance asks if you steal with good intentions, are you still considered a thief? Yes, you are still responsible for your actions. However, Ambulance also hopes that the quality of your heart will be a factor in determining your outcome. 

Overall, Ambulance offers all the action and insanity that you’d expect from a Michael Bay film. However, it also has some unexpected moral lessons and ethical questions through characters worth exploring. For that reason, it may be worth listening to the call of this Ambulance’s siren, especially for fans of pure Bay-hem.

Ambulance is available in theatres on Friday, April 8th, 2022.

Reel Asian ’21: Inbetween Girl

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Inbetween Girl tells the story of Angie Chen, an American teenage girl dealing with the typical dramas of popularity, boys, sex, and plans after high school. What sets Inbetween Girl apart from your typical coming-of-age drama though is that the story greatly centres around the aftermath of her parents’ divorce and ties deeply into the relationship between her ethnicity and her identity. 

Angie’s mother is a white American and her father is Chinese. After the divorce, her father moves on to a Chinese woman whose daughter, Fang, is the stereotypical model student and model minority character. Perfect grades, Stanford student, “pratical” career aspirations are her markers (and everything Angie is seemingly not). Coupled with the fact that she grew up in a household that never spoke Chinese or acknowledged her Asian roots, Angie is stuck in-between cultures and trying to identify which (if either) define her. The film also explores Angie’s experience growing up biracial in an all white school, where the standards of beauty set by her peers show off their racist tendencies. (In fact, she’s even compared to a panda and treated like a dog that was bred for its ‘cute features’.)

Overall, I enjoyed the direction that Inbetween went as well. Angie is in a typical love triangle you see in many coming of age films, yet she has no desire for popularity. Instead, Angie simply wants to just live a good life and find her own identity. By showcasing it through her art, the film shows her personal growth effectively as she finds a way to express what she can’t through dialogue. 

Inbetween Girl is now playing at Reel Asian Film Fest ’21

The Suicide Squad: War is a Funny Thing

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The sequel to 2017’s disastrous Suicide Squad, James Gunn’s soft-reboot The Suicide Squad also tells the story of a ragtag group of villains and maniacs with unique abilities who are forced to work together by the America Government. If they are able to survive this suicide mission, they get reduced jail time. Disobey an order though and their head blows up. This time, their team consists Harley Quinn (Margot Robbie), Bloodsport (Idris Elba), Peacemaker (John Cena), King Shark, a giant CGI shark-man (voiced by Sylvester Stallone) and other crazy characters thrown in the mix like a living human weasel and Mongal, an alien warrior from another planet. Their mission is to destroy Jötunheim, a Nazi-era prison located in Corto Maltese, South America where alien experimentations are being used by its new evil dictators. 

The Suicide Squad is James Gunn at his absolute best. This is a film that really feels like an R-rated Guardians of the Galaxy (which is definitely a good thing). Picking James Gunn as the writer/director was a great decision for the WB and the difference in quality between the first Squad film and this one is night and day. Widely panned by critics and audiences, the first film felt like it was made by Hot Topic. Overstuffed by character backstories with limited action scenes and, lest we forget, the worst depiction of the Joker ever, 2017’s Squad was a tremendous let-down for the company. However, in Gunn’s vision for Squad, we jump right into the action and craziness, where half the team gets decimated within the first 5 mins of the movie. (It really is a Suicide Squad…) Gunn’s voice is nuts, often unexpected, and truly fitting of a rated-R movie. 

In addition, unlike the first film, Gunn’s film really isn’t trying to take themselves too seriously. Gunn clearly understands how insane both the premise and some of these characters are. For instance, there’s one really epic scene where King Shark rips a guy in half with his bare heads in slow-motion while lighting strikes in the background. (And that’s not even the craziest part of the movie!) This Squad also contains a woman that controls rats, Harley’s epic escape from prison and Bloodsport’s shooting through someone else’s bullet. That sort of high intensity action pairs really well with the comedy that James Gunn loves throwing into his films like Polka-Dot Man’s deep hatred for his mom that runs so deeply that he sees her everywhere. 

