ScreenFish

where faith and film are intertwined

Steve Norton

Rewriting the History Books: 1on1 with Tracey Deer (BEANS)

by Leave a Comment

I remember the Oka Crisis. Or, at least, I thought I did.

As a pre-teen, I vaguely remember hearing the stories of the Mohawk people who protested the building of a golf course. I remember seeing it on the news and hearing the testimonies of those who were worried that things would escalate. Because I was so young though, I didn’t understand what was really going on or issues such as media bias. Maybe none of us outside the situation really did.

Thankfully, in her stunning new film Beans, writer/director Tracey Deer offers some much-needed perspective on the events that took place that summer. Set against the drama that took place in 1990s Quebec, Beans (Kiawentiio Tarbell) is a young girl who lives on the Mohawk reserve of Kahnawa:ke. Staying with her loving parents (Rainbow Dickerson and Joel Montgrand) and her little sister (Violah Beauvais), Beans lives a life of innocence and safety on the reserve. However, when a proposed expansion to a golf course threatens their burial ground, an armed stand-off develops between the Canadian government and Mohawk population, exposing the racist undercurrents of the local population against the Indigenous population. Unprepared for the hatred that she experiences, Beans must re-examine who she is and transform herself into her own kind of warrior.

Although Beans itself is a fictional story, the film showcases many true events that took place during the events of the Oka Crisis. Having grown up during that time herself, Deer used her personal experiences to shape the characters and story.

“’The film is inspired by true events’ is how we phrase it because all of the events depicted of the Oka Crisis in the film did happen,” she explains. “But my family in the movie is a fictional family. Beans, my protagonist, played by the incredible Kiawentiio is the emotional through line. The coming-of-age journey that she goes on is very much my coming-of-age journey. But I have placed the character in these various historical events [and] I wasn’t at all of them myself. Some of the things that she does and her experiences are not identical to my own, but the emotional through line, the feelings and the growth and the shattering of innocence, all of that, is pulled directly from my own coming-of-age summer.”

While Oka was a massively important event in Canadian culture, Deer notes that history has only ever told it from one side. However, Beans allowed her the opportunity to tell a more complete picture of what really took place and the damage that it caused her family.

“[Voice] is so important. It’s one of the big reasons it was so important to me to make this film,” says Deer. “The way the media [covered] that event 30 years ago did not at all jive with the experience I was having of it. The way they would talk about the Mohawk protesters. These were my neighbors, my cousins, my uncles, my aunties, and to call them terrorists and send the army in against them, it didn’t make any sense. So, it was important to me to show the other side of it—the inside out view of it—so that people could see what it was really like… For so long, the policy of the powers that be [in] the government is to squash us, divide and conquer and take. Oka was really that watershed moment where Indigenous people stood up and said ‘no more’. I’m so proud that we did that. I learned so much about our strength and our resiliency from that summer. I learned so much about the importance of voice and to have my voice heard.”

“I learned a lot of negative things [and] devastating, destructive things that almost destroyed me. I was suicidal at 15 because of all of that rage and all of that hatred was just living inside me. That was that sense of innocence. That sense of safety, the ability to dream, all of that was stolen from me that summer. And I don’t want that stolen from any more indigenous children. So, it’s important that we tell the story like it is and Canadians step up to right the wrongs of history and make sure that history doesn’t repeat itself.

Embedded within Beans lies a powerful question about the nature of resistance. Torn between her father’s more aggressive stance and her mother’s insistence on integrity, Beans must wrestle with what it means to stand up against injustice. By showing this tension, Deer wanted to highlight the value of both perspectives but also show the damage that hatred can do to the soul.

“It’s really the tight rope that I have walked my entire life,” she considers. “I would say certainly as an Indigenous filmmaker, I firmly believe that violence is like a disease. Hatred is a disease. When we put it on to others, it then grows in others and then it’s put in and then it continues. I say that because I know that that was my experience. I learned to hate that day when those rocks were thrown at us, when the back window was burst open and my sister got cut with glass. That is the moment that I learned to hate. Unlike Beans, who lashes out quite a bit in the movie, I wanted to show what that hate looks like. But, for me personally, that hate lived inside me and it started tearing me up.”

“We have to have a line that says violence is never the answer. We need to stand up for ourselves and we do need to be strong. As her mother says, you need to be able to stand up for what’s important to you. And I believe, for me, that is the line that there is a way to stand up and not feed the cycle. And I feel you see that in the scene where the women deescalate the violence. There are ways to do that and we have to get much better at doing that. I think we’re a society that turns to violence and turns to retribution and vengeance way too easily.”

