ScreenFish

where faith and film are intertwined

Steve Norton

The Mystery of D.B. Cooper: Mythologizing Our Villains

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There really is something fascinating about true crime stories. W

From Unsolved Mysteries to Tiger King, there is something truly engaging about listening to stories that seem too wild to be true. However, in the history of mysteries, one man stands out as the biggest question mark of all. Known for his daring robbery from 10 000 feet, D.B. Cooper remains the only unsolved airplane hijacking in FBI history. 

Now, almost 50 years later, Emmy-nominated filmmaker John Dower (Thrilla in Manilla, My Scientology Movie) revives the epic enigma in his latest documentary, The Mystery of D.B. Cooper. Focusing on four primary suspects, Dower gives voice to family and friends who believe passionately that their friend or relative is the same man who hijacked a 727 flying out of Portland, OR, stole $200, 000 and four parachutes, daringly jumped out of the plan and disappeared forever.

Wisely, Dower steps back and allows the stories of his witnesses to take centre stage. With each parallel revelation and conflicting confession, the mystery grows as each testimony claims to know the truth behind the FBI’s most famous wanted man. Rather than attempt to conjure up some conclusion or lean towards any one particular voice, Dower allows each potential suspect the possibility that they are (or were) the infamous Cooper. Like the most captivating mystery stories, this one intentionally leaves more questions than answers as it leans into the many unknowns about this particular case. In D.B. Cooper, truth is relative and highly subjective to the point that it’s impossible to separate fact from fiction.

Though, perhaps the most fascinating aspect of the documentary does not even stem from the testimonials themselves but from the fact that every one of them (and many others) want to be known as the escaped criminal. Like Robin Hood or Butch and Sundance, Dower points out that the legend of DB Cooper has been mythologized within our culture as some form of folk hero. Despite the fact that he  broke the law and terrified his victims, Cooper has become celebrated for his ability to get away with his crime. (Interestingly, Dower likens this alternate view to the fact that so many struggle financially and therefore view him as one who broke free from ‘the Man’.)

In many ways, it also seems strange. After all, let’s not forget that people were actually in danger during the heist. Yet, at the same time, there seems to be something culturally cathartic about pulling off ‘the big heist’ which creates a sense of wonder around their wrongdoings. As the legend of these ‘heroes’ continues to grow, it’s fascinating to watch public opinion surrounding men like Cooper shift from angst to awe and villainy becomes heroism.

In the end, like the shadowy man himself, there’s something enthralling about The Mystery of DB Cooper. While the film offers no answers regarding his identity, those unanswered questions are entirely the point of the film. Though the crime may have taken place almost 50 years ago, John Dower prudently allows the conflicting voices that claim to know the whole story to take centre stage and, in doing so, gives even greater weight to the enigma that is D.B. Cooper.

The Mystery of DB Cooper is now playing on HBO Max. 

The Croods: A New Age – Stone Age Meets the Modern Age

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Following the events of 2013’s The Croods, The Croods: A New Age follows the ‘first family’ as wander through the wilderness. Their simple lives are turned upside down though when they stumble upon the Bettermans, a family that has built a life of privilege through their innovative technology and their high value on self-protection. When the Bettermans decide that the Croods are a threat to their life of luxury, they attempt to rid themselves of their visitors but, in the process, unleash the danger that lurks on the other side of their incredibly high walls.

Directed by Joel Crawford, Croods: A New Age was not a sequel that seemed necessary after the original yet proves to be most welcome. Whereas the first film focused entirely on the Crood clan, New Age opens up the world considerably (and creatively) with the addition of the Bettermans and their utopian realm. While the first film was generally well-received, the world in which they lived had a relatively limited palette as the Croods trudged through their largely dusty terrain. However, with a new environment comes new opportunities for innovation and Crawford and his team let their imaginative juices fly. Featuring wild creatures and dazzling bursts of colour, there’s an energy within New Age that was missing from its predecessor which also gives the franchise new life. (Personally, I believe that anyone who came up with the idea of ‘wolf-spiders’ really needs to seek some professional help, regardless of how adorable they look.) Filled with modern references like ‘window addiction’ and enough technological wonders to make The Flintstones jealous, Croods: A New Age feels relevant to the modern family and keeps the laughs going along the way.

Even the cast seems slightly more… well… animated in the sequel now that they some new blood to play with. Given the opportunity to work alongside Dinklage’s sophisticated but slimy Phil Betterman, Nicolas Cage’s Grug seems much more likable and endearing. At the same time, with their relationship now firmly established, both Emma Stone and Ryan Reynolds are much more comfortable with one another as their characters move towards their ‘forever’. Stealing the show, however, are the aforementioned Bettermans, played by veterans Peter Dinklage and Leslie Mann. Stepping into the role of antagonists to the Croods, Dinklage and Mann are a joy to watch as the obnoxiously wealthy Bettermans. (‘Emphasis on the better,’ they remind.) Though detestable for their celebration of privilege, Dinklage and Mann embed their performances with a nervous desire to protect their family that somehow makes them seem more sympathetic. 

