ScreenFish

where faith and film are intertwined

Steve Norton

Oxygen: Breathing to Remember

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While watching films of gripping intensity, we often feel as though we need to remember to breathe. 

But what about a film that’s wants you to breathe to remember?

Directed by legendary director Alexandre Aja, Oxygen tells the story of a young woman (Melanie Laurent) who awakens in a cryogenic pod. Without any memory of who she is or ties to her old life, the woman panics and struggles to break free. With her oxygen level depleted, the woman must crack the code of her memory and her mysterious tomb before time runs out.

Oxygen is an ambitious piece that will leave you gasping for air. An absolute nightmare for anyone claustrophobic, Oxygen keeps the entire film within its confined quarters. While there are very few examples of this type of storytelling, this is an ambitious task for any narrative. With a minimal cast and a tight location, it’s extremely difficult to keep the audience’s attention. (Ryan Reynolds’ pre-Deadpool film, Buried is another example of this.) While Oxygen doesn’t always manage to work, the film’s twist half way through the film is unexpected. Without giving anything away, Aja manages to open up the world so broadly that it gives the film the energy boost that it needs to remain compelling.

As the film’s central focus, star Melanie Laurent has the camera firmly placed on her the entire film and does her best to keep the audience engaged. (Although it’s also worth noting that the film does give some minimal breaks from the location via flashbacks.) The great challenge of a character such as this is that it removes the actor’s ability to truly interact with her surroundings and puts a greater emphasis on the script itself. Even so, Laurent does some good work here and continues to breathe life into the film. 

In many ways, Oxygen wants to explore the connection between memory and identity. Waking up with no recollection about her name and/or life, this young woman feels an even deeper sense of isolation. Although locked in her high-tech coffin, what is most terrifying to her is her inability to recall her life before that moment. In essence, because she can no longer remember anything, this young woman’s peril extends beyond her physical problems and seems to erase her from history. Without her memories, what defines her life?

Without a story, how does she know she matters?

While we don’t often associate our memories as the defining characteristics of our lives, Aja creates a compelling argument that our mind is the very thing that defines us. As she fleshes out her life, her story helps her to understand not only her situation but what makes her who she is. As a result, with each piece of her life she recovers, this young woman regains increasing motivation to live on. In this way, Aja uniquely connects our memories with our place in the universe. To him, it appears as though we know we matter because of the loving marks we’ve left on others along the way.

While Oxygen will not be for everyone, the film is hardly on life support. Led by some intriguing ideas about the meaning of our memories, Aja gives Laurent enough room to breathe to give the film life, even when other examples of the genre run out of air. 

Oxygen is available on Netflix on Wednesday, May 12th, 2021.

Together Together: What is ‘Together’?

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We live at a time when the meaning of ‘family’ continues to evolve withing our culture. But can you be together without really being together?

Together Together tells the story of Matt (Ed Helms), a single middle-aged man who decides that he wants to father a child and turns to a surrogate to make his dreams into a reality. In the process, he hires Anna (Patti Harrison), a young independent woman who is willing to take the job for the extra cash. As the months go by and the due date approaches, the two begin to experience a unique bond together which causes them to re-evaluate their perceptions of what it means to be connected, maintaining boundaries and the nature of love.

Written and directed by Nikole Beckwith, Together Together has charm and wit but never fully realizes its potential. To its credit, Helms and Harrison have a certain charming chemistry that keeps the film going. As Matt, the always affable Helms brings the sort of light-hearted humour that has made him a star. At the same time, Harrison does an excellent job as Anna, and serves as an interesting foil for Helms as his potential paramour. Together (together), they create an interesting dynamic with conflicting styles that allows the ‘will they/won’t they’ to work, even at times when the script lets them down. 

With unique twists and characters, Together seems has grand ambitions to change stereotypes of the rom-com genre. By flipping the tropes of the ‘young woman looking to have a child’ and the ‘independent male loner’, Beckwith has the opportunity to explore changing gender roles and cultural stereotypes. In this way, the film really creates some fascinating and unexpected interactions. Matt attempts to navigate life as a single man in a world that seems foreign to him. At the same time, Anna’s emotional and sexual independence causes conflict within herself as she struggles to connect with both the baby and Matt.

Even so, while it’s refreshing to see a film that breaks with conventions in so many ways, the script doesn’t always come into focus as a result. At times, Together feels like it wants to break the rules but doesn’t always know where it wants to go when it does. Although there are some interesting conversations to be had featuring a single-father family, the idea of potentially linking the two leads romantically feels like it could be transgressive. (For instance, if Matt begins a relationship with Anna, does that defeat the intent of showing his courage?) While the script does manage to (sort of) answer these questions by the end, it still feels slightly unsatisfying.