Through Beans’ childlike lens, Deer remembers how these events affected her own childhood and reshaped her understanding of the world.

“That’s exactly what my adolescence felt like. It was a really carefree, fun childhood up until that summer,” she remembers. “That summer really, really shattered that when I realized that who I am is not welcome in the wider world. There’s no place for me. When those people threw those rocks at me, they told me I was worthless. They considered me and my family worthless. So, how as a child, how do you process that? How do you understand that? Okay, I am so worthless that they are allowed to throw rocks at me and the cops stand by and let that happen.”

“This film takes place during the backdrop of the Oka crisis, but incidents like this are happening across the country to this day, right?,” she continues. “Our children are being told by our society, by our country that they are not welcome. And we are told every day that it is not safe for us in the wider world. That is really what I wanted to get across, because I think that sense of entitlement and sense of safety is something that the majority of Canadians take for granted. It is a given that with the right motivation and the will, you can pursue your dreams. You have a tonne of examples of people just like you, who were doing every single thing in the world. So, if they can, why can’t you? You can do it. I want people to understand that that’s not the country that they present to us. If your child was Beans, and this is what she was going through, how would you feel about that? I believe we all have the ability to make a difference. We all have our personal sphere of power, so we can all do something about this. I want people to see this devastating journey that Beans goes on and leave the theater wanting to do what they can to prevent it from happening to any other young indigenous child.

Having said this, the obvious question remains whether or not things have changed in Canada since then. Considering the horrors of abuse that have taken place against the Indigenous children continue to lead the headlines, there remains a great deal of work to be done to heal the pain that has been caused. Even so, Deer also says that she believes some progress has been made.

“The film is a historical movie, you know. It took place 30 years ago but, as you said, the themes are all incredibly current,” she contends. “That makes me really sad and it makes me really angry because, on many levels, I don’t think we’ve come very far as a country in the way that the country handles Indigenous issues. I don’t think the country and the leadership are very good at listening to Indigenous people. I think that’s one of the big things that has to happen for change to happen is [that] Canadians need to become much better listeners and not be so quick to judgment or so quick to think that they know what the solution is. I think it’s just about listening and then doing, based on what you’ve heard.”

“Now, on the other hand, the thing is [that] I don’t want to be all just doom and gloom and dire. I do think there has been progress on some levels. I see it right now. I see that there’s an openness in this country to be hearing from us. There’s a willingness to take down those walls. It’s hard to take down those walls because those walls protect you from feeling implicated[and] responsible, but you are. This is your country, and these things are still happening across the country. The coming of age story for our indigenous kids is still incredibly similar to the story that you see in Beans. So, more work needs to be done. I do think that I am encouraged. I am an optimist, and I always look for ways to be helpful. And I am hopeful. I want to believe in this country and believe in Canadians because I need to. I need you all to do the work. It’s not on us to make things better for things that we didn’t because it’s up to Canadians to do that. So, my answer is twofold. We have not come far enough, but things are happening that are giving me hope.”

Beans is now available in theatres.

To see our complete conversation with Tracey Deer on YouTube, click here.

To hear our conversation with Tracey Deer, click here.

7.24 Resurrecting BLACK WIDOW

by Leave a Comment

With the release of Marvel’s BLACK WIDOW, one of the original Avengers finally gets to tell her own story. On the run from the military, Natasha Romanoff (Scarlett Johansson) is suddenly drawn back into there old life in order to wrestle with the darkness of her past. This week, the Marvel-ous team of Heather Johnson, Miriam Ibrahim and Dina Hamdieh reassemble to talk about the importance of diversity in our superhero stories, the toxicity of abuse and the relevance of hair.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download 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.

7.24 Black WidowDownload

North Hollywood: Sk8 For Your Life

by Leave a Comment

Whether its skateboarding or something else, everyone has to decide who they’re going to be.

Set in Los Angeles, North Hollywood tells the story of Michael (Ryder McLaughlin), a young man on the cusp of adulthood. With high school having just ended, Michael and his friends spend the summer trying to figure out what’s next for them in their lives. While some of his friends are preparing for college, Michael yearns to becoming a pro skater. As he figures out what it’s going to take to turn his dream into a reality, his father (Vince Vaughn) tries to push him towards more tangible jobs for his future.

