ScreenFish

where faith and film are intertwined

Steve Norton

Alice, Darling: Toxic Attraction

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Someone once said that ‘not all scars can be seen’. But, if true, that also means that they can be so much more difficult to heal.

In Alice, Darling, Alice (Anna Kendrick) is a hard-working woman in a committed relationship with Simon (Charlie Carrick). When she’s invited to join her friends for a weekend away at a cottage to celebrate her friend’s birthday, Alice becomes increasingly anxious about the trip. Nevertheless, her friends (played by Kaniehtiio Horn and Wunmi Mosaku) insist and she decides to join them. Even though the weather is beautiful and the scenery stunning, Alice struggles to feel present and she constantly checks her phone from messages from her man. As Alice’s secrets are revealed, her friends try to help her disconnect from the harmfulness that awaits her at home.

Directed by Mary Nighy, Alice, Darling is a challenging piece that helps provide a broader definition of the nature of ‘hurt’. In a fascinating tension, Nighy uses the film’s setting to establish the differences between the two worlds. Although set primarily in the countryside, there is no doubt that Alice’s ties to the city loom largely. Despite wanting to relax during her time away for her friends birthday, she sits and stirs, fearing that her actions may have dire consequences when she gets home. Like the world around her, Alice is a divided person who can’t seem to break away. 

Although the film features some strong performances by its entire past, especially from Mosaku and Horn, what makes the film most engaging is a particularly strong performance by Kendrick. As the titular Alice, Kendrick provides a particularly nuanced performance that balances between inner struggle and outward appearances. Alice may be all smiles when with her friends, but she hides in the bathroom, tearing out pieces of her hair as she battles anxiety and self-accusation. In these moments, Kendrick shows her range and skill as Alice’s pain slowly gains control. 

And this is very much a film about control. 

Although Alice argues that her boyfriend is ‘never hurt her’, the viewers sees the poisonous effects of their relationship and the ways that it drains a piece of her soul. Through casual jabs that are designed to undermine her confidence, Simon remains fully in control of the relationship and Alice. Here, the hurt that he inflicts is neither physical nor verbal but consistent by way of the shame he inflicts upon her. Too often in films about toxic relationships, that harmfulness is obvious but Darling emphasizes the subtle ways that control can take root and the shame that can be absorbed because of it. With each snide or belittling remark, Alice believes increasingly that she is simply bad, despite having done nothing wrong. Buried under the weight of Simon’s disappointment, Alice has nowhere to put her shame and it eats away at her from the inside. In these moments, Nighy uses Alice’s experience to bring a broader definition of hurt into the spotlight. Simon may not be abusive in the traditional sense but he is constantly critical of his love, claiming that he knows her best. The damage here is difficult to quantify yet also difficult to watch.

What’s more, Darling is also a film about love. Highlighting pop culture’s emphasis on romantic love in our storytelling, the film helps the viewer to recognize that real love is grander than romance. Here, love is a place where one can find support and healing from the outside world and its brokenness. Using her friends as an anchor, Alice’s journey begins to find a spark of life once again as she rediscovers her worth. (However, whether or not she will fall to Simon’s poison once again is the film’s true question.)

In this way, there’s a heartbeat of hope within Alice, Darling, even in its darkest of moments. While the pain of abuse can be overwhelming, so too can it also be overcome with love and support from those who know us best. 

Alice, Darling is available in theatres on Friday, December 30th, 2022.

Exceptional Beings: Dividing the Divine

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Have the gods grown tired of us? Or was it we who walked away from them?

Written and directed by Njedeh Anthony, Exceptional Beings is a fun look at the divide between gods and men. After they encounter a woman who has an uncanny essence about her, Greek gods Hermes and Athena (Dane Oliver and Ciarra Carter) find themselves in somewhat of an existential crisis. In their 4,000 years of infinite knowledge, they have finally found something/someone that remains a mystery to them. As they test their subject, Athena is challenged to question everything about the relationship between humanity and the divine, not to mention her own personal story as well.