At its core, Together wants to explore the nature of community and, more specifically, the meaning of family. Both Matt and Anna live lives with varying degrees of isolation and shame. While Matt fails to live up to his parents’ expectations for attempting to be a single father, so too does Anna feel the full weight of her own family’s shame for her own past pregnancy. Estranged from their loved ones, the two are both looking for a relationship in order to feel safe and secure. (It’s worth noting that neither is actively searching for a romantic relationship. Instead, both seem focused on their independence, at least initially.) 

As their openness with one another begins to break down their barriers though, their professional relationship begins to melt into something that brings feelings of security and love. While romance is not off the table, neither is it the driving force here. (After all, they’re together… but not together together…) In this way, Beckwith’s story really challenges assumptions about what it means to be a family. In Together, Matt and Amy can become partners without having to fit into traditional family roles. Regardless of what takes place between them romantically, the two characters can still commit to caring for one another and creating a world where ‘Lamp’ is loved. This conversation seems to be the ultimate motivation behind Beckwith’s script and provides some interesting conversation points as the credits roll.

In the end, due to the strength of Helms and Harrison, Together Together makes for an evening of entertaining viewing. While the script does lose its way at times, the film creates some intriguing situations that makes it an enjoyable watch, whether alone or with your ‘together’.

Together Together is available on demand on Tuesday, May 11th, 2021.

Digital Immortality: 1on1 with Mads Hedegaard (CANNON ARM AND THE ARCADE QUEST)

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What does it mean to leave mark on the world?

While some argue that only the bravest or boldest are the ones who are change the landscape of their world, there are some who do so in small ways. These humble heroes will be remembered after their passing, not because of their amazing feats, but because of the strength of their character and how they loved others. In his new documentary Cannon Arm and the Arcade Quest, director Mads Hedegaard explores the power of legacy and, more importantly, the impact one man can have on those around him.

In Arcade Quest, Hedegaard follows grandfather and veteran retro gamer, Kim Cannon Arm. The ‘uncrowned king of 1980s arcade games’, Kim spends his downtime playing the classics with his friends in Copenhagen’s Bip Bip Bar. Having turned the game of Gyruss into an artform, Kim decides to attempt to shatter the world record for gaming by playing for 100 hours straight. Aided by his friends who have committed to see his dream become reality, Kim sets out on a quest to play his way into the history books with the ultimate high score. Asked what it was that drew him to Kim and his story, Hedegaard notes that he was immediately struck by the unique nature of Kim’s quest and the welcoming atmosphere created his friends.

“When I was at film school, I got a friend who worked as a technician [there] and he was the co-owner of the [Bip Bip Bar] arcade. So, he invited me down there,” Hedegaard begins. “When I stepped in the door, it [thought] this is amazing. The music, the sound from the machines, the games themselves and the colors. My friend introduced me to Kim and some of the other guys, and they just welcomed me with open arms. They were just so generous from the get-go, really. Then, they taught me about this record attempt that Kim really wanted to try to make and I thought that the combination of these things [would be great]. The very simple premise of a man who has a goal, [and the question of] does he reach it or not? I really liked that and I liked the man himself, his friends and then the whole atmosphere. It felt to me as if I was stepping into another world, another universe in a way. I thought the combination of those things could potentially make a great basis for film. So, I just decided to try it out.” 

In Kim, Hedegaard knew instantly that he had someone special. Despite Kim’s desire to cement his achievements with a world record, Hedegaard was struck by his modesty and peaceful demeanour.

“I think that what I admire most now is [Kim’s] humbleness and his just very quiet nature,” he points out. “He is so incredibly good at what he does in the arcade, but he’s so humble and he’s so chill about it. And I really liked that. I think what is one of the things that drew me to him in the beginning was also that he was such an introvert and doesn’t speak much. He’s such a quiet guy. I really recognize that in myself because I really used to be a very, very, very quiet guy and very shy and very introverted. So, that struck a chord with me somehow and I was just intrigued by that. 

“When I see [what happens at the end of the film], even now I’m surprised as [his response]. When I was there, when it happened and I was filming it, I was just blown away. This is almost not human too, but it’s so human. It’s so pure in a way. He’s just a very pure human, in my opinion.”

Though the world of gaming continues to evolve, Hedegaard believes that there is a simplicity about the old arcade games that Kim finds appealing. 

“I know for Kim, that’s one of the things he really appreciates with these old games,” Hedegaard explains. “He appreciates the simplicity and that it’s really difficult. He mentioned to me the other day, [that] the modern games [are] not really difficult. They’re just fancy looking, but they’re not difficult. You can play them for hours without having played it before. These arcade games, you really have to know the game and get a feeling of them. Obviously, it’s like that for many modern games games as well. I’m not saying that, but I think that’s Kim’s take on it. He really appreciates that the simplicity of the game, the graphics and the gameplay. It’s not really showing off like many modern games are.”