Similar to the first film, A New Age also wants to explore what it means to be both an individual and valued part of the pack. As they settle into the Betterman’s luxurious villas, the Croods finally have the opportunity to have some privacy… but is that something that they really want? As they adjust to living in a technological paradise that allows for them to finally have some space between them, the Croods also find themselves more divided. Having built a bond between them by always sticking together (primarily out of fear), their new environment provides a certain sense of ease to it that gives them freedom. While this can be live-giving to some, innovations like the ‘man-cave’ and Thunks obsession with the window also create roadblocks within their family. In this way, the film recognizes the modern challenges of relationships as we continue to find new ways to create space between us and struggle to maintain open communication in the family unit.

What may be most surprisingly, however, is that A New Age is also unafraid to venture into a new age of ideas by adding the numerous layers of cultural subtext to the family-friendly adventure. From the female empowerment of the Thunder Sisters to the abuse of the environment, the film explores a broad range of culturally relevant issues that help elevate the film’s story. (In fact, through Betterman’s control of the bananas and water supply, the film even suggests the socio-economic ramifications of creating a caste system where the divide between rich and poor continues to grow.) In doing so, there’s a certain level of bravery to A New Age as it intelligently explores some of the deeper issues of our current culture while never becoming overburdened by the conversations or losing the fun.

Filled with humour and heart, The Croods: A New Age is a worthwhile venture this holiday season. Once again, Grug, Eep and the rest of the family prove yet again the value of knowing your place in the pack and the importance of supporting one another in the most difficult of circumstances. 

Without question, they have peaked my interest to see what happens in the next age.

For audio of our interview with director Joel Crawford, click here.

Croods: The New Age will be playing in theatres on November 25th, 2020. 

Avengers S.T.A.T.I.O.N.: Saving the World Never Looked So Clean

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Sometimes, timing really is everything.

When Yorkdale Mall planned to bring in the world-renowned, interactive Avengers S.T.A.T.I.O.N. exhibit to Toronto, there is simply no way that they could have ever accounted for a city-wide lockdown the day of its release. After all, to bring in such events takes months—even years—of preparation and the events surrounding the global pandemic would have been simply unfathomable at the time.

Even so, with much fanfare but little opportunity to impress at this moment, the Avengers S.T.A.T.I.O.N. is officially open to the public. 

Filled with memorabilia and models from the Marvel Cinematic Universe, families can immerse themselves in the ultimate Avengers experience. The 25,000 sq/ft exhibit is based on the premise that you and your kids have been invited to participate in the Avengers training program, just in case Earth’s mightiest heroes need some extra help during the next attack. After being welcomed by a message from Agent Maria Hill (Cobie Smulders), families are encouraged to interact with games and props that range from Thor’s Hammer to Captain America’s shield.

Now, before I go any further, I know what you’re thinking. 

The first question on everyone’s mind is (and should be) public safety during the time of COVID-19. At a time when daily cases continue to rise at an alarming rate, an interactive (and highly touchable) experience in a closed space seems like the last place that anyone would want to be. Somewhat amazingly though, Avengers S.T.A.T.I.O.N. has managed to minimize risk across the board. Partnering with the city of Toronto, Marvel has managed to maintain the interactive component while making the entire exhibit touch-free. From my own experience at S.T.A.T.I.O.N., I was thoroughly impressed by their attention to safety protocols that seemed to go above and beyond the call of duty. Though I must admit that I did miss the opportunity to grab Mjolnir for myself, under the circumstances, the adaptations made by the Avengers crew were nothing short of remarkable. Aside from the normal (and hands-free) hand sanitizing stations and staff on hand ready to clean where necessary, some of their more impressive adaptations included:

  • re-usable styluses for every attendee in order to interact with exhibits, which are immediately sterilized after each use
  • double the ventilation required for the exhibits massive space in order to create better circulation
  • adapting exhibits (such as Captain America’s shield) so that photos can be taken without actually touching them
  • The exhibit only allows 10% of its normal capacity at any specific time slow to ensure guests have the opportunity for social distancing.
  • spraying the entire facility down every night with hospital grade sanitizer

Saving the world never looked so clean.

With that out of the way, guests are free to interact with the exhibits without fear. And, make no mistake, there is much to see within the S.T.A.T.I.O.N. itself. Multiple interactive games and stations line the area designed to bring reality to the whimsical world. (The touch-free game that suits you up like Iron Man as he battles Ultron’s robot warriors and interactive Incredible Hulk exhibit were among my favourites.) Behind glass, official costumes worn and props used within the Marvel films adorn the walls. (In fact, Avengers S.T.A.T.I.O.N. even has special times to adjust their volume and lights for those who may be on the spectrum or hearing impaired.) 

What’s more, there is a remarkable level of detail to the exhibit for those who want to really explore. Wakandan language within the Black Panther exhibit is decipherable and elaborate. Digital ants greet you in front of the Ant Man costume. What’s more, around the exhibit, screens are filled with information that should provide any MCU fan ample opportunity to learn more about their favourite heroes.  Finally, as you leave the S.T.A.T.I.O.N., guest will be invited to play one final challenge to determine if their ready to join the team.

All in all, the place is an absolute blast for all ages.

Though I might argue that the price is a little steep at $40 given the changes that needed to be made to adapt the experience, Avengers S.T.A.T.I.O.N. is still likely worth your time. At a time when we all need a little bit of fun, this is a truly immersive experience that wants to remind you of our need for heroes while inviting you to become one.