Leaning into (mostly) Greek mythology, Anthony reveals a divine realm that has grown tired of mankind’s antics. Insatiated with their own power, these gods are shown with great malaise and it shows up in the performances through its cast. While that may be heard by some as a criticism, it is in fact the opposite. Leads Oliver and Carter are clearly having a blast infusing their divine roles with such ennui and their waning interest in humanity keeps the film enjoyable. (Oliver, in particular, is a joy to watch as Hermes, a god who is both disinterested and intrigued by their potential discovery.)

The thing that proves to work against these Beings the most is really no fault of its own. It’s its budget. This is a story with all the ambition of an entry in the Marvel Cinematic Universe yet the financial constraints of television. As a result, the visuals here really never have a chance to match the scope of the story to full effect. What’s more, with the lack of budget, the film perhaps over-emphasizes its dialogue, leading so slower pacing in moments. However, given the fun of its storytelling, this is definitely an unfortunate reality that will turn off some viewers. 

But I admit it. I’m a sucker for a good story about gods and men.

Content to collect their worship, these gods once reveled in the praise they were offered simply for who they were. Yet, as they debate the value of their ‘human pets’, they also show their hand. Having remained hidden from sight, Hermes and Ares recognize that humanity has begun to look for other avenues of worship. From celebrities to their own ingenuity, mankind has begun to create their own ‘gods’ to offer their praise. (“It started with the light… then, children wanted the light to shine on them and them alone,” the film’s prologue announces.) In doing so, the divine became replaced, leaving them with even greater disdain for humanity.

Anthony uses this set up to launch into some fascinating conversations about the relationship between man and the divine. Have the gods abandoned mankind out of lack of interest? Or has humanity merely ‘outgrown’ them? These are concerns that plague the gods who feel both unappreciated and, in some ways, lost. There is a deeply-seeded insecurity within these gods who demand attention yet care little for the well-being of their worshipers. This self-doubt becomes an even greater threat with the potential rise of ‘exceptional beings’ who have their own power and, therefore, no need of them anymore. For Anthony, this creates some compelling interactions between gods as they attempt to find their place in a universe that doesn’t seem to need their involvement anymore.

After 4,000 years, these gods have finally been replaced by lesser beings.

It’s this conversation that makes Exceptional Beings such an amusing viewing. While the special effects may not be Exceptional, the way that gods are viewed in our time invites some intriguing conversations about spirituality in the modern era. Because, we, as spiritual beings, are always looking for a new god.

Exceptional Beings is available now on VOD and DVD.

Shrinking: Laughing through Life

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In Shrinking, life’s problems can feel enormous… but still small enough to laugh through.

Created by television veteran Bill Lawrence, Shrinking tells the story of Jimmy (Jason Segal), an depressed and disconnected therapist who is grieving the loss of his wife. Estranged from his teenage daughter and battling his own inner demons, Jimmy decides to throw out the counselling playbook and begin giving his clients ‘answers’ instead of asking questions. This draws the ire of his boss, Dr. Phil Rhodes (Harrison Ford) yet, when Jimmy starts seeing results, Jimmy’s life begins to change for the better.

Over the years, Lawrence has made a career reveling in the lives of imperfect people. From Scrubs to Cougar Town and, most recently, his mega-hit Ted Lasso, Lawrence has created endearing characters with fatal flaws that constantly plague their decisions. The same holds true in Shrinking as we follow Jimmy’s misadventures as a psychiatrist. Holding to Lawrence’s strengths, Shrinking features a practice fueled by people who are trying to hold things together but still feel genuine in their optimism. And it’s that balance of positivity and brokenness that helps his series feel authentic and, maybe, even relatable. 

Of course, part of the magic of a series like this is its casting. With Segal out in front, Shrinking has a leading man who may be one of the best comedians in Hollywood at creating empathy for his characters. Jessica Williams steps into the role of Gaby with confidence and strength, even as her character’s life begins to collapse around her. And, as always, Lawrence’s muse Christa Miller continues to bring earnestness into the grumpiest of characters. 