Directed by Mikey Alfred, this trip to North Hollywood is an enjoyable coming-of-age story that highlights the challenges it takes to break free from our youth. With a simple but effective script, Alfred takes a ‘fly on the wall’ approach to his filmmaking that feels authentic. This is not a film driven by wild plot points or overly dramatic moments. Instead, Hollywood wants to be seen as a slice of life. While some will inevitably find this type of storytelling ‘slow’, there’s a joy embedded within the story that absolutely charms its audience. 

Much of the film’s success lies within the strength of its performances. While Vaughn and Miranda Cosgrove are enjoyable, much of the film rests on the shoulders of its lead Ryder McLaughlin who turns in some good work here. As the young and impetuous Michael, McLaughlin carries himself with an insecure swagger that helps the character feel real. 

However, Alfred’s most interesting decisions come through the soundtrack as he floods the film with music from the 1950s and 60s. By drawing a sonic line between generations, he fills Hollywood with an aura of youthful innocence and exuberance. Suddenly, teenage acts of rebellion feel pure and harmless. What’s more, this simple musical decision allows the eras to blend together to remind the audience that teenagers aren’t that different now than they were then. While the styles may change with time, the desire to come into one’s own remains the same.

With that in mind, Hollywood is very much about learning what it means to step into the future. As Michael pushes towards his dreams of becoming a professional skateboarder, so too does he come up against voices who try to tell him who he must be, especially his father. Although there remains a purity within his desire to skate, his father fails to see anything but the potential downside. A construction worker, Michael’s father believes that work comes by the sweat of your brow as opposed to sponsors and fame. As a result, he refuses to take his son’s dream seriously and Michael must decide whether his passion for skateboarding is worth enduring the pressure to conform that he experiences at home.

At the same time though, Michael’s relentless pursuit also threatens to steal his soul. Despite the courage he shows while pushing towards who he wants to be, he also begins to forget who he is. With the glamour of fame set before him, Michael starts to lose sight of the people in his life who have helped him get where he is. To him, the dream is within reach but this begins to change him. As he begins to step into adulthood, there’s a natural tendency to separate from the past but at what cost? As enthusiasm borders on arrogance, Michael struggles to stay true to himself and faithful to those who have supported him.

Though North Hollywood may slip under the radar of many, there’s a lot of value in this pleasant indie drama. While Michael’s story takes place in the heart of California, his emotional journey is one that everyone goes through. As a result, there’s something universal about this heartfelt story that remains appealing. In light of this, while not everyone will want to make the journey, this is a trip to Hollywood that’s worth taking in the end.

North Hollywood is available on VOD on Friday, July 23rd, 2021.

Cultural Crossovers: 1on1 with Will Gluck (PETER RABBIT 2: THE RUNAWAY)

by Leave a Comment

It’s no secret that the work of Beatrix Potter is beloved by her fans.

As the author of the Peter Rabbit franchise, Potter’s stories have been read to millions of children over the years around the world. Of course, these expectations also make translating these stories onscreen even more challenging, especially if you want to honour what has come before.

Directed by Will Gluck, Peter Rabbit 2: The Runaway takes us back to McGregor’s garden for the wedding of Bea and Thomas (Rose Byrne and Dohmnall Gleeson). Though they have no kids of their own, Bea and Thomas have developed a makeshift family with the rabbits and other animals and all seems well in their abode. Even so, despite the fact that he wants to be a good rabbit, Peter (James Corden) can’t seem to break free from his reputation of causing trouble. Then, when Bea gets a call from a publishing company about her book, the family hops into the truck and travels to the city. Suddenly out of the garden, Peter finds himself in a world where being a rascal is celebrated. After he meets Barnabas (Lenny James), an old friend of his father, Peter is invited into the criminal underworld (well, for bunnies that is) and must decide what type of rabbit he wants to be.

After having so much fun with the crew directing the first entry, Gluck was excited to return to the world once again. Admittedly though, one of the other major factors in his decision was the opportunity to share the experience with his family as well. 

“I had an idea for the second one,” he explains. “I didn’t want to walk away from something, but I also wanted to bring my family down to Australia. We all moved down there for more than half a year and gave them a new experience and that was a big part of it, to be honest.”

“[We shot in] Sydney and London. We all moved down to Sydney and then we went to London… and they went to school down there. They all fell in love with the country. I [also] loved the crew the first time. I had such a great time. As you go through life, you realize that, when you meet people that you like and work well with, why not try to replicate it with them? I think, when I was younger, I probably would’ve not done it. But as you get older and say, ‘Wow, these are these people that are amazing. Let’s keep going.’” 