Perhaps most importantly though, they’re also concerned about keeping our world safe from disease as well.

Avengers S.T.A.T.I.O.N. is currently closed for 28 days and plans on re-opening on December 21st, pending government restrictions. Tickets are available for purchase from December 21st onwards at https://www.avengersstationcanada.com

The Ugly, Beautiful Gift of Cancer: 1on1 with Dauzat St. Marie

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In a moment, one phone call can change everything.

That’s exactly what happened to singer Heather St. Marie and her husband Matt Dauzat of pop duo Dauzat St. Marie. While on the biggest tour of their career, St. Marie’s world changed forever when she found out that she had breast cancer, immediately turning their lives upside down. Terrified and traumatized by the results, the two had to put their tour—and their lives—on pause to begin an entirely new battle. 

Amazingly, after a lengthy battle, St. Marie is thrilled to be cancer-free and the duo have found a new purpose with the ‘In It Together’ campaign, a drive to raise money for the American Cancer Society. Filled with a renewed sense of hope, the two are excited about the opportunity to help women who are facing the same struggle that they experienced themselves. As a survivor herself, St. Marie knows that she will never forget the day that things began to change.

“It was crazy because we were at the highest of the high,” St. Marie starts. “We were out on tour with Pat Benatar, who’s an icon for any female singer, and Rick Springfield. It was just amazing and we were on top of the world. Then, that happens. I felt that lump. I think that when you’re on tour, you learn how to kind of compartmentalize. I just kept telling myself that it’s going to be nothing… But, there’s always that little voice saying, ‘what if it’s not?’ So, I wasn’t going to sit on it. I called my doctor the very next morning and I said… I need to get in and see you. I wasn’t sure what to think but it escalated very quickly and within 48 hours, it’s like, yes, you have cancer.” 

“Immediately, you go from the highest of the highs and the lowest of the lows. I had to hear this news on the phone because my doctor went out of the country while we were waiting on lab results… and wasn’t back for a month. That’s a long time to wait to not know. Everything flashes before your eyes, and I just kept thinking, I’m not ready to go… You learn how to just focus on what’s right in front of you and just one foot in front of the other. I think that’s kind of what we just did. It was like, deep breath and this is the new battle. It’s not touring anymore. We’re just going to jump… from tour battle to cancer battle. We just switched gears and everything in our whole lives changed at that point.” 

Though St. Marie may have been the one suffering physically, there is no question that both she and Dauzat were ‘in it together’. For him, the experience may have seemed like it was from the outside yet he was very much committed to helping anywhere he could.

“It’s the same fight. On tour, I’m the booking, often the driver, tour manager, and everything else,” he explains. “So, I just kind of fell into the caregiver role and was just there to support, with lots of driving to appointments and just whatever needed doing. It’s not a whole lot of thinking that is involved. You just have to fall into the role and do it. One foot in front of the other. You can’t hardly think too many plays down the road. You kind of have to focus on the battle of the day, which is very unlike what we usually do. We typically have our next few moves kind of thought out and maybe even in play. With the cancer thing, it almost seemed like the doctors would only really want to kind of give you enough for you to be able to digest and accomplish now, not really telling you exactly what’s coming after that. They just kind of seemed to keep us focused on the battle of the day. Tomorrow is another day, which kind of made it easier in a way because there’s a lot of stuff we don’t need to know. Let’s just focus on what we can do today.”

When they finally got the news that she was cancer-free, you might expect that both Dauzat and St. Marie would be ecstatic with joy. However, after a grueling process, St. Marie points out that their initial reaction was quite the opposite.

“It’s funny. You would think that, when the doctor says you’re cancer-free, you should be celebrating,” she reflects. “Instead, it was almost like this small depression kicked in. I think [it was] a day or two later that we really talked about it. For the last year and a half, we’ve had this battle. Every day, you get up and you’re fighting cancer. Then, one day, you wake up and you have no battle and you have no purpose. You’re almost adrift, you know? So, while you should be celebrating because it’s a huge accomplishment to beat cancer, all of a sudden, the fights gone out of you and the rug’s pulled out from under you. I bring this up because that’s why we decided [that] we need a new purpose. So, we’re going to take this song and we’re going to turn it into something to help others who are going to go through what we just gone through. That’s kind of how the whole campaign was born.” 

Despite the heavy emotional burden they were already experiencing, the two still felt that they should open up about their journey to their fans. Not knowing what to expect, they found that they were overwhelmed with the outpouring of support that they received.

“We thought about it for a long time. A lot of people said you probably don’t want to do that. It’s enough work as it is, right?,” St. Marie states. “Giving updates to family members and close friends and now, all of a sudden, you’ve got everyone to kind of give updates to and respond to. But again, we just felt in our hearts that we had to do it. It was humbling to see all the love that came back from all over the world. All these years that Matt and I have toured and worked online promoting and just keeping these connections with people that we don’t really like calling fans. They’re really more like friends. All of that just came back 10x. It was really beautiful! It did absolutely help me on those dark, hard days to keep going, because I knew that there were people that cared. People wanted to see the good outcome and so it gave me a reason to fight.” 