While he was thrilled to be in the middle of a potentially momentous occasion, Hedegaard notes that the night itself wasn’t exactly always edge-of-your-seat excitement. In fact, due to the repetitiveness of the activity, he notes that the night was much quieter than he’s expected.

“It was extremely boring. [laughs] But at the same time, it was also obviously very exciting,” he remembers. “It [went] on for so many hours. I’m there with the camera. Luckily, I had my photographer for that as well so we could take turns getting a few hours of sleep. It was at times extremely boring but, at other times, extremely exciting. You could almost feel the tension in the air. It went on for so many, many hours, so that was also just people hanging out and just having a good time, drinking some beers and stuff like that. The atmosphere was so different. Most of all, it was friends who were there and, by that time, they’d become my friends. So, it was just also a very, very friendly atmosphere and just people hanging out people who really liked each other, and then [there’s] this massive thing going on at the same time. It was very weird in very many ways.” 

Of course, to break a world record is not something that can be done by one’s self. Although Kim’s achievement seems like a solely individual activity, the truth is that none of this would have been possible without the support of his friends. In Arcade Quest, Hedegaard makes sure to highlight the important role that Kim’s friends play in his life and the supportive community that they have created together.

“I think [that community] means everything, to be honest,” Hedegaard responds. “The characters in this film, I think have found this community. Maybe because they lacked a community before they found this, and I think they really appreciate and enjoy that they can be themselves with their friends. They don’t have to pretend to be a certain way. They’re so different and they allow themselves and each other to be different and as they are. They respect each other the way they are… I think it’s a huge thing for anyone basically. I know for myself, it’s important for me to feel part of a community and I don’t play football or soccer or any sports for that matter. I think it’s the same being in a sports club or… whatever you do in your spare time or at work that’s so important to us. I think the whole COVID thing the last year has proven that to a great extent that we really, really need to be among other people and especially among other people that accept us for who we are.” 

Though he doesn’t consider himself a ‘gamer’, Hedegaard does believe that the world of video games creates its own bond between its players. In fact, he argues that the desire for community lives on amongst all generations, regardless of whether or not they play online or physically in the same room.

“I’m not a gamer myself. Now, I’m part of the gaming community, but… to me it’s more important to hang out with my friends [at the arcade] and stuff like that,” Hedegaard says. “My impression is that, within the last five or 10 years, the arcades have gotten a second round in a way. I know at least in Copenhagen that the arcade where this film takes place has grown… So, it is getting more popular, obviously it’s not as near as popular as it was back in the eighties.” 

“But talking about the community,” he continues, “what I think draws people to the arcade now [is] hanging out and it’s not just gamers. For lack of a better word, it’s ‘regular people’ coming there, having a drink, [and] going on a date. I think that’s partly because of the good atmosphere but also because there is a sense of community there. Talking about modern gaming, my impression at least is that that’s what people also find on the internet when they play games. It’s also a community. They make friends online. So, it might not be in the physical space, but the community is just as strong is my impression.”

One of the more unique conversations Hedegaard tackles within Arcade Quest is the question of what makes a hero. Though many assume that heroes are those that must have grand achievements on their resume, he believes that the true power stems from their character.

“Well, what defines a hero?” he asks. “I think, to me at least, the definition of a hero is not being immortal as it is in many superhero movies today and stuff like that. I find that a bit boring, to be honest. Kim is such a good player, but he’s so humble at the same time. I think in some weird way… the combination of being so good—maybe the best in the world at something—and then being extremely humble at the same time. I think that clash is what constitutes a hero, and then it can take all sorts of forms and shapes. In this case, it’s a 55-year-old guy playing an arcade game, but it could be anyone anywhere.“

“I think we all have the potential to be heroes if we decide to make the choice, but also sometimes not to make the choice. I think Kim has decided not to make a choice. He doesn’t do it on purpose. It’s not something he’s planned out and he’s set a strategy and I’m going to be this way. It’s just how he is. I think the pureness of that really interests me. I think that’s partly where some of the things I’m talking about in the film about what constitutes a hero is that it’s being a person, not something that’s not human.” 

By extension, Hedegaard also believes that leaving your mark on the world doesn’t necessarily mean that you have changed the world. To him, the most important legacy we leave stems from the impressions that we leave on others.