Even so, the most welcome casting may come in the form of Ford. For almost 50 years, Ford has made a career of playing the charismatic hero-type. (And, frankly, the fact that he’s returning to the role of Indiana Jones this summer suggests that he still loves doing so.) Although he’s always brought humour to his roles, it is rare for him to play the part of someone as laid back as Dr. Phil Rhodes. With Rhodes, Ford relaxs his performance in the best of ways, bringing a humility and grace to the character. Yes, he still manages to carry his ‘cantankerous charm’ into the character, but it’s refreshing to see him step into the role of someone who is simply trying to make it through the day. As a result, Shrinking may be some of the strongest work from the Hollywood legend that we’ve seen in decades.

Like so many of Lawrence’s projects, Shrinking also amplifies hope in a hopeless space. A grieving widower and daughter, an elderly man with Parkinsons and women enduring divorce and abusive relationships seem like an odd backbone for a comedy. However, once again, Lawrence understands that people are more than their circumstances and celebrates their journey towards healing with humour. Coming at a time when many comedies wants us to laugh at the flaws of others, Lawrence instead has always steered the other way. We mourn their poor decisions and tough places of life yet we also are allowed to laugh with them in their flaws. They’re like us. And provide an example of what it means to come through our hardest of life-moments. (And honestly, although it will have its critics, this style of comedy feels relevant and refreshing as we edge out of a pandemic.)

Of course, Shrinking’s biggest issue is something that’s not even its own fault as the series is already being compared to Ted Lasso. And, admittedly, it’s not an unfair comparison either. With its mixture of hilarity and heart, there are definitely similarities to the show’s voice and style. Both series feature leads who break out of the ‘mold’ of their position and feature characters that desperately need the help of their community. (Even Lasso favourite Brett Goldstein is involved as a producer.) 

But, while the series doesn’t quite have the immediate likability of its predecessor, Shrinking still shows tremendous potential in its own right. Backed by an excellent cast and a joy-infused sense that everyone can heal, the series is fueled by an optimism that never feels false. It’s that same sense of hope that made Lawrence a star and, frankly, what we need to hear right now.

The first two episodes of Shrinking are available on Apple TV+ with new episodes on Fridays.

SF Radio 9.12: Behind the Walls of BABYLON

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Damien Chazelle charmed the world with La La Land love letter to Hollywood but his new film, Babylon, is… different. Willing to expose the excessive nature of the industry, this film features over-the-top visuals and wild content but, at the same time, wants to celebrate the dream of making cinema. This week, Seun Olowo-Ake, Adam Kline and newcomer Daniel Eng step behind the walls of BABYLON to talk about Hollywood’s fatal flaws and Manny’s tears.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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Infinity Pool: Drowning in Toxicity

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Directed by Brandon Cronenberg, Infinity Pool tells the story of James (Alexander Skarsgard) and his wife, Em (Cleopatra Coleman), a young couple who are looking forward to the restful getaway amongst the pristine beaches. However, after meeting Gabi (Mia Goth), the couple begin to step outside the guidelines that have been set out for them, revealing a world laden by violence and hedonism. After a shocking accident forces them to argue for their lives against a zero-tolerance police force, James and Em discover that their execution may not be necessary… if you have the money to afford the alternative.

The son of iconic director David Cronenberg, Brandon has grown up with a keen understanding of the incredible potential of horror to explore society’s ills. Now well into his own career, the young director is making a name for himself through his own ability to grapple with the modern era. But, with Infinity Pool, Cronenberg may be taking himself to another level with a film that truly disturbs but also wrestles with some of contemporary culture’s most complex issues of wealth and masculinity.

Although Skarsgard is the film’s protagonist, the heat of the film stems from Goth. As the unpredictable Gabi, Goth brings a mixture of charisma and chaos to Gabi that makes her irresistible. Whenever she’s on screen, her unpredictable nature makes it difficult to take your eyes off of her. There’s an energy in her performance that breathes life into the film and keeps it moving, even in moments where the narrative slows down.

Visually, Cronenberg understands how to immerse his viewers into his universe. Bathing the screen with bleeding reds (in more ways than one), he visually washes the viewer with colour in order to display the chaos that is melting around them. Similar to his father, Cronenberg has a passion for body horror and Pool is more than willing to dive into this unique style of filmmaking. Cut flesh, warped facial masks and graphic violence and nudity are ever-present and intentionally designed to disturb viewers.