The underlying theme of The Suicide Squad seems to be a criticism of American nationalism and the smoke and mirrors that the American image upholds. This idea is best symbolized through Amanda Waller and John Cena’s character, Peacemaker. Decked out in the classic red, white, and blue colors of America, Peacemaker has dedicated his heart for “liberty.” Both characters are willing to do whatever they can to preserve the image of America as ‘for the people, by the people’ and the nation that all others should aspire to be. Of course, this is all a delusion but both characters act to try to preserve this false image simply because it’s something that they were led to believe. They truly think what they’re doing is right, despite being on both sides of the propaganda. 

The Suicide Squad further delves into its critique of the US by mentioning how many South America countries have been ravaged by them during the Cuban Missile Crisis. Similar to the way that Corto Maltese was used to store illegal human experiments using the alien starfish, so too did the US use Cuba for their nuclear weapons in the 1960s. In an example of toxic American nationalism, Waller and the Peacemaker will do whatever it takes to preserve US interests, even at the expense of poorer and less developed countries.

Overall, The Suicide Squad is the rag tag team of villains that we deserved (and needed). Director James Gunn is allowed total freedom here and looks like a genius. Not only is the action exceptional (and plenty) but the comedy is incredible and works so well with the characters they have.

The 4K UHD combo pack contains a gag reel of ridiculousness, three themed trailers, commentary from Gunn, deleted and extended scenes, four “scene breakdowns,” and four featurettes: “Gotta Love the Squad,” “The Way of the Gunn,” “Starro: It’s a Freakin Kaiju!” and “Bringing King Shark to Life.”

TIFF ’21: Scarborough

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Adapted from the novel by Catherine Hernandez, Scarborough details the lives of three families of various backgrounds who live in poverty in Scarborough, Ontario. Meeting up at an after-school program at a local community center, the children’s stories begin to intertwine. 

Set in the urban centre of the Greater Toronto Area, Scarborough shows how one of the wealthiest cities on the planet can create a massive divide in wealth and resources between families. In many ways, the film offers a glimpse into the lives of true poverty and the struggles that these families face every day, like raising a child with limited finances and the mental burden that it places on the parents. Scarborough boldly shows how these limited resources can perpetuate the cycle of poverty, stunting the children’s potential and opportunities for a better future.

Personally, what I loved most about Scarborough is that it never shy’s away from the challenges of poverty yet it also makes it extremely difficult to watch. The film depicts a community of children that has been abandoned by its city, leaving them to endure child abuse and other traumas. One of the most difficult stories to watch is that of Laura, one of the three main children within the film. Abandoned by her mother and left to live with an abusive and racist father (who’s also mentally unstable), Laura lives in constant fear of others and has developed insufficient communication and social skills as a result of his violent outbursts. Under pressure to perform perfectly and called horrendous names by her father, Laura is struggling to survive in a toxic environment. Warped by her father’s bigotry, Laura’s worldview has been tainted. (She even genuinely asks her Muslim teacher if she ‘eats babies’.) 

In addition, Scarborough pulls no punches on the difficulties that occur with limited finances. Things we don’t consider are viewed as luxuries to families struggling daily, such as breakfast and lunches, school supplies and even toilet paper. These communities are hampered by their loss of funds and require help to make it through the day. Interestingly, the community center that provides the children breakfast becomes the centre point of the film and Ms. Hina, the Muslim daycare teacher, is the angel that these children need. However, despite Toronto being one of the most diverse cities on the planet, Ms. Hina faces constant bigotry by parents who confuse her racial background and her supervisors who reprimand her for not going above and beyond her duties. At a place in which the goal is to educate these kids and guide them into the future, its somewhat ironic that Ms. Hina is consistently undermined due to her race.

