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Spirited: Redemption Ain’t Easy

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I am a self-proclaimed enthusiast of all things “A Christmas Carol.” I mean, one of my son’s names is Timothy – a purposeful reference to Tiny Tim from the Charles Dickens classic story of how a seemingly “unredeemable” Ebenezer Scrooge journeys through his past, present, and future in a ghostly attempt to change his ways. Since its publication in 1843, there have been over a hundred adaptations from radio to the stage to the screen and everything in between. One may even dare to ask the question, “why keep making new ones?”

To answer the question I ask another one, “should we ever stop seeking redemption?” Because if the answer is no (which I think is the correct one) then this story will always be relevant so by all means, let’s keep making them. And Apple+ showed up with their answer in Spirited, starring Will Ferrell, Ryan Reynolds, Octavia Spencer, and Patrick Page.

Before I tell you just where this version ranks in my list of top-rated adaptations of “A Christmas Carol,” I’d be remiss if I didn’t tell you that I was absolutely delighted with this movie. It was funny, it was charming, it was well-written, it was musical (yes, musical), and it was simply a joy to watch. Will Ferrell plays the Ghost of Christmas Present in the real-life-after-life job of haunting Scrooge-like humans out of their spiteful and malicious ways and into a life kindness and generosity. Of course no Christmas Carol dream team can work without the Ghost of Christmas Past (Sunita Mani), the Ghost of Christmas Yet-to-Come (voiced by Tracy Morgan and performed by Loren Woods), and of course Jacob Marley (Patrick Page). Together with some very musically and theatrically talented ghosts, Present and his team take one chosen “perp,” on the ride of their life every Christmas Eve through their past, present, and show how their future will unfold if they don’t change their ways.

I mean you know the plot. But this year, this year their “Scrooge,” is a hopeless cause. He’s calloused, he’s greedy, he’s a manipulator. He has created such a ripple of negativity that he has even been classified as “unredeemable.”

He’s Ryan Reynolds. Well he’s actually Clint Briggs (played by Ryan Reynolds), the kind of PR executive that doesn’t hesitate to twist the truth (or re-write it even) to win. So committed to his cut-throat approach, he even advises his niece Wren (Marlow Barkley) to dig up dirt on her student council opponent and destroy his reputation, ensuring her victory…you know, for a middle school election. Little does Clint know that his actions have caught Present’s attention and through a compelling musical number and heartfelt plea, he convinces Jacob to choose Clint this Christmas, in spite of the label on his file. Jacob’s deal? That if it doesn’t work, Present takes his retirement package after two centuries of service and returns to earth for his second chance at life.

Balancing an ELF like optimism with a Eurovision voice and a Ricky Bobby style of determination, Ferrell’s portrayal of the Ghost of Christmas Present is easily one of my new favorites. Sure he has the same optimism and exuberance of most Present portrayals, but there’s a deeply rooted reality to him. There is a story to uncover as to why he is so committed to Clint’s redemption – so much so that he invites Clint into it so that maybe Clint will quit trying to sweet talk his way out of the journey and instead pay attention to how pivotal this journey will be. And Reynolds matches Ferrell beat for beat, creating a natural character journey that starts with defiance and reluctance but then shifts into curiosity, openness, and finally understanding. But ultimately, will it be enough by the end?

I admit I thought I had this movie figured out after some well-placed clues and hints. And obviously there was only one way this movie could end. But I was shocked and then pleasantly surprised with the bow that wrapped up the gift that is this movie. Yes I loved the musical numbers. Yes the casting is fantastic (Octavia Spencer brings the internal struggle of how far is too far to the forefront as Clint’s right-hand exec Kimberly, Sunita Mani had me cracking up as Past, and of course Ferrell and Reynolds were playing the kinds of characters they play best), and yes the spirit of “A Christmas Carol” is in every scene, even if it isn’t always obvious.

But the biggest “yes,” for me is my answer to the other question…can a Clint…can a Scrooge…truly be redeemed…and then stay as such?

Yes.

(Oh to answer your other question – Spirited is now in my top three film adaptations – up there with Mickey’s Christmas Carol and the 1970 film Scrooge with Albert Finney and Alec Guinness. And no, I will not be entertaining arguments against such rankings.)