Underneath the gore, however, lies a film that explores the deadliness of power and wealth. Although James and Em are happy together, James is a man who is knowingly living off of his wife’s family inheritance. Yes, he has written a book but he still remains unable to contribute actively to his own family. In this way, James is portrayed as a man of character and respect but also an inner weakness. However, when he meets Gabi and her friends, things begin to change. Power and influence are offered freely and the rules seem to no longer apply. 

But with great power comes with great toxicity. 

As James begins to drown in the brutality of this world, he becomes increasingly tempted to succumb to its perverse nature. After all, if money can buy infinite freedom, why care about moral boundaries? It’s this ethical question that lies at the bottom of this Pool as consequences seem to have no meaning for those who can afford it. With each experience, James falls deeper into a world but Cronenberg keeps the focus rightly on the dilemma of privilege and it’s problematic nature.

But, no. Infinity Pool is not for everyone. Featuring some truly disturbing and graphic imagery, this Pool is not for the squeamish. Nevertheless, this is not to speak against the film at all. Instead, Cronenberg continues to mature as a filmmaker and, most importantly, shows a willingness to dive deeply into current conversations using his own unique style and voice.

Infinity Pool is available in theatres on Friday, January 28th, 2023.

GIVEAWAY! Advance Screening of 80 FOR BRADY!

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80 for Brady looks like it’s gonna be a winner and we’re giving away passes to see it before it’s released in theatres! Thanks to our friends at TARO PR, we’re giving away three double passes to see 80 for Brady in Toronto, Montreal (ENG), Edmonton, and Vancouver on Wednesday, September 28th, 2022!

DATE
Monday, January 30th, 2023

LOCATION
Montreal (ENG) – 7:00pm @ Cineplex Cinemas Forum

DATE
Wednesday, February 1st, 202

LOCATION
Toronto – 7:00pm @ Cineplex Cinemas Varsity & VIP
Vancouver – 7:00pm @ Cineplex Odeon International Village Cinemas
Edmonton – 7:00pm @ Scotiabank Theatre Edmonton (WEM)

80 for Brady is inspired by the true story of four best friends living life to the fullest when they take a wild trip to the 2017 Super Bowl LI to see their hero Tom Brady play. Starring Academy Award® nominee Lily Tomlin, Academy Award® winner Jane Fonda, Academy Award® winner Rita Moreno and Academy Award® winner Sally Field, with 7-time Super Bowl Champion and producer Tom Brady, 80 for Brady is in-theatres February 3, 2023.

Jane Fonda as “Trish” and Harry Hamlin as “Dan” in 80 For Brady from Paramount Pictures.

In order to enter, simply tell us your city, like/share this post on Facebook, Instagram and/or Twitter and name one of the Oscar nominated/winning actresses that star in 80 for Brady!

Winners will receive a double pass to the pre-screening of 80 for Brady on Wednesday, February 1st (or Monday, January 30th).

All entries must be received by 11:59pm on Saturday, January 28th, 2023.

Slamdance 2023: With Peter Bradley

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“There’s people that paint with colour and it’s called abstract. I don’t think it’s abstract at all. Colour is the most important thing.” – Peter Bradley

Directed by Alex Rappoport, With Peter Bradley is a deep dive into one man’s impact on the history of American art culture. Forging a career in the midst of systemic racism, Peter Bradley helped tear down barriers within the arts industry. Because of his influence and incredible resume, Black artists became more greatly recognized in American culture. Before the age of 35, Bradley’s art kicked down doors of Madison Avenue and was connected with the most powerful art retailers in the world. With Peter Bradley allows the viewer to hear from the man himself of his amazing journey and his incredible impact.

Appropriately, what’s most compelling about With… is Peter Bradley himself. Even in his later years, Bradley remains a compelling person to interview. Wisely, rather than bombard the viewer with his own facts and figures, Rappoport steps back and lets Peter speak for himself. Filled with fascinating stories about his accomplishments and adventures in the arts community, Bradley has a boldness about him that sets him apart from other documentary subjects. In a refreshing twist, Bradley comes across as a man without filters, willing to share his opinions on anything and anyone without afterthought. (For example, he has no issue telling the viewer his dislike of Sir Paul McCartney and his music.) In fact, he even comes across as a man who expectsto have his story told. 