“That’s kind of what we’re here talking about today with the In It Together Campaign,” Dauzat continues. “We decided to use our platform for good and helping others. We decided to share our cancer battle with our fans because we have really strong relationships with [them] and the responsible thing to do was to share what we’re going through in hopes that it might help others. We started getting these messages from women saying, ‘Hey, you know, your story inspired me to go out and get a mammogram that I’ve been putting off for however long!’ Then some others were further reporting that, ‘Hey, your story inspired me to go get a mammogram. And I found out that I have early stage breast cancer.’ So now there’s your light bulb moment, right. Now, if we spread this awareness, we can help save lives because the ugly statistic is one in every eight women with breast cancer. So, if we can get the word out to eight women and they all go get their mammograms, we can save the one early detection.” 
With a new sense of purpose in their hearts, the In It Together Campaign was soon born. Spearheaded by their incredible new single In It Together, the goal of the campaign is not only to raise funds for the American Cancer Society but also to raise awareness of cancer’s widespread effects. As the video began to come together, St. Marie says the experience ended up being far more special than she could have imagined.

“We knew we wanted to help people and we knew that the song had a lot of potential,” she beams. “We hit up some good friends of ours who were a dynamic filmmaking duo, Sebastian Paquet and Allie Roberto and told them what we had in mind and brainstormed and they ran with it. They get us. We all just started hitting people up and we got this beautiful crew of mostly women and then we had the male actor who was in it. Everyone was there for a reason. Everyone had been touched by cancer somehow and it was just beautiful. When we got the video back, I cried. It was even more beautiful than I had in my mind and more impactful. It was just fantastic. So, we said the world needs to see this as much as we can hit and reach. We thought, how can we make the biggest impact?” 

“The first thing that came to mind is the American Cancer Society. They’re over a hundred years old and they’ve actually grown to be global,” she continues. “They’re a great organization. So, we reached out to them just on a whim, they got back immediately and we developed a team there. Some of the people were concerned [that] if I donate to a corporation, is it actually going help these people? When we started talking, you hear their passion. They have one of these guys whose head of communications on the west coast and he’s on the phone sometimes late at night, talking to people who’ve just gotten a cancer diagnosis because there’s a 24-hour hotline. These people care that much. They’re not just sitting in a corporate office, signing papers and doing their little thing. They are actually on the front lines helping so I felt good about the fact that we were going to join forces with them and they care as much as we do. 

Since both the song and the campaign are incredibly personal for the duo, there were several aspects of their story that St. Marie felt would be important to the development of the video as well. 

“For me, mostly, it was not just my story but the story of the caregiver,” she recalls. “Those opening scenes are actually very much how it happened. Unfortunately, I had to find out on the phone. Matt came in the room and when he saw my face, we both almost just crumbled. That hits me every time I see it because the actors portrayed it, you can see it. That’s just how we felt. That was very important because the caregivers sometimes get overlooked. I think that their role is a lot harder even than for the patient, because they’re the ones dealing with the fallout. They’re the ones having to deal with the reality of cooking and cleaning and taking care of them and all these things. It’s exhausting and draining, so that was really important.”

“The second thing that was really important to me was that, when the girls come in and surround me, it’s symbolizes what I felt. I said early on having breast cancer is like joining this club that you never knew existed and you never wanted to be in, but if you have to be in it, it’s beautiful… When you join this cancer club, it’s a beautiful thing that happens because it hits us. Strangers on the street, when I’m out would you say, I’m going to pray for you or just I hope you’re going to be okay. It’s a terrible, ugly, beautiful gift that you’ve been given and I wanted to portray that in the video.” 

Embedded within the lyrics of In It Together is the somewhat surprising suggestion that the highs and the lows are not only intertwined but also necessary. According to Dauzat, this idea stems from their belief that the worst moments of life allow them to experience a deeper sense of appreciation for the better times.

“I think, without great lows, how can we truly appreciate great highs? It’s all about perspective, right?,” Dauzat believes. “So, it’s a necessary thing. We always really appreciate the lows. We appreciate the tough times that we’ve gone through because when we experienced the good times, we really fully can embrace it. We feel that we’ve earned that because we’ve gone through things. I think people need to embrace the lows and understand that, when you’re given lows, there are a lot of great lessons that you can take out of those moments. You can use those to create your new highs or to enhance the new highs that are coming later.” 

“In modern society, we’re living longer and we’re so detached from death as opposed to people in the 1800s, when it was really a part of life, you know?,” echoes St. Marie. “So, I think that might be why people are afraid of challenges because it brings up emotions and the fact that we’re all mortal. No one wants to look at that these days, but, like Matt said, those are the things that make us multi-dimensional. Those are the things that make us complex and more interesting and stronger. If you’ve never been challenged, you’re kind of weak because you don’t know what it’s like to go through that. I feel that, for me, I’ve always been compassionate, but I don’t think I even had the capability of being as compassionate and empathetic as I am now that I’ve gone through this. Even just appreciating the little things, like we would draw to radiation early every morning across Los Angeles, South of Santa Monica. We got to see so many amazing things. There was a butterfly migration, Millions of butterflies are migrating from Mexico up north. I wouldn’t have seen that if I hadn’t been going to my radiology appointment. So, with cancer, it’s like somebody cleaned the window with Windex and, all of a sudden, everything becomes crystal clear. It’s the little things that we can appreciate and you don’t get that unless you’re going through some suffering and some difficult times.“

With the campaign now in full swing, the duo are thrilled to get the word out to as many people as possible. Asked how people can participate, St. Marie declares that there are a number of different ways that the public can donate financially or simply show their support on social media.