“We were talking about making an impression on the world before and that comes in many forms and shapes,” Hedegaard argues. “[You could] set a world record of whatever, build a fancy company or go to the moon or something like that. But I think the truest sense of the whole thing is if you’ve made an impression in another being a human being. I think that that’s the most important [thing] for everyone. [Making] an emotional impression in another human being. When you’re gone, if someone else misses you, that’s basically enough. You don’t have to be Elon Musk. Someone that leaves a mark on another person is really what it’s all about.” 

Cannon Arm and the Arcade Quest premiered at HotDocs ‘21

To hear our conversation with director Mads Hedegaard, click here.

A Bump Along the Way: Rebirth from New Birth

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Set in a small-town in Ireland, A Bump Along the Way tells the story of Pamela (Bronagh Gallagher), a 44-year old woman who has her priorities out of order. Despite caring for her teenage daughter Allegra (Lola Petticrew), Pamela spends her nights partying and has difficulty making ends meet. When a one-night-stand results in a pregnancy, Pamela re-examines her life and attempts to make things right. Even so, after years of neglect, her relationship with Allegra has become strained and the two women must decide what it means to build a family moving forward.

Funny and charming, A Bump Along the Way is the perfect film for Mother’s Day weekend. Directed by Shelley Love, Bump pops along with enjoyable dialogue and engaging characters while also celebrating its female characters. In her first feature length film, Love spins an entertaining mother/daughter story that also highlights the importance of the people in our lives.

Though much of the cast does some solid work, its ultimately Gallagher that shines brightest. Taking centre stage as the broken but affable Pamela, veteran actor Gallagher thrives in the spotlight. Even in moments of sadness, there’s a strength and focus that comes through Gallagher that makes her a delight to watch. As Pamela, she has a spark within her performance that makes her relatable and she carries the film as a result.

In a lot of ways, the film is a love letter to those looking to begin again. Struggling to relate to her daughter and filling her nights with partying, Pamela’s life is a train wreck. Having alienated her daughter and struggling to pay the bills, Pamela has lost control of her life in almost every way. However, things change immediately after she becomes pregnant. Though unplanned, this seems to be the wake-up call that she needs and Pamela quickly works towards getting her life together. 

In essence, this unexpected bump in her life creates a moment of rebirth for Pamela.

Nevertheless, the damage has already been done in her relationship with Allegra, who struggles to see her mother as anything more than the sum of her past mistakes. For Allegra, Pamela has always been a poor example. Despite the sacrifices that her mother has made, Pamela’s self-destructive tendencies have been an embarrassment to her and an unplanned pregnancy feels like the final straw. 

Although Bump never loses sight of the value of its characters and reminds the viewer that they do not deserve to be judged by others. As we delve into Pamela’s backstory, we witness the verbal abuse that she receives from the men in her life. At the same time, Allegra’s journey reveals to her how complicated relationships can be when others only view you for your moments of weakness. As they attempt to navigate their lives, the characters highlight their value of the people, despite their actions. In a culture that’s willing to cut people off, this film reminds us that growing up (regardless of age) is difficult and that people make mistakes.

In Bump, everyone deserves a second chance.

At its heart, there’s a purity that drives A Bump Along the Way. With heart and charm, Love does a good job of helping us care for the broken journeys of its characters. Although they’ve made mistakes, both Pamela and Allegra show that sometimes a little bump is all you need to get things back on track.

A Bump Along the Way is available on demand.

Monster: The Angles of Truth

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MONSTER (L-R): A$AP ROCKY as WILLIAM KING (as RAKIM MAYERS), KEVIN HARRISON JR. as STEVE HARMON, JENNIFER EHLE as KATHERINE O’BRIEN. Cr: NETFLIX © 2021 

Admittedly, Netflix can be hit and miss with their dramas. Since they produce so much content, it’s completely understandable that there would be a great deal of films and series that are worth sleeping on. 

Monster is not one of those films.

Directed by Anthony Mandler, Monster tells the story of Steve Harmon (Kelvin Harrison Jr.), a promising, young high school student who lives in Harlem. At the age of seventeen, Steve is on the cusp of adulthood and seems to have a great deal going for him. He is adored by his girlfriend and family. His film teacher views him as a young man of integrity. However, his world is rocked when he is suddenly arrested and charged with felony murder. As he fights for his life in the court system, Steve also must come to grips with his own choices and pray that his life is not ruined by them.

MONSTER: JOHN DAVID WASHINGTON as RICHARD ‘BOBO’ EVANS. Cr: ANNA KOORIS/NETFLIX © 2021 .

Monster is a bold film that challenges our assumptions about others. Bolstered by an exceptional cast, the film features some extremely strong performances. Led by Kelvin Harrison Jr. and Jeffrey Wright, the film gives some small but important roles to such talent as Jennifer Hudson, Nas, Tim Blake Nelson, ASAP Rocky and John David Washington. (Any film that has the option to use John David Washington in a minimal capacity must have some incredible people on its roster.) While their roles are often brief, each actor has the opportunity to have their ‘moment’ and show their talent.