Having spent much of his wealthy, Bradley’s life still revolves around his painting to this day. By allowing Bradley to express himself, Rappoport does an excellent job of giving voice to his process. Bradley is enlivened by his experience of colour. It affects every aspect of his life. From music to nature, Bradley’s world becomes invigorated when he talks about colour and his enthusiasm is infectious.

But the theme of colour also works on a deeper level within this film.

As the first Black art dealer and curator of the first racially-integrated modern art show in America, Bradley’s career in the art world helped change the industry forever. In this way, although he himself would argue that his work had nothing to do with politics, his active presence in the community makes his art was indelibly political in nature. The fact that he was respected by as many as he was helped break down cultural barriers and impact change. (And Bradley has no problem sharing stories about the oppression that he faced due to race.)

Because of this, Rappoport has created a doc that begins with art but reveals that the heart of the story is so much more. And, with his unique way of viewing the world, it’s more than worthwhile spending time With Peter Bradley.

With Peter Bradley is now playing at Slamdance ‘23

Slamdance 2023: The Underbug

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Written and directed by Sujaat Saudagar, The Underbug takes place in India as the country is ravaged by violence. On the eve of its Independence Day, rioters have taken to the street, demanding change. However, in the process, the nation is also being torn apart. Fearing for their lives, two rioters (Ali Fazal and Hussain Dalal) take refuge in an abandoned house but, as they dread the terror outside, soon come to believe that there might also be danger within.

In a number of different ways, Saudagar keeps this film tightly written and executed. Shot entirely within the confines of an abandoned home, Saudagar allows the claustrophobic nature of the film to breathe into its narrative. Everything about Underbug feels confined and Saudagar uses his space to add to the tension. However, at the same time, he also keeps the script firmly under control. Clocking in at a mere 68 minutes, Underbug never feels overblown as it moves along at a rapid pace. As such, the film clicks along with the energy of a one-act play without being slowed down by too many distractions or bloated monologues. 

And this may be its greatest trick. After all, Underbug has a lot to say.

As they hide in the shadows, these rioters are shown to live in a world that’s fighting for freedom… but isn’t entirely sure what it looks like. Torn apart by generational divides, Underbug asks the question of what it means to be truly free in the modern world. Does freedom look the same for the youth of this age as it did for those of Generation X? Are there other factors than simply loosening government-imposed restrictions to freedom? These questions fuel the films conversations about what it means to express independence during a time of constant change.

At the same time though, the film also leans into the fears associated with modern gender politics. Focusing on the tension between its two rioters, Underbug explores multiple issues dealing with the changing face of masculinity. Ranging from the nature of independence to the terror of responsibility, Underbug explores multiple facets and fears that are faced by men. With increasing intensity, the film establishes and exposes the tensions within the masculine soul. In this way, the oncoming horror that exists outside their bloody hideaway becomes less about the riots themselves and more about a changing culture that surrounds them. While the film’s story may focus on the fear of violence, Underbug suggests that one of the greatest struggles for men is altering their own expectations of themselves. After all, what does it truly mean to be masculine in a new (and better) world of equity?

With wit and fire, The Underbug surprises in just about every way. Featuring strong performances and a smartly written script, the film keeps the intensity building but also manages to explore some of our deepest questions about modern masculinity in the process. It’s definitely a bug worth catching.

The Underbug is playing at Slamdance ’23.

Slamdance 2023: Silent Love

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Directed by Mark Kozakiewicz, the new documentary Silent Love begins in a small Polish village after the mother of Aga and Milosz passes away. Alone and hurting, Aga seeks to become legal guardian for her younger brother to help keep the family together. However, in the midst of their legal battle, an unknown piece of Aga’s life is revealed to her sibling when she confesses her love for her partner, Maya. Living in a highly conservative area, the LGBTQ community are viewed as immoral and Aga and Maya have kept their relationship a secret. As Milosz grieves the loss of his mother, the three come together to form a new family that challenges the status quo of this quiet corner of the country.