Says St. Marie, “You can donate immediately. If you text DSMBand to 20222, that’s going to be a $25 immediate donation that’s also tax deductible. It goes directly to the American Cancer Society. If you guys are fortunate enough that you’ve survived this crazy year and you have a little bit more, you can do more on our site (dsm.band). There will be a way that you can donate with a credit card for extra large donations or, if it’s a company that wants to donate, you can donate with a cheque and all that information is going to be on the landing page.” 

“If you’re looking for a holiday gift that keeps on giving, you can donate with your credit card and put it in honor of somebody or as a tribute to someone who’s passed away from cancer. We’re trying to make this inclusive to everybody. Now, if you guys don’t have any money, if you’re struggling really hard, we get it. All we ask is that you share the hashtag and the post. We’re going to blanket it. We’ve got a whole list of friends, family, celebrities that all on board with us to push this campaign out. So, when you see it, please share it. The hashtag is #inittogether. We’re going to be having it out there so that most people just go watch the video. It’s compelling. Honestly, everyone on this Earth is going to be touched by cancer or has been already… I’m a direct recipient of the good work that American Cancer Society is doing so you can feel good about this, if you get involved in our campaign,” 

For full audio of our conversation with Dauzat St. Marie, click here.

Mank: Nostalgia Never Felt So Relevant

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MANK (2020) David Fincher’s MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Gary Oldman on the set of Mank. Cr. Nikolai Loveikis.

Set in 1930s Hollywood, Mank tells the story of celebrated screenwriter Herman J. Mankiewicz (Gary Oldman) as he develops what will become his greatest ‘opera’, Citizen Kane. Under incredible pressure to produce brilliance through his writing, Mank reflects back on his toxic battles with the mighty William Randolph Hearst (Charles Dance) that led to being blackballed by the same studios that once embraced him.

MANK (2020) Gary Oldman as Herman Mankiewicz, Arliss Howard as Louis B. Mayer and Tom Pelphrey as Joe Mankiewicz. NETFLIX

Directed by David Fincher, Mank is an absolutely stunning sight to behold. Shot using similar stylistic devices as it’s subject Citizen Kane, Mank is an absolute tribute to the Hollywood of old. Using filtered lighting, slow fades and layered text, the film transports the viewer back in time to the Golden Age of cinema. (In fact, the film is so convincing that one could be forgiven if they were oblivious to the fact that it was released this year.) What’s more, the film’s score by Trent Reznor and Atticus Ross (frequent collaborators of Fincher’s since The Social Network) is utterly remarkable, echoing the crescendos and bounces of early soundtracks to perfection.

In fact, the reproduction of old Hollywood is so dazzling that it’s possible that some may use it as a slight against the film. Inevitably, there will be some who believe the film has more style than substance, attempting to impress audiences with their slavish abilities to recreate the past. (For example, this was one of the most vocal criticisms of former Best Picture winner, The Artist, which blew onto the scene with its homage to the silent film era.) However, to claim that Mank is merely fancy camerawork and special effects would be wholly inaccurate. 

MANK (2020) David FincherÕs MANK is a scathing social critique of 1930s Hollywood through the eyes of alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman) as he races to finish the screenplay of Citizen Kane for Orson Welles. Amanda Seyfried as Marion Davies.

To quote Mank himself, “This is different. This is about something.”

Perhaps it’s not surprising that one of 2020’s best films smacks of nostalgia. Unironically, this would be the year above all else that viewers may yearn for a ‘simpler time’. However, if anything, the film continues to prove how stories of greed and corruption continue to be relevant to this day. In the world of Mank, the image is what gives power. Whether it’s Hearst’s impressive estate or the bright lights of celebrity, notoriety seems to equal influence. (“People think because you’re on the cover of Modern Screen, they know you,” Marion moans.) Nonetheless, the pomp and prestige that wealth and notoriety appear to offer create a vacuum too easily filled by dishonesty and fraud. Though he struggles with his own vices such as alcoholism, Mank is fully conscious of his flaws and yet remains unapologetic about them. Held up against the false imagery around him, Mank’s authenticity and self-awareness is worn as a type of broken armour and reveals the challenges of swimming upstream with integrity at a time when the river is poisoned. 

MANK (2020) Gary Oldman as Herman Mankiewicz and Amanda Seyfried as Marion Davies. NETFLIX

The first screenplay by Jack Fincher (David’s father, who died in 2003), Mank is a tribute to the notion of the writer and, more accurately, the truth itself. Though he struggles with his own demons, Mank has little time for the pretense of others. Speaking with a razor-sharp wit, he is beloved at parties but often written off for his wild perspectives and insights. (“He likes the way you talk. Not the way you write,” Mayer shoots at him.) Even so, Mank continues to speak his mind out of principle and integrity, attempting to reveal the sins within the imbalances of power. As “the smartest guy in the room”, he is well equipped to recognize the difference between the powerful political puppet masters and their unwitting marionettes. To Mank, honour comes from cutting through the façade that those in power put on for others and speaking out on behalf of others.