Having directed mostly character-driven films early in his career, the move to a CGI-heavy franchise was a difficult transition. Even so, he and his team embraced the challenge of blending computer effects with live action and fought hard to give it the same authentic feel of traditional filmmaking.

“I didn’t know anything in the first film. I was completely blind then,” Gluck recalls. “They always say being a director is having the illusion of control, but being director of a live action/CGI movie is not even an illusion. You have to just kind of give yourself up and trust everybody. It was such a fun process to learn. So, the second time, since I knew more about it, we could play even more. I know it’s something that people don’t notice but, for a CGI/live action movie, this is so, so complicated. They always say that the simplest things are so complicated to pull off, but we never wanted to do a stationary shot. We never wanted to make it easy for ourselves. We never locked off. The camera’s always moving. It’s just like it’s a regular live action movie, which makes it really hard. But everyone was up for the challenge and it was challenging but fun, ultimately.” 

Certainly, taking on the Peter Rabbit franchise is not an easy task. Beloved for generations, the works of Beatrix Potter held in high regard for their classic sensibilities and innocence. While Gluck did everything he could to respect these memories, he also recognizes that these memories are also tainted by our own sense of nostalgia.

“It’s challenging for many reasons,” Gluck begins. “I want to honor Beatrix Potter, for all the reasons you can think of. I feel incredible responsibility to the British people and the people in the Commonwealth who loved and grew up with Peter Rabbit. I did too. But you also have to make a movie that people want to see. So, it’s a constant dance. Now, if I were to actually think all the time about how much pressure it is, I would be paralyzed. So, at some point, you just have to say, ‘we’re doing it this way, and this is the way it is.’ It’s tough [because] it’s Beatrix Potter. She’s so beloved as she should be. She’s so beloved.” 

“Everyone has their own memory of Beatrix Potter,” he continues. “But, really what their memory is… when they read the book or when they read the book to their kids, like me. It’s not necessarily the actual [material]. I’ve had so many people say, how could you kill Peter Rabbit’s father? I’m like, I didn’t kill Peter Rabbit’s father. Beatrix Potter put him in a pie. So, we took every inch of the source material we could and used it. So it’s more their fond memories of the grandmother, of their dishes, of their samplers. That’s a tough memory to mess around with. It’s dangerous.“

As he attempted to blend more modern humour with Potter’s fabled characters, Gluck did his best to bring them together in a healthy balance. Despite the franchise’s success, he’s still not entirely certain that he was able to fully accomplish his goal.

“I don’t know if we did [find the right balance],” admits Gluck. “A lot of people think we didn’t. The majority of people in the UK think we did, but there’s a lot of people who think we [didn’t]. Listen, there’s a line in the movie [where] Rose Byrne says ‘I’d be spinning in my grave if my pictures ever get turned into some puerile hip-fest.’ All those lines in that scene were taken directly verbatim from critics.”

Over the course of his career, Gluck has created a wide variety of film styles, ranging from more R-rated comedies such as Easy A and Friends with Benefits to the family-oriented, CGI-heavy Rabbit franchise. When he thinks about what types of stories he wants to tell, he believes that the best stories are more upbeat and stem from our common experiences.

“I’ve done all different types of movies [and] all different genres,” he says. “I don’t like seeing bummers of movies. I like seeing movies that have really bummer stuff in them, but ultimately are very optimistic and positive. That’s what I choose to watch. I understand the value of the other movies. I want to be on a happy, fun and a funny set. Whenever I have to do dramatic scenes… just a straight sex scene, or even an action scene. I’m bored out of my mind because it seems like math to me. I like kind of fun, upbeat, funny movies about the human condition.” 

For Gluck, the driving force behind his creative process remains his own life experiences, regardless of style.

“All the stuff I do for a living is informed by my life,” he contends. “It’s a hundred percent. So, it’s what I’m going through, what I enjoy and who I’m with. Friends with Benefits is a sex comedy because that was before you got married. Before that, [Easy A was] in high school. Then, guess what? I had kids, so now I want to do stuff for kids. It’s’s not calculated. It’s not that hard to figure out. My next movie is adult action comedy because my kids are now like, all right, we got that part. Dad give us something for us. So, my family is always so close to me and that’s what I’m inspired by.” 

As with any film, Gluck believes that the soul of the character matters most. With the latest entry into the franchise, he wanted to show Peter at a time in his life when he had to decide for himself what type of rabbit that he wants to be.