However, anchoring the film is another stellar performance by Kelvin Harrison Jr. (Waves). With each performance, Harrison has shown his ability to bring a sympathetic voice to his characters, even as they are involved with dangerous or violent actions. (Honestly, I don’t think it’s inappropriate to compare him to a young Daniel Kaluuya, if he continues to take on roles where he can grow.) In Monster, he allows Steve to remain somewhat murky in his motivations in that, while we root for his innocence, neither are we certain of it. Though still young, Harrison remains one to watch.

MONSTER (L-R): KEVIN HARRISON JR. as STEVE HARMON, NASIR ‘NAS’ JONES as RAYMOND ‘SUNSET’ GREEN. Cr. DAVID DEVLIN/NETFLIX © 2021

Using time-shifting to outline its narrative, Monster does an excellent job of keeping the audience guessing as to what really took place. Growing up in an at-risk community, Steve’s journey is one of complexity, even if the court case attempts to make it about right and wrong. With each character interaction, we get a more fully formed picture of the type of young man that Steve is and his role in the neighbourhood. To his teachers, Steve is seen as a highly intelligent, budding young filmmaker. To his girlfriend, he’s a caring young man who treats her well. To the more troubled characters on the street though, he’s a potentially good contact who may be worth using to their advantage.

In Monster, truth is never straightforward. Though people are often willing to make snap decisions about others based on race, age or social status, the film argues that there is always more to who we are than any particular labels. Like Steve himself, the story explores what it means to listen to the stories of others and allow that to flesh out our judgments of others. In Monster, labels limit our understanding. (In fact, the title Monster refers to the fact that the jury views him as only one way for his potential involvement in the crime for which he’s accused.) While the film never justifies what takes place, it’s emphasis on the full embodiment of truth does provide context to the events and create sympathy for those who were involved.

MONSTER: KEVIN HARRISON JR. as STEVE HARMON. Cr. NETFLIX © 2021 

Well-written and executed, Monster is an excellent example of the type of content Netflix can produce. It is willing to take risks its structure, features some incredibly talented performances and allows the story to ask some different questions. Though not a fun film to watch, Monster remains an engaging piece that feels honest about the way we view one another… and that’s the scariest truth of all.

Monster is available on Netflix on Friday, May 7th, 2021.

Eat Wheaties!: Finding Yourself in Others

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Everyone believes that they know the lives of celebrities from their social media. But what if you discovered that you knew one of them before they were famous and wanted to contact them again?

Written and directed by Scott Abrahamson, Eat Wheaties! tells the story of Sid Straw (Tony Hale), an everyman who is frequently shunned by his friends and family for being ‘weird’. When he stumbles onto an old college photo of himself and star Elizabeth Banks, Side feels rejuvenated and can’t wait to tell his friends. Unfortunately, they refuse to believe their relationship and Sid attempts to reach the actress via social media. However, when his quest to reconnect with Banks becomes public, Sid feels the fallout from those around him as they push him even further away.

Balancing silliness and sadness, Eat Wheaties! carries a charm and sweetness that works well. Built on solids performances by its cast, Abrahamson has fairly good impulses about when to let his them shine. Though playing smaller roles, veterans Paul Walter Hauser, Alan Tudyk and the vastly underrated Rizwan Manji all show off their comedic talents when given the opportunity. (Note to screenwriters though: the world always needs more Sarah Chalke.) 

Ultimately however, the success of the film rests on Hale’s shoulders. Regardless of what role he plays, Hale always brings an affability and purity to his characters (even his more villainous ones) and that certainly plays well in this role. As loveable loser Sid, Hale plays him with simplicity but never stupidity. Though frustrated and seemingly unable to connect with others, Sid remains intelligent and innocent and never goes ‘full Bluth’. 

Strangely, the best chemistry he has onscreen is with the elusive Banks as he attempts to reconnect with her. To write these scenes requires a delicate touch as they could easily come off as creepy yet Hale and Abrahamson keeps them from ever straying into that territory. In fact, there’s such an honesty in his online blogging that the film almost plays out as a ‘will they/won’t they’ scenario between Hale and Banks. While there is no romantic tension between the two characters, Wheaties! leaves legitimate question as to whether they will connect and builds anticipation for resolution.