Directed by Marek Kozakiewicz, Silent Love is an intimate look at the redefinition of family in the modern age. Although the film begins as a story of one woman’s fight to care for her brother, it quickly becomes about much more as it expands its vision. But that’s what sets Love apart. Even though his intent was to focus on the custody battle, Kozakiewicz’s plans change as the story evolves. Suddenly, what begins as one journey splits into two dueling narratives that complement and inform one another in unexpected ways.

Despite the ‘big’ nature of these stories, Kozakiewicz keeps the film feeling small. This is one small family caught in a much larger world, fueled by bureaucracy and toxicity. As such, Silent Love feels like a very quiet film but that’s also the beauty of it. This is a story about a family attempting to come together in a world that threatens to tear them apart. Oppression against the LGBTQ community threatens the unspoken romance between Maya and Aga. Meanwhile, government inquisitions feel as though they could tear Milosz from his home at any moment. Although the odds seem stacked against them, Aga, Milosz and Maya want only to live in peace. 

To them, all that matters is each other.

As he follows their journey, Kozakiewicz captures Aga, Maya and Milosz’ intimate love for one another with grace and humility. With an unflinching eye, he walks with them as they face each moment together (or, at times, apart). In this way, Silent Love becomes a testament to the power of commitment in all relationships, whether romantic or familial. While this type of family structure may not be ‘traditional’ in this corner of the world, their love supports and celebrates each other in the midst of life’s storms. 

And Silent Love calls us to do the same.

Silent Love is screening at Slamdance ’23.

Slamdance 2023: Starring Jerry As Himself

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Directed by Law Chen, Starring Jerry as Himself is a docu-fiction hybrid that tells the amazing true story of Jerry Hsu. Divorced but devoted to his family, Jerry is an honest and hard-working man who wants to do what’s right. However, when Jerry receives a call from the government, he finds himself enlisted to help the CIA bring down a notorious criminal, without the knowledge of his family. As things begin to spiral out of hand, Jerry must work tirelessly to maintain his double life in order for justice to be served.

With intensity and intelligence, Starring Jerry is a surprising and honest journey into the mind of the elderly. Blurring the lines between fact and fiction, Chen shoots his film with the slow-burn intensity of spy thrillers. Missed text messages, secret phone calls and stake outs play out so dramatically that one may forget that this is based on a true story. 

But what’s most amazing about Starring Jerry though is… well… Jerry. 

As a first-time performer, Jerry Hsu does a wonderful job playing himself. While that seems like an obvious statement, the structure of a fictionalized documentary would make it all the more difficult to bring… um… yourself to life. However, Hsu carries himself with poise, enthusiasm and energy. In every moment on screen, Hsu is nothing less than compelling. He is almost instantly endearing and his journey consistently terrifying. There is little doubt that this film is a labour of love from the man and he brings that affection to the screen. 

Without giving too many spoilers, Starring Jerry is a harrowing ride from start to finish. Although the film’s big ‘twist’ might be obvious from the outset, that somehow makes his journey even more terrifying. Despite its heightened spy-thriller set-up, reality sets in quickly for the viewer. The fact that this is also a family affair also makes the film feel honest.

But that’s the magic of Jerry. As he embarks on his adventures with the CIA, our fear is not for Jerry’s life but for his well-being. (If you see the film, you’ll understand the distinction.) His tale is riveting, horrifying and heart-breaking but is also entirely relatable and real. With each unbelievable chapter, the film remains entirely believable and could have been experienced by anyone you know, whether a friend, neighbour or family member. In other words, his story could be anyone’s… and Jerry knows it.

In fact, what makes the film truly special is Jerry’s intent to tell it. To him, this is more than an exciting story of espionage. It’s also an opportunity to help others. With every terrifying moment, his genuine concern shines through. We know that this story is being told not only for his benefit but for ours. 

To say any more would likely be too much information but, suffice to say, Starring Jerry as Himself is a unique film that is sure to stir up conversation afterwards. Although this story is thrilling, the most important aspect for it is the truth that it uncovers and the hope it offers to others.

Starring Jerry as Himself is now playing at Slamdance ’23.