“In the first movie, in my head, Peter was 11 or 12 years old and figuring life out,” Gluck points out. “He thinks he knows better, as we all do, often wrong, never in doubt. Then, when he gets older, and in this movie he’s about 14, 15 years old, you go through different things. We wanted to kind of honor the time in your life when you are right at that crossroads and deciding who you are going to be in life, whether you’re going to be who people tell you to be, or whether you’re going to be who you really are. That really is kind of like an identity search for the soul of Peter. This is the moment in life so many people figuring out who they are, right. It’s in high school, [at the age of] 15, 16. That’s when they kind of take that path and it kind of imprints them forever. Some people change. My theory is that no one does, but some people change. So, this is kind of like the fight for Peter’s soul in this movie. Unlike other kids in life, you actually saw him dealing with it and talking about it and, ultimately, he makes the right choice, I think. This movie was kind of imprinting his soul.” 

Peter Rabbit 2: The Runaway is now available on demand and in theatres.

To see our complete conversation with Will Gluck on YouTube, click here.

Beans: Torn Between Peace and Protest

by Leave a Comment

It’s not necessarily a good sign to refer to a film as ‘timely’.

It’s not that the term is a description of a film’s poor quality. (Often, it’s the opposite, in fact.) However, the use of ‘timely’ usually refers to the fact that the issues of injustice raised within the film are still relevant in today’s culture, rightly or wrongly. In this way, the film at hand usually takes an additional meaning as a cry for help for a group who needs to be heard in a time of suffering.

Beans is one of these films.

Set against the drama of the Oka Crisis of 1990, Beans (Kiawentiio Tarbell) is a young girl who lives on the Mohawk reserve of Kahnawa:ke, Quebec. Staying with her loving parents (Rainbow Dickerson and Joel Montgrand) and her little sister (Violah Beauvais), Beans lives a life of innocence and safety on the reserve. However, when a proposed expansion to a golf course threatens their burial ground, an armed stand-off develops between the Canadian government and Mohawk population, exposing the racist undercurrents of the local population against the Indigenous population. Unprepared for the hatred that she experiences, Beans must re-examine who she is and transform herself into her own kind of warrior.

Coming at a time when injustices against the Indigenous population lie at the forefront of Canadian conversations, Beansis a stunning and thought-provoking examination of history from an alternate perspective. While the coverage surrounding the Oka Crisis frequently portrayed the Mohawk people as villains, Beans tells the story through the eyes of the oppressed. (Incidentally, Deer highlights this false narrative by the media by using actual news coverage from the time.) In doing so, writer/director Tracey Deer offers an intimate story from the perspective of someone who lived through it herself as a youth. Though the characters are fictional, the story takes pages out of her experiences and reframes the incident through the eyes of innocence. 

Caught between her family and the terrifying events that swirl around her, Beans’ world is shaken by the unjust hatred thrust upon them. By choosing to tell the story through the eyes of young Beans, the events within the film become even more horrifying for the viewer at times. (This is especially true in one particular moment where her family is being harassed within their car, a scene which may be one of the most harrowing onscreen moments of the year.) 

A film this intense requires a lot from its young star but Deer has found an incredible talent in young Kiawentiio. As Beans, Kiawentiio absolutely shines. Despite being featured in almost every scene, she shows a maturity in her performance that grounds the film. Balancing both youthful innocence and justifiable rage behind her eyes, the actress feels present throughout the film which leans into its authenticity.

As she navigates the painful events that unravel before her, Beans’ journey is very much a battle for her soul. After bearing witness to the racist attacks at the hands of local citizens, Beans is left without answers. Though she has lived a relatively quiet life on the reserve, her experiences of the horrors of injustice force her to re-evaluate the way she sees the world. When she falls in with a group of young rebels who refuse to accept the behaviour that they’ve seen, they teach her how to hate her oppressors and take action against them. At the same time though, Beans is also told by her mother that she needs to be ‘better than they say she is’ by taking a more peaceful approach to insurrection. For her mother, the best response to these racist attacks is to demonstrate her integrity by the strength of her character as opposed to violence. 

In this way, Deer takes an interesting approach to the conversation surrounding the proper responses to injustice. Instead of advocating for either method as the correct one, Deer recognizes the need for both non-violence and force. Through Beans’ journey, she points out that, while the non-violent approach may be best, there are also times when other methods may be necessary in order to bring about change. As a result, Deer manages to hold both responses in tension with one another with grace and understanding.