In many ways, Wheaties! is a cry for both community and self-realization. As he struggles to find a place where he fits in, Sid becomes increasingly lonely. Completely undervalued by his family and friends, Sid is looking for anything that might awaken them to his ‘importance’. While the revelation that he was once friends with Elizabeth Banks brings back pleasant memories at first, the negative response that he receives from others taints the experience and causes him to fixate on it. To Sid, his past with Banks becomes a form of justification about his value yet it also drives others away who already viewed him as strange. (Incidentally, Wheaties! also becomes an interesting commentary on our own obsession with connecting with celebrities online. As we message celebrities and beg for retweets/likes, so too do we also reveal our own interest at touching fame, even if many stars pass off responsibility for their social connections.)

However, this social isolation also provides opportunity for Sid to begin to work on himself. As things begin to unravel around him, Sid begins to take charge of his life and break free from the self-doubt that has been holding him back. Though painful, his hardship provides a chance for him to grow and take control of his life for the first time. Meanwhile, he also grows in his ability to maintain healthy relationships. Emotionally healthy himself, he also begins to create a new community that is supportive of him (and that he can support). 

Though funny and charming, Eat Wheaties! also carries an important message. At a time when social networking drives our relationships, the film shows the need we have to connect with one another. However, as a result of Sid’s journey, Abramson’s script shows that there is a mutual need between self-growth and maintaining healthy relationships as well 

Eat Wheaties! is now available on VOD.

The Bad Batch: Bad Batch, Good Series

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(L-R): Crosshair, Echo, Hunter, Tech and Wrecker in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

It’s hardly a secret that May the 4th has taken on a life of its own.

Though it began as an internet joke by fans, Disney has leaned into this unofficial Star Wars holiday to release new content and celebrate the galaxy far, far away. Now, with the day upon us, Disney+ has taken the opportunity to begin their next chapter of the Wars world with The Bad Batch, the latest animated series from hit-maker Dave Filoni.

Admiral Tarkin in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

As the creator of the original Clone Wars and Mandalorian series, Filoni has become one of the founders of modern Warsstory-telling. With an emphasis on character development and long-form narrative arcs, his style has served them well, especially with the company’s increasing emphasis on Disney+. With The Bad Batch, Filoni returns to the Clone Wars era but, rather than simply continue the franchise (again), the story now focuses on a rogue squadron (pun intended) of faulty clones. Similar to the way in which Mandalorian offers a twist on the familiar, The Bad Batch also takes the world created by Lucas and creates something exciting and new(ish).

Picking up immediately after the clone troops have executed the now-infamous Order 66, the elite troop of soldiers Clone Force 99 are left shocked and confused by what has just taken place. After having followed their Jedi generals for years in the heat of battle, suddenly they have been commanded to wipe them out. (“All of them,” growls Palpatine.) However, as members of a bad batch of clones who have been genetically enhanced above their brothers-in-arms, Hunter, Wrecker, Tech, Crosshair and Echo seem immune to the Emperor’s orders. Lost and confused in the post-Clone Wars era, the Bad Batch must attempt to find their place in a much darker world than they could have imagined.

Emperor Palpatine in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

With a slightly darker edge than its animated predecessor, Bad Batch has genuine potential to be the next great Star Warsseries. Featuring solid story-telling and interesting characters, The Bad Batch is entertaining and engaging from the first episode. Filoni and his crew have yet again [re]created a world that’s worth our attention. Although this set up of a rag-tag band of freedom fighters may feel familiar within the Wars universe, the fact that the group consists of Imperial troopers somehow makes it seem fresh. 

What’s more, the timing of the story feels like it actually fleshes out part of Lucas’ original vision. (Admittedly, the poor writing of the prequels leaves ample space for this to happen.) By continuing the story post-Order 66 from the perspective from anyone outside the Jedi Order, Filoni opens up the importance of that moment to those who aren’t normally featured. This is yet again another example of how Disney+ has allowed Star Wars to give smaller characters not named Skywalker their moment in the sun. (Who knew that I’d be glad to see the Kimino cloners again?) Though formulaic, it is still working… and fun to watch.

Omega in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

Admittedly, the story doesn’t need the addition of a ‘kid’ to the group. (At least, not from the first episode.) With the inclusion of ‘Omega’, the Batch has someone else to protect and provide the necessary childlike innocence that they will need. This seems to be the trend for more mature Wars stories in order to ‘soften’ the groups for younger viewers (read: Yoda, Baby) but it isn’t always necessary. 

What makes this Bad Batch interesting is that, as ‘faulty’ clones, they have a unique flaw that sets them apart from other troopers: free will. Because of their genetic modifications, this crew of misfits are able to avoid the power of the Emperor’s viral commands and make their own decisions. In other words, despite their Clone DNA, this batch has the ability to make moral decisions instead of following orders blindly.

(L-R): Echo, Tech, Hunter, Crosshair and Wrecker in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

This squadron has a conscience.