MANK (2020) NETFLIX

Utilizing techniques from yesteryear, Mank offers something truly unique to this year’s crop of films that somehow feels both fresh and nostalgic. Even so, beyond the dazzling cinematography and gimmicky techniques, the film has much to say about the power of truth at a time when image is king.

Mank is now playing in select theatres and will be available on Netflix on December 4th, 2020. 

Sound of Metal: Deafening Stillness

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Sound of Metal tells the story of Reuben (Riz Ahmed) a heavy metal drummer who hammers out ferocious sets with his girlfriend and bandmate (Olivia Cooke). Committed to his rock and roll lifestyle, Reuben’s world is turned on its head when, all of a sudden, a persistent ringing in his ears worsens until sound drops out altogether. Feeling lost and overwhelmed, Reuben seeks help from a rural group home that provides a community for the hearing impaired. After temporarily moving into the facility, Reuben is forced to re-examine the very core of what defines him as he seeks to move forward in the next chapter of his life. 

Written and directed by Darius Marder, Metal is an energetic but thoughtful piece that grapples with what happens when the things that we feel define who we are suddenly taken away. As his first directing opportunity, Marder (who wrote Place Beyond the Pines) challenges his audience’s perspectives and understandings about deaf culture and the hearing impaired. By playing with the film’s audio in various ways throughout the film, Marder allows the viewer to get the briefest of glimpses into Reuben’s world, revealing how difficult his journey has become. While the entire cast feels invested in the film, it’s Ahmed’s staggering performance as Reuben that carries the piece. As the discombobulated drummer, Ahmed demonstrates his range and courage as an actor, portraying him with a combination of restrained ferocity and humanity. 

Furthermore, the film is a beautiful exploration of the realities and misconceptions surrounding deaf culture. When he first arrives at the compound, Reuben is determined to find an answer for his hearing loss, viewing it as a problem that requires fixing. However, his interactions with the other residents, especially group leader Joe (Paul Raci), reveal a deeper understanding of the world of the hearing impaired. To them, hearing loss isn’t a problem to be fixed but rather a community and way of life worth celebrating. Despite the fact that Reuben feels he has ‘lost’ something, those around him are determined to show him what he has actually gained.

However, Sound of Metal speaks to more than the misunderstandings surround deaf culture and the hearing impaired. At its heart, the film also points to the healing nature of stillness. As Reuben begins to process his new life situation, he attempts to find solutions and fight his ‘illness’ as best he can. However, his most difficult challenge comes from Joe, who orders him to sit and be ‘still’. Though it sounds simple, this assignment is almost insurmountable for the control-driven Reuben. Nevertheless, Joe demands that he continue to try, insisting that it’s in the stillness that Reuben will truly begin to heal his soul. (“It’s in the stillness that the Kingdom of God shows up and it’s those moments that stay with you,” he argues.) As a result, Joe’s assignment points Reuben towards spiritual clarity as a precursor to true healing, as opposed to forcing a solution to his perceived ‘problem’.

Though it may not be one of the highest profile films to come out in 2020, Sound of Metal is far from a mere noisy gong or clanging symbol. Anchored by a potentially Oscar-worthy performance by Riz Ahmed, Metal provides new insight to the beauty of a community of people that rarely find representation onscreen while pointing to the spiritual realities that give life to our souls.

For audio of our conversation with director Darius Marder, click here.

For audio of our conversation with star Paul Raci, click here.

Sound of Metal is in theatres now and will appear on Amazon Prime on Friday, December 4th, 2020.

Animaniacs: Still ‘Totally Insane-y’

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After 22 years, it’s time [again] for Animaniacs…

If you’re familiar with those words, the theme song is probably already in your head.

By rebooting Animaniacs for the next generation, Hulu has revived one of the true classic animated series of the mid-90s. For those who are unfamiliar, Animaniacs followed the antics of the Warner Brothers Wakko and Yakko and the Warner Sister Dot as they wreak cartoon havoc on the lives of those on the Warner Bros. Studio Lot. (In an interesting twist, even though the series takes place on the WB Lot, it’s being released on Disney-owned Hulu.) Produced by Steven Spielberg, the show features a wide variety of characters including fan favourites Pinky and the Brain and was designed to mimic the classic Chuck Jones Looney Tunes shorts from the WB Vault that enthusiastically embraced cartoon violence and chaos but also carried a satirical edge.

Originally airing from 1993-1998, Animaniacs began as a spin-off of WB’s Tiny Toon Adventures (which has also recently announced its own reboot of sorts). At its peak, the show’s energy was always augmented with a subversive wit that made it one of the first true daytime series to appeal to both adults and children. (In fact, believe it or not, Animaniacs was one of the first examples of internet fandom culture as adults would congregate online to discuss the show’s satire and even create fan fiction.)