Sharply written and executed, Beans is easily one of the best (and most important) Canadian films of the year. By sharing her experiences through the eyes of young Beans, writer/director Deer has created a story that’s both personal and poignant. Most importantly though, her emphasis on racial injustice against Canada’s  Indigenous population provides an added layer for a country seeking to chart a new path of healing for a nation torn apart by the pain of the past. 

In short, Beans provides a voice that is timely.

To hear our conversation with writer/director Tracey Deer, click here (YouTube) or here (audio).

Beans is available in theatres on Friday, July 23rd, 2021.

7.23 Living la Vida LUCA

by Leave a Comment

Set against the Italian Riviera, Pixar’s LUCA tells the story of a young merman as he steps into the surface world for the first time. With his friend Alberto, young Luca experiences a whole new world of adventure, pasta and endless Vespa rides. However, when the world discovers that sea monsters exist, so to does the pressure for the boys to remain hidden, out of fear for their lives. This week, ScreenFish’rs Heather Johnson and Alan Sharrer return to talk about Disney’s tendency to play it safe and the relationship between fear and knowledge.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download 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.

7.23 LucaDownload

Pig: Nicolas Cage offers Humble Rage

by Leave a Comment

Who knew the culinary industry was so competitive?

Pig tells the story of Robin Feld (Nicolas Cage), a reclusive truffle hunter in the Oregonian wilderness. Living as somewhat of a hermit with his beloved pig, the mysterious Feld survives by selling truffles off the grid to Amir (Alex Wolff), an ambitious young culinary salesman. However, when a home invasion leads to the theft of his prized pig, Feld is infuriated. Hellbent on recovering his pet, Feld is forced to return to his former life and delve into Portland’s culinary underworld.

While the premise to Pig may sound ridiculous, the result is far from a joke. Written and directed by Michael Sarnoski, Pig is almost shocking in its silence. At a time when it feels like every middle-aged man needs to establish a revenge actioner, Pig uses all of those tropes to its benefit without throwing a punch. With franchises like John Wick, Nobody, and The Equalizer dominating the multiplex, Sarnoski creates a world that feels like it’s going to wow you with its set pieces but highlights its performances instead. (Admittedly, the biggest question mark to me remains the title. While the title works considering the story, it really feels like it should be the name for a gritty horror film instead of the character piece that it actually is.)

In many ways, the comparisons to John Wick are inevitable (and intentional). Whereas the first Wick film dealt with his vengeful attacks due to the death of his puppy, Pig takes a similar track with its narrative. Both Wick and Feld burn with wicked intensity and obsession over the loss of their animals. Both men’s quest for vengeance lead into the unknown seedy underbelly of their respective worlds. Even the names of both men strike fear into the heart of their former associates.

But, the films could not be more different. And that’s a great thing.

Unlike Wick’s eye for vengeance, Feld’s interest remains only retrieving his beloved pig. As he enters into the underworld, people freeze at the sight of him yet it’s more out of respect than fear. When he walks into an underground fight club, one expects vicious outbursts that will put the room in check but the result is far more powerful. Rather than unleash his anger upon the world for the loss of his pet, Feld has no interest in acts of violence. (Although, without giving any spoilers to the film’s finale, Feld turns out to be as lethal as Wick… without hurting a soul.) 

What’s more, credit must be given to Cage as well who is absolutely fascinating to watch work here. Without resorting to his trademark manic behaviour, Cage burns onscreen with an inner rage that bubbles hot below the surface. Although Cage’s career has intentionally veered into the realm of self-parody in the last decade or so, Pig is a reminder of how good he truly is when given material that harnesses his talent. (Seriously. I’d forgotten.)

In its soul, Pig is about far more than a lost animal. Featuring a solid script and performances, Pig plays out like a modern-day parable that highlights the power of identity. Although he’s been hiding in the woods for the last fifteen years, Feld’s name still rings in the ears of those who knew him. (In fact, his name carries such weight that he’s hesitant to use it.) However, this self-awareness becomes even more clear when it’s held up against his unlikely pseudo-partner Amir. 

Having grown up under his father’s shadow, Amir is a man who does not yet know who he is. Torn between his father’s achievements and charting is own path, he genuinely yearns for some acknowledgement about his own level of success. (For example, there’s no question that his brightly coloured Camaro is meant to show the world that he matters.) 