Usually viewed as mindless drones who execute the Empire’s wishes at will, this group of troopers with the ability to reason for themselves creates some interesting tensions. In the pilot episode alone, the frictions within the unit mount as they attempt to wrestle with the implications of disobeying orders for the first time. Having been told what to think their entire lives, their circumstances have forced them to decide the nature of their duty for themselves. On the one hand, they value the military chain of command and accomplishing their mission.

On the other, they have begun to question what’s right and wrong.

Admiral Tarkin in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

For this group, morality is a new experience and offers solid potential as the story unfolds. As they process their way through a new world, Hunter and his crew are literally blank slates in search of their own identity and ethics. As a result, these new toys appear to have given Filoni and his team the opportunity to explore what makes something good or evil.

It’s also what appears to make watching this Bad Batch a good choice.

Star Wars: The Bad Batch premieres on Disney+ on Tuesday, May 4th, 2021 with new episodes airing on Fridays.

Golden Arm: [Arm]Wrestling with Life

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Bobby Boucher. Happy Gilmore. Ricky Bobby. 

Now you can add Melanie to that list.

The sports comedy is far from a new genre. Everyone loves an underdog story but the structure and style of these films are usually unbelievable, formulaic and totally predictable.

But when they’re done well, they’re so much fun.

Directed by Maureen Bharoocha, Golden Arm tells the story of Melanie (Mary Holland), a recently-divorced baker who’s struggling to stay afloat financially. When her best friend Danny (Betsy Sodaro) convinces her to participate in the Women’s Arm-Wrestling Championship, Melanie feels completely out of her depth. Lost in a world of muscles, costumes and competition, Melanie must rediscover what it means to be strong in order to compete against the reigning champ and a shot at the grand prize.

While the film certainly checks all the sports movie boxes, Golden Arm remains an absolute joy from start to finish. Silly and frenetic, Arm pops along with an infectious glee. Anchored by fun and lively chemistry between Holland and Sodaro, the film works on just about every level. Using her vast comedic experience, Sodaro’s performance has the right balance of energy and enthusiasm to make even the slowest of scenes entertaining. At the same time, Holland’s sincerity grounds the film even though she still fits in with the silliness of her surroundings. Together, their relationship provides the emotional core that holds Arm together in the midst of the wild onscreen antics.

It also goes without saying that some of the charm of this film lies in the fact that it is centred around women. While female-driven comedies are far from rare nowadays, they still remain scarce amidst the sports genre. Although these films have historically held onto the mantra of ‘boys being boys’, Arm uses these tropes to its advantage. By reversing stereotypical roles such as the ‘attractive love interest’ or the ‘obsessive villain’, the film serves as a reminder that the true joy of this genre lies in the journey of its charismatic hero, regardless of gender.

At its heart though, Golden Arm is film about finding your strength. Finally free from her abusive marriage, Melanie is struggling to start over. Strapped financially and trapped emotionally, she appears to have lost her way in life. However, after Danny drags her into the world of arm-wrestling, Melanie finds more than a path to glory. 

She finds her strength (and joy) again.

Although she’s initially skeptical (or even judgmental) about the world of arm-wrestling, there’s an empowerment within it that breathes new life into Melanie. With each victory at the table, Melanie grows in confidence and inner strength, bringing a refreshed sense of happiness into her life. (Incidentally, this emotional arc is illustrated well by her evolving characters names as she moves from ‘Freaked Out’ to the inevitable ‘Golden Arm’.) As Melanie works her way through the competition, so too does she work on herself.

And, for her, that’s the ultimate victory.

Endearing and amusing, Golden Arm plays to its strengths. Though the story may feel familiar, its charismatic performances and breaking of stereotypes help the film somehow seem fresh. Backed by Sodaro and Holland, the film fights for your affections and will absolutely win you over.

Golden Arm is available on VOD on Friday, April 30th, 2021.

HotDocs21: It Is Not Over Yet

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Life-affirming and fascinating, It Is Not Over Yet transports the viewer to Dagmarsminde, a small long-term care facility in Denmark. Led by health practitioner May Bjerre Eiby, Dagmarsminde is committed to caring for their elderly residents and dementia patients by shifting their focus from medicine to the more controversial philosophy of ‘care treatment’. Inspired by Florence Nightingale’s methods from 150 years ago, Eiby and her team seek to honour their patients with high doses of hugs, conversation, affection and, of course, cake. In doing so, they not only enhance the quality of life of their residents but they also bring healing and hope to those who may feel abandoned.

Directed by Louise Detlefson, It Is Not Over Yet is a poignant journey into the world of health care and the power of compassion. Focusing her lens solely on the holistic community of Dagmarsminde, Detlefson has found something truly unique and powerful within this facility. As they (seemingly) give Detlefson full access to their conversations and treatments, the amazing results that Eiby and her team produce are nothing short of remarkable. At Dagmarsminde, every patient is treated with such respect and love that one cannot help but be in awe at what’s taking place.