Overall, Scarborough is a must-see film and the truest depiction of First World poverty that I’ve ever seen. Never shying away from the abuse and neglect that these children endure, the film is raw and points out that the glaring cycle of poverty has not been addressed properly. As such, Scarborough is as informative as it is hard to watch. Though the story is fictional, it has never felt more real. 

TIFF ’21: MiddleMan

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In The Middleman, Frank, a man who has suffered from long term unemployment, must take on the role as of “middleman” in the town of Karmack, USA. Broken by their own pain, Karmack is a town that is so depressed that they require a professional middleman to give any bad news to people. This responsibility falls to Frank, who is given the extreme burden of a job nobody wants. (After all, this would be one of the most emotionally draining roles that one could do for a living.)

Initially, it seems as though Frank has been thrust into this role without choice. But, as the film unravels, it becomes clearer that Frank has actually chosen the role and did so out of guilt. Dealing with the shame of a tragic event from his childhood, Frank has lived in regret and guilt his whole life. As such, this job is his way of making amends for his guilt. He has to be the one to deliver bad news to people, to be the middleman and take in all the anger, grief, and frustration to those that he must deliver the bad news. It’s his way of getting what he thinks he deserves. This self-destruction only further worsens his mental health. Anytime that Frank is in a position of good fortune, he’s unable to bear it and does something destructive to his life in order to off-set the blessing.

If you think about it, Frank really is the villain of the story. No matter how guilty he feels, how much he tries to redeem himself, Frank continues to make the lives of those around him—and himself—worse. Because of his actions, Frank’s continues to harm those around him, despite his intent. As people, we want to improve on ourselves and be better yet sometimes we fail. In this way, Frank is the ultimate failure. The wild moments that unravel around him help Middleman to become a great dark comedy that entertains.

Overall, Middleman takes the viewer on a journey with Frank, a middleman for bad news. With some solid dialogue and brutal moments, the film is really a journey of a man with one of the most emotionally crushing jobs possible who is simply  trying to rectify his guilt and overcome his past.

The Middleman is currently playing at the Toronto International Film Festival.

TIFF ’21: The Humans

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Based on the play of the same name, Stephan Karam’s film The Humans is an American drama set within an apartment around Thanksgiving. At a season which is supposed to be about  celebration, three generations gather under one roof to discuss their lives, from the positives and negatives to even the most obscure conversations. Starring Amy Schumer, Steven Yeun, Beanie Feldstein, Jayne Houdyshell, and Richard Jenkins, The Humans give an outsiders view into what this random family is going through. 

In many ways, Humans feels like a look into the ‘typical’ American life, especially during the holidays. Opposing viewpoints, perspectives, and generational differences are all things that often surface during these times and make the season challenging for many. One very important conversation to the film that was addressed during the directors Q&A is the impact of work and how much finances interplay with family connection and life. A struggling family dealing with job loss, unemployment, and medical bills seems standard for the typical American family as finances of older generations fail. As a result, it seems that there’s a higher dependence on the younger generation to take care of parents. In fact, having three generations under one roof has become more common, simply out of necessity. 

One thing that I loved about The Humans was how raw and human it felt. Throughout their time together, the viewer is left as a bystander, forced to listen to the lives of these people. In many ways, these people are an average family. They could be you or your loved ones, including the sorrows and anxieties which bubble to the surface and how they try to cope with them by coming together. The film is beautiful yet, at the same time, it’s also sad seeing the human experience play out so casually in this little apartment. There’s something so fascinating about hearing “private” conversations that aren’t meant for our ears. It’s like we’re eavesdropping on the gossip.

Overall, The Humans is a great movie that provides a look into the typical American household and the fears, dreams, and regrets that haunt us all. As a family, they do their best to endure their struggles and support one another. Backed by stellar performances and a solid script, the film highlights the challenges of doing life together.

The Humans is now playing at the TIFF ’21.