However, when he meets Feld, he discovers something different about himself through his experience with the culinary hero. Rather than let the world know that he has returned, Feld carries himself with quiet humility. For Feld, he knowswho he is but he has no interest in throwing it around. Although his mind is as sharp as his skills, Feld is so comfortable with himself that he knows the most powerful weapon at his disposal is to be himself. As such, there’s a beauty in his gruff and grizzled exterior that leaves a mark on the soul of his young companion.

Fueled by its heart, Pig is simply something to behold. With all the markers of yet another action-fest, Sarnoski has created something far more creative and almost poignant at times. Though there will be many who miss this film strictly due to their lack of interest in Cage or its marketing, trust me. This is one Pig who should not be put out to pasture.

Pig is available in select theatres on Friday, July 16th, 2021.

Pray Away: New Trailer delves into the Scary History of Exodus International

by Leave a Comment

Sometimes reality is scarier than fiction.

Directed by Kristine Stolakis, the new trailer for Pray Away tells the story of the development of Exodus International. In the new footage, the trailer focuses on the damage left behind when one tries to erase another’s story. By using theology as a hammer, those involved at Exodus denied the gay community their identity and left a broken imprint in their lives.

Pray Away begins almost 50 years ago. According to the site’s description, “In the 1970s, five men struggling with being gay in their Evangelical church started a bible study to help each other leave the “homosexual lifestyle.” They quickly received over 25,000 letters from people asking for help and formalized as Exodus International, the largest and most controversial conversion therapy organization in the world.
But leaders struggled with a secret: their own “same-sex attractions” never went away.

After years as Christian superstars in the religious right, many of these men and women have come out as LGBTQ, disavowing the very movement they helped start. Focusing on the dramatic journeys of former conversion therapy leaders, current members, and a survivor, Pray Away chronicles the “ex-gay” movement’s rise to power, persistent influence, and the profound harm it causes.”

At first glance, the names Ryan Murphy and Jason Blum are the ones that may seem most surprising in their attachment to the film. Known primarily for their efforts in the horror genre, a documentary about conversion therapy doesn’t appear to fit in their wheelhouse (or Blumhouse, if you will) at first glance. However, one can certainly see these influences on display in the latest trailer. Though only a trailer, this is clearly a film that is going to delve into the terrifying and traumatic abuse of the LGBTQ+ population at the hands of the evangelical community. In this way, the film may be even scarier than American Horror Story or anything that the Blumhouse has to offer. After all, this story isn’t fiction. This is history.

Pray Away comes to Netflix on August 3rd, 2021.

To view the trailer for Pray Away, click here.

Downeast: Walking the Line Between Light and Dark

by Leave a Comment

Sometimes, you simply can’t break free from the world you know.

Set off the coast of Maine, Downeast tells the story of Tommy (Greg Finley), a young lobster fisherman who lives a simple life working on his father’s boat. When he runs into his old flame Emma Maddox (Dylan Silver) sparks immediately fly once again. However, Tommy is immediately conflicted as deeply held secrets begin to re-emerge and threaten their relationship. Faced with the ire of the mob, Tommy must decide whether or not his love for Emma is worth the risk.

Written and directed by Joe Raffa (but based on an original idea by Finley), Downeast is a gritty, grounded and thoroughly entertaining film from start to finish. Backed by a well-written script and featuring some solid performances, Downeast creates a world of intrigue but never loses the soul of its characters. The North East coastal cities of the United States have garnered a certain mystique about them in recent years. In Downeast, Raffa capitalizes on this charisma and uses it to his advantage, giving the film an almost dreamlike quality at times. Lobster fisherman work hard at sea and enjoy time together at the local pub. Young romance springs up as they remember their youth at the nearby beaches.

But that innocence doesn’t last very long. 

Underneath the beautiful exterior lies a world of violence and power that runs the city. Through recent films like The Town and Black Mass, this region has begun to blend its own brand of charm and sweetness with a seedy underbelly that threatens it. Young Finley does an excellent job exemplifying this tension as lead character Tommy, a man who has the strength and size to do harm yet holds those things inside out of a desire to do the right thing.

With this in mind, this is also a world of masculine power and authority. While women are held in high esteem, it’s the men who make the decisions. However, this makes the character of Emma so much more fascinating. Having broken away from her family, she remains one of the most assertive and powerful characters in the film, despite her surroundings. As Emma, Silver brings a confidence and compassion to the role that tangibly shows her strength.

Forced to choose between the love of his life and the life that he’s known, Tommy is a man torn in two directions. On one hand, Tommy is captivated by Emma. Although they haven’t seen each other in years, Tommy has never stopped caring for her but remains conflicted due to his relationship with her brother. However, when they see each other again, he is immediately drawn to her and wants to honour her with honesty and integrity.