So, if you’re ‘pondering what I’m pondering’, the answer is that the reboot still works well after all these years. Fueled by its continuously ‘totally insane-y’ antics, the series maintains the vigour of the original series. What’s interesting about this particular incarnation is that the series really doubles down on the pop culture and sarcasm. While the original incarnation always included references to larger ideas, the reboot touches on political issues as often as possible, ranging from Russian surveillance on US culture and bizarre political parties to an unabashed celebration of the 90s. Though it’s not uncommon for animated fare to leave content in that will reach the parents, Animaniacs fully understands that those most excited about the series’ return are the adults themselves. As a result, there may be many moments where younger viewers struggle to fully understand what’s going on. 

Unlike other animated fare from the House of Mouse, Animaniacs has never really been interested in promoting any particular family values. Instead, the Warner Bros (and Warner Sister) are more excited about lampooning as much about the current state of the world as they can. Pinky and the Brain’s constant attempts to ‘take over the world’ prove as opportunities to subtly speak to larger cultural issues such as our addiction to the internet or the political image. In this way, the series has always garnered attention for its willingness to make people aware of cultural issues, even if they’re doing so with a sardonic wink.

So, thankfully, it’s refreshing to say that the series doesn’t show too many signs of rust as the enthusiasm and bite of the series translates well in 2020. Acutely self-aware that they’ve been off the air for over 20 years, Animaniacs frequently acknowledges the many cultural changes that have taken place over the last two decades. (The rebooted theme song even pronounces that they’re ‘gender-balanced, neutral-pronouned and ethnically diverse’.) As a result, with fire and fuel, Animaniacs seems prepared once again to do the same thing that they’ve done every season, ‘try to take over the world.

Animaniacs is available on Hulu on November 20th, 2020. 

Marvel’s Avengers S.T.A.T.I.O.N. finally lands in Toronto!

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Finally, the Avengers are ready to assemble!

At long last, Paquin Entertainment Group, Victory Hill Exhibitions and the Yorkdale Shopping Centre are proud to announce the CANADIAN PREMIERE of Marvel Avengers S.T.A.T.I.O.N.: The Experience.

Running from November 20, 2020 until January 31, 2021, the interactive exhibit will allow guests to journey through an advanced, multi-room training facility, where they receive unprecedented access to the most sensitive intelligence and cutting-edge science behind the Avengers.

Though there may be concerns about safety due to COVID, CEO of Paquin Entertainment Gilles Paquin assures their agues that this unique will follow safety guidelines and allow for a unique and amazing experience. A timed ticketed entry system and limited capacity allow for plenty of room to socially distance in the 25,000 square foot venue. Guests will undergo a health screening upon entry and masks are mandatory at all times within the exhibit. Diligent cleaning protocols have also been implemented. For more Health and Safety information, visit avengersstationcanada.com. 

“The Avengers movies were game changers, and this exhibition will give everyone a chance to extend and personalize their experience with this iconic franchise” says Gilles Paquin, CEO of Paquin Entertainment Group. “With our 25,000 square foot venue, you will be able to safely explore the exhibit in a socially-distanced setting.”

The Instagrammable, must-see exhibition features multiple rooms dedicated to favourite Avengers characters from the Marvel Cinematic Universe, including Captain America, Iron Man, Black Panther, the Hulk, Thor and more. Along with getting up close and personal with original props and costumes straight from the big screen, guests are invited to examine Thor’s iconic hammer, explore Iron Man’s Hall of Armour, capture photos with Captain America’s shield, experience the contactless HULKBUSTER simulator and learn about Wakanda in a brand-new Toronto-exclusive Black Panther exhibit.

The Yorkdale Shopping Centre will host the multi-room exhibition and Marvel Avengers S.T.A.T.I.O.N. retail store. The store, which is now open to the public, offers limited edition items and exclusive merchandise including t-shirts, hoodies, jackets, collectable posters and Avengers-themed toys, games and action figures from iconic brands such as FUNKO, Beast Kingdom, Hasbro, TY and Diamond comics. The store also features a very special collaboration with Roots Canada. It’s a Marvel fan’s retail dream come true. 

Powered by a partnership with Destination Toronto, Marvel Avengers S.T.A.T.I.O.N. will kick off on November 20th inside the Yorkdale Shopping Centre. Thousands have already signed up to receive information on advance ticket sales. Public tickets will go on sale on November 12th and will be limited. Please follow @avengersstationcanada on Facebook and Instagram for more details about the exhibit, and visit avengersstationcanada.com for tickets.

Cut Throat City: Breaking Free from a Broken System

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Set in the Lower Ninth Ward of New Orleans, Cut Throat City follows the young artist, Blink (Shameik Moore). Newly married and with an ambitious future, Blink is excited to start a new life. However, after Hurricane Katrina reduced their city to nothing, Blink and his friends are struggling to look for answers. With no employment opportunities and muddled government assistance, Blink and his crew turn to a local gangster (Tip ‘T.I.’ Harris) who gives them a chance to turn their fortunes around by pulling of a dangerous heist. When the job turns sour, the four young men are forced to run for their lives, yearning to return home while being pursued by both police and an angry criminal warlord.

Featuring a cast that includes Terrance Howard, Ethan Hawke, Isaiah Washington and an almost unrecognizable Wesley Snipes, Cut Throat City has some impressive names in the marquis to help market the film. Ultimately, however, the success of Cut Throat lies at the feet of its young four stars, especially that of relative newcomer Shameik Moore who shines. As Blink, Moore carries much of the emotional weight of the film on his shoulders and he rises to the occasion in his performance. 