The Greatest Beer Run Ever: Neither the Greatest, nor the Worst

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Set in the summer of 1967, The Greatest Beer Run Ever tells the true story of John ‘Chickie’ Donohue (Zac Efron), a young New Yorker who loves his boys, his beer and his country. As the Vietnam war continues to escalate, Chickie and his friends at home are sitting in a bar talking about what they can do to support the troops. Then, in a drunken dare, his friends challenge him to go overseas and send their friends a message of support from home in the form of some American beer. Fearing that they’ll think him a failure, he accepts and sets out across the ocean, with his cargo in tow. What Chickie  doesn’t anticipate, however, is the horrors of war that await him. Teaming with Coates (Russell Crowe), a photographer on a mission to tell the truth, Chickie soon realizes that the troops are going to need a lot more than a few brews to survive this tragedy.

Directed by Peter Farrelly, The Greatest Beer Run Ever may live up to its name, but that doesn’t mean that it isn’t entirely worth the trip. Throughout the film, Farrelly goes out of his way to both support the troops and deny the war by highlighting the men who sacrifice their lives on behalf of the cause. (It’s worth noting that there are no women in the military on this Beer Run.) However, at the same time, Farrelly also wants to show the violence and horrors of war in ways to changes Chickie’s mind along the way. 

And, in a lot of ways, the film is fairly successful.

Often funny but clear on its agenda, Farrelly tells his story with a certain sense of affection. As the optimistic and energetic Chickie, Efron does an admirable job with what he’s given. Boarding a boat and trekking out into the jungle, Chickie has the best of intentions and Farrelly makes sure that we understand his good-natured spirit. However, if there’s a problem to be had with this particular Beer Run, it lies the writing.. Having cut his teeth on R-rated comedies in the late 1990s, Farrelly moved into the realm of ‘serious’ filmmakers with 2018’s controversial but Oscar-winning Green Book. 

But that may be the problem. Despite his growing skill behind the camera, Farrelly still leans into the humour as opposed to the horror. As a result, despite the opportunity to show the true damage of war, Farrelly pulls his punches when the film approaches difficult social issues. While violence and gore are not essential in a war film, Farrelly seems to hold back the worst aspects of war, allowing the audience to feel safer in the conversation than had it been left in the hands of another filmmaker. (In other words, there’s a little too much ‘good ole boys’ for a film that wants to change minds about the field of battle.) As a result, Beer Run is held back from becoming something truly memorable, despite its intriguing premise and some enjoyable performances. 

To paraphrase Crowe’s Coates character, “Beer Run isn’t the best idea… but it isn’t the worst idea either.”

At a heart, Beer Run is actually a film about political propaganda. Living in New York, Chickie and his friends are adamant that his military pals are on the side of justice and right righteousness. As they battle against the communists, Chuckie believes that his friends are fighting a war that matters. As a result, he and his friends are angered by the ‘one-sided’ reports that the press highlight on television. They’ve been told by the government that what they’re doing is right, and they’re ready to fight for it themselves. (In fact, when he’s in Vietnam, Chickie even stands up to the members of the press, arguing that they show too much of the dark side of the ward and not enough of the positive to rally the folks at home.)

However, after his experiences on the field, Chickie’s eyes are opened and he begins to realize truth behind the lies that he has been fed. Watching the cruelty of American military tactics, his opinions begin to shift. All of a sudden, he understands the role of the press is to community the truth about what’s happening, even if it means exposing a government that seeks to save face. (Without giving any spoilers, one scene in a helicopter is a particularly powerful catalyst for his journey.) The darkness he sees is unlike anything that he could have imagined.

And it leaves a mark on his soul.

In this way, Farrelly salutes the bravery of the press and the military at the same time. While this serves to make the film more enjoyable, Farrelly’s inability to pick a side waters down his overall message. It’s here that Beer Run fails its mission. While it may be the story of one man’s amazing journey, Chickie also represents the hearts and minds of so many others who simply swallow media coverage without question. This film was an opportunity to challenge the propaganda that people are willing to digest, even though we live in a world of ‘fake truth’. So, unfortunately, while The Greatest Beer Run Ever may be worth a drink, I’m not quite ready to toast to its success.

The Greatest Beer Run Ever streams on Apple TV+ on Friday, September 30th, 2022.

Prehistoric Planet: Welcome to Cretaceous World

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We’ve always had a fascination with dinosaurs. 

It seems like every generation of kids seems to have been amazed by these gargantuan beasts that stomped the Earth millions of years ago. From Jurassic Park to Walk with Dinosaurs, many attempts have been made to capture their majesty and power, some better than others. With Prehistoric Planet though, Apple TV+ has created something truly special for those interested in trying to experience the world of these massive creatures in a different way. 

Emphasizing five different environments, Prehistoric Planet is designed to immerse the viewer in the ancient world of the Cretaceous era. By focusing on coasts, deserts, freshwater, ice worlds and