Shang Chi and the Legend of the Ten Rings: Celebrating (and Owning) Culture

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In Marvel’s Shang Chi and the Legend of the Ten Rings, skilled fighter and assassin Shang Chi (Simu Liu) is confronted by the family legacy and past that he thought he had left behind. His father is known as The Mandarin, the leader of the Ten Rings organization and one of the most villainous people in history, uses a legendary weapon to give himself immortality and power so great that it rivals Thanos’ Infinity Stones. After Shang Chi escapes his father’s grasp and flees to San Francisco, The Mandarin recaptures his son and wants him back in the fold to help with his master plan. 

There has been a great deal of attention lately focusing on Asian hate during the pandemic. (In fact, as crimes and hate against Asians have increased, Shang Chi earned terrible early reviews on Google despite not having been released to the public yet.) However, with an uncompromising vision, one of the best aspects of Shang Chi is that the movie never tries to “whitewash” him or the story to appeal to the general audience. Instead, the film embraces Asian representation and use of culture in all aspects, from the wardrobe, fight scenes, backgrounds, mythical creatures, weapons, and even allowing them to speak Chinese onscreen. 

Like Black Panther’s celebration of African culture, Shang Chi shows the audience just how rich Asian culture can be and how much great talent there is in Hollywood right now that is being overlooked. The whole movie is really an immersive cultural experience and those who have never seen an Asian-led film before are going to be blown away. Of course, it still does also do all of the great things that have made Marvel be so successful as well, such as its trademark witty humor, CGI glory, and super creative/intense superhero fight scenes. (Incidentally, in its set pieces, Shang Chi really creates martial arts scenes that you’d expect to see from a classic Jackie Chan movie, a style which blends really well with Marvel’s cinematography and choreography.) As an absolute huge celebration of Asian culture, Shang Chi is a huge step in the right direction for inclusion and diversity for Disney and the movie industry as well. (And, of course, make sure to stay for both after credit scenes.)  

Marvel’s first Asian led superhero movie, Shang Chi takes its audience on a mythical journey of intense martials art action mixed with a storyline that really speaks to Millennials and Gen-Z’s. Being a second (or longer) generation immigrant, there is often a huge lack of cultural identity. For example, while you may grow up learning bits of your background and know that you are Asian but you may not really identify (or want to identify) with your culture. In this way, you can be kind of tied between your ethnic origins and the culture of the country that you’re growing up within. Especially when as a child, you’re constantly bombarded with media that does not celebrate or acknowledge you. This notion also relates to Shang Chi himself, as his character arc follows the story of a second-generation immigrant who is troubled by his past and the legacy that his father is forcing on him.

Typically, the aspirations of a tiger parent are known for pushing their kid to become something that they don’t want to be. For many Asian parents, this dream is for their child to become a doctor or lawyer. For Shang Chi, however, it’s to become head of the Ten Rings. Wanting nothing to do with his heritage, Shang abandons it entirely by running away and completely disassociating himself with it. (In fact, he’s even ashamed of his true origins.) The relatability of watching him is how a lot of Asians feel about their family and culture too. To these youth, their parents’ culture is something to hide and attempt to break free from. Without giving away any spoilers, it’s only after Shang Chi goes on this adventure and confronts his family and homeland that he reconnects with his roots. In doing so, he begins to feel some pride in who he is and who he can become. (“You are a product of all that have come before you,” he’s told.) Personally, I really believe that the film uses this to highlight the struggle for younger Asians to acknowledge their culture and own their background is a part of who they are now. There is a message of cultural celebration within the film that invites second-generation immigrants to be proud of their heritage, rather than hide or be ashamed of your own race. 

Overall, Shang Chi and the Legend of the Ten Rings is an amazing celebration of Asian culture that was long overdue. By celebrating Asian culture, Marvel has really taken a great step in the right direction at a time when it’s needed. As the latest new character into the MCU, the film is fueled by family ties that really drive the story and demonstrate the struggle of the next generation to connect with their history. 

Shang Chi and the Legend of the Ten Rings is in theatres on Friday, September 3, 2021