Though Eiby’s methods often differ from ‘traditional practice’, one can’t argue with results. With an emphasis on human contact, touch and communal living, the ministry at Dagmarsminde recognizes the healing that the human body can experience when it feels safe and loved. Patients who have been left virtually catatonic due to over-medication begin to regain their faculties. Those who have been socially isolated start to come out of their shells and participate in community together. Within Dagmarsminde, dignity takes priority and lives are being changed as a result.

In short, Dagmarsminde may seem like a place where people go to die. In reality, it is a home that celebrates life.

Where Detlefson’s story becomes particularly emotional (and likely somewhat controversial) lies in the facility’s philosophy on how to care for residents who are near death. As a patient’s health begins to fade and death becomes an oncoming reality, Eiby allows them to be supported along the last phase of their journey. Rather than attempt to keep them alive through drugs or force-feeding, Eiby instead encourages the team to allow their residents to ‘transition’ peacefully as part of the natural process of life and death. For many, this practice may seem counter-intuitive (or even foreign) when held up against more traditional medical practices. (In fact, in one riveting scene, Eiby debates the practice amongst her own staff who may or may not agree with this exercise.) However, even in these moments, their gentle massage and peaceful words carry an inherent sense of beauty that Detlefson is allowed to catch on camera. 

Honestly, as shocking as it may seem, this may be the most tender death ever caught on camera.

With It Is Not Over Yet, Detlefson sends a powerful message. Though modern practice favours medication to treat dementia amongst patients, there truly is nothing greater than love to bring them hope. Led by Eiby, Darmarsminde continues to remind their residents that, though they may be nearing the end of their journey, they still matter. In this place, they know that they are safe and celebrated.

For these patients, life is truly not over yet.

To hear our conversation with director Louise Detlefson and health practitioner May Bjerre Eiby, click here.

It Is Not Over Yet is now playing at HotDocs ‘21.

HotDocs21: Lady Buds

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Directed by Chris J. Russo, Lady Buds follows the burgeoning (and potentially lucrative) cannabis industry in California. Opening with the decriminalization of marijuana, Buds follows six women, both new and legacy players, as they attempt to build their canna-business legally under the new government guidelines. As they line-up permits and request licenses, they soon discover that this new green frontier has created a new social inequality as they find themselves up against the power of corporate mega-grows.

In Buds, Russo captures not only the importance of the landmark decision to legalize the marijuana industry but, more importantly, tells the stories of those who are leading the way. Though many people believe the weed industry is male-dominated, there is a lot more diversity than they would expect. With a growing representation of women, BIPOC and LGBTQ+, the leadership of the marijuana industry has become a broad spectrum and an inclusive community. With an eye on equality and helping others, these budding entrepreneurs are doing what they can to break down cultural stereotypes that most people associate with the cannibis industry.

Although the world of weed has been decriminalized legally, there are many who remain wary of it. As a result, Buds takes the opportunity to explore the many health benefits that the general public may not understand about medicinal marijuana. This may be best exemplified through the work of Sue Taylor. A retired Catholic school principal, Taylor had no interest in the marijuana industry until she began to see the positive effects it was having on the elderly. As she gained knowledge and experience, she began to see how the effects changed the lives of those in her care and her views began to shift. For her, marijuana use isn’t about getting a ‘buzz’ but instead offering healing those who haven’t found help from other prescription drugs.

Even so, the greatest battle within Lady Buds is the struggle of independent farms as they attempt to maintain relevance in the face of fast-approaching major corporations. Built on the backs of family farmers, the marijuana industry has always been a part of California culture and legalization was believed to be their moment in the sun. However, as big business garners increasing interest in the cannabis industry, smaller grow-ops in the California area find it increasingly difficult to distribute their goods. As they slowly take control by working around government regulations, the corporate world begins to flex their muscles and force these family-owned businesses to the margins. By focusing on the stories of these independent growers, Russo gives them a voice at a time when they are being increasingly silenced by corporate greed. While the business world merely sees this as another way to pad their profit margins, these farmers view the world of legalized marijuana as a means to feed their families and build a life. 

In this way, Lady Buds offers a great deal of love and grace to those who battle both big business and cultural stigma. As she delves into the stories of her subjects, Russo reveals the hearts that drive their businesses as ones of openness and equality. At the same time, she reveals the constant threat that independent growers lives under as corporate greed continues to force its way into the community.

To hear our conversation with director Chris J. Russo, legacy grower Chiah Rodrigues and marijuana advocate Sue Taylor, click here.

Lady Buds is now playing at HotDocs ‘21.