However, on the other hand, Tommy is also caught up in the shadows of deception that creeps throughout the town. While he wants no part of criminal activity himself, Tommy lives in a world where it shades everything he does and everyone he cares about. Every decision that he makes feels like it threatens to upset the balance of power in the neighbourhood. As a result, Tommy finds himself caught between a rock and a crime place. To follow his heart could bring pain to those he loves but to ignore his feelings would be unbearable.

In order to break free, Tommy must decide what it means to have integrity in a world that seems to have none. This is a world where doing the right thing may, in fact, be the wrong thing. (“Sometimes a man’s gotta do what he don’t wanna do,” we’re told.) But can darkness and light co-exist? In this corner of the country, the two blur together to create its own unique shade of grey, making it difficult to discern them from one another.

Portraying the region with heart and heat, Downeast is clearly a love letter to the region. Despite the apparently conflict between dark undertones and romantic environments, this is a film that understands its world and executes it well. Featuring some solid performances, Downeast bubbles with deception until it finally boils over at the end.

To hear our interview with Greg Finley, click here.

Downeast is available on VOD on Tuesday, July 13th, 2021.

The Misfits: Even with Some Movie Magic, Misfits Misfires

by Leave a Comment

Even when you have all the right pieces, some films just don’t come together.

The Misfits is one of these films.

Directed by Renny Harlin, Misfits is a globe-trotting heist movie that has enough visual style and pop to entertain but gets hindered by a muddled script. Having helmed such films as Deep Blue Sea, Cutthroat Island and Driven, Harlin has always had the ability to bring joy out of weaker material and he does his best with Misfits. (Remember: This is the man who managed to make a shark hilarious devouring Samuel L. Jackson in an underwater lab into an iconic image.) Highlighting the glamour of Abu Dhabi with the glitz and energy of other heist films, Harlin is clearly interested in engaging his audience. Unfortunately, the film’s screenplay can’t stick the landing. 

The Misfits tells the story of a team of thieves with a unique vision for their line of work. Led by Ringo (Nick Cannon), these Misfits only take on heists with the goal of stealing from the oppressors and sharing with the oppressed. When they come up against a job that requires a unique set of skills, they enlist renowned criminal Richard Pace (Pierce Brosnan) to co-ordinate their efforts. Targeting the corrupt Officer Schultz (Tim Roth), Pace, Ringo and their team work together to steal millions of gold bars hidden beneath one of the world’s most secure prisons.

Written by Kurt Wimmer, Misfits has lofty goals but seems confused as to how to reach them. Shifting tones and weak character arcs keep the film from maximizing the band of… well… misfits at the film’s disposal. Despite having some solid casting in Brosnan, Cannon, and Roth, the cast are given very little to do that matches their talents. However, having said this, Jamie Chung’s work in the film is easily the most fun to watch. As the potentially violent Violet, Chung is an absolute delight onscreen as she balances mystique with mayhem.

What is most interesting about Misfits is its attempt to somewhat re-invent the heist genre. Rather than bring down a major corporation for their own benefit, these thieves have justice on their minds. Operating like modern day Robin Hoods (although Ringo despises the comparison), this team robs from the rich and give to the poor. In other words, after each job, they refuse to take any sort of reward but always want to give money back to the people who have been taken advantage of. Though the idea of giving back after a heist isn’t new, it’s somewhat refreshing to see a team that takes nothing from their job and only wants to help others. 

With this shift in ideology, Pace struggles to comprehend this new attitude of benevolence that he’s asked to embrace. Having built a career looking out only for himself, Pace can’t believe that anyone would go to so much trouble in order to get nothing in return. Though, when his daughter convinces him to give it a try, the wily veteran sets out on something of a redemption arc. Suddenly, his old mindset of ‘me-first’ has been undercut by an interest in leveling the playing field for those in need. There’s little doubt that Brosnan has all the skills necessary to make this sort of character journey believable (and fun). But he’s simply not given enough material to work with to bring it to life.

In a lot of ways, it’s frustrating that Misfits misfires in the way that it does. While it has the seeds to create something really intriguing, the script simply undercuts the end result. As a result, The Misfits ends up as somewhat of a mixed bag. Even though the film offers some entertaining performances and moments, ultimately Misfits may be one you (and its cast) want to leave in the vault.

The Misfits is available on VOD on Tuesday, July 13, 2021.