What’s more, while RZA has spent the majority of his career in front of the camera, he shows some particularly confident work in the director’s chair here by letting his cast take the stage. With a film this gritty and unrelenting, the temptation would be to portray the rage-fueled culture by highlighting the violence onscreen. However, rather than overwhelm the audience with over-the-top action pieces, RZA’s mostly economical use of the camera allows the characters to step out in front, leading to more effective story-telling overall. 

Feeding the drama of Cut Throat is its poignant story about the underlying effects of Hurricane Katrina on the population of New Orleans. Like the people within its borders, New Orleans was (and is) a city that has never recovered from the devastating effects of the infamous hurricane. Although the US government pledged help to those who were suffering as a result of the disaster, their efforts simply were not enough to prevent the criminal underworld from taking hold of the decimation. Caught between lack of jobs and bureaucratic red tape, low income survivors such as Blink found themselves torn between criminal activity and starving to death. While characters yearn for the ‘new New Orleans’ like some renewed vision of the American Dream, the reality for families in the Lower Ninth district is that that many of them felt abandoned by a government that remained too far removed from the situation to make any real difference. As a result, while Blink may have turned to a life of criminal activity, Cut Throat also views his journey with eyes of sympathy and grace.

With that in mind, there is a potentially redemptive storyline within Cut Throat that highlights the value of young men like Blink. Viewed as a ‘good young man’, there are many who reach out to help him, despite the overwhelming odds against him. Even so, despite the value that others see in him, the most heart-wrenching aspect of the film is that it recognizes the difficulty of breaking out of the cycle of violence, especially when the system itself remains unchanged. In this way, Cut Throat acknowledges that the systems set up to help often reinforce the very problems they seek to eliminate. While organizations such as FEMA were created to offer help to the people suffering on the ground, they also often make things more difficult for the population along the way. Fighting to break free from an unjust system, Blink’s tragic journey becomes an example of the plight of so many who remain affected by not only Katrina but any widespread social trauma.

Though Cut Throat City isn’t a film that you’ll likely hear about in wide release, that doesn’t mean it isn’t worth your time. By taking us into the vicious underworld of New Orleans, RZA also spins a narrative that feels important. By calling for justice in the midst of social pain, Cut Throat City serves as a reminder that, sometimes, hope simply feels unreachable in the face of a cruel system.

Cut Throat City is available on demand. 

Invincible Dragon: Between Hurt and Healing

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In Invincible Dragon, brilliant detective Kowloon (Max Zhang) finds himself perplexed by a serial killer that is focusing on female police officers. When his fiancée becomes the killer’s next victim, Kowloon spirals out of control and returns to the world of fighting. However, when the murderer resurfaces, he is called back into action to hunt his old nemesis and, in the process, unlocks the truth behind their complicated past.

Directed by Fruit Chan, Invincible Dragon is a somewhat compelling mess that fluctuates between gritty crime drama and wild fantasy. Though other films have been able to balance these two tropes well, Dragon doesn’t fully come together. While most of the battle scenes are well choreographed (the fight on the subway car is particularly of note), the story doesn’t always justify the action. To it’d credit, the film does showcase the incredible physical skills of its cast, especially the wonder that is Max Zhang. Balancing some solid acting with his physical abilities, Zhang demonstrates his incredible range as an actor and performer. As the violent and vicious Alexander Sinclair, Anderson Silva has less material to work with as an actor but shows off a particularly brutal side in his fight sequences that blends well with Zhang’s speed. 

On the other hand, despite the quality of the action, the mystery storyline often finds itself bogged down with too many characters and subplots to keep things moving. Although moments between Kowloon and his therapist work well, scenes with other police officers either confuse or simply slow the film down. As a result, the film feels like somewhat of a mixed bag of success and missed opportunities.

Having said this, Dragon does highlight the power that our mental health can hold over one’s soul. Burdened by the loss of his fiancée, Kowloon has become obsessed by his own inner fury. Though he is receiving treatment from his therapist of holistic medicine, he refuses to grapple with what lies within. For Kowloon, to be vulnerable in spirit only serves as a reminder of what he has lost. Blaming himself, he struggles to quell his inner demons in the face of his mission. In doing so, Dragon becomes somewhat of a fascinating look at mental health—an issue rarely examined in a martial arts film—as Kowloon seeks not only revenge but to heal. 

Interestingly, Kowloon’s journey is juxtaposed with that of Sinclair who is also dealing with grief. Though Sinclair claims that both he and Kowloon ‘are the same’, in truth, their primary difference lies in their methodology. For instance, unlike his more valiant counterpart, Sinclair opts to use his pain to empower him, as opposed to seeking healing. In other words, whereas Kowloon is willing to explore the hurt within his mind, Sinclair embraces his rage and uses it as fuel for his actions. In this way, a refreshing twist, Dragon draws the line between hero and villain by the way in which they grapple with the pain of their past.

Featuring some incredible stuntwork and the seeds of some incredible ideas, Invincible Dragon feels like it could have been a ground-breaking entry into the martial arts genre. Unfortunately, muddling storylines and uneven pacing ultimately lead to a much murkier outcome, proving that the film is far from Invincible itself.

Invincible Dragon is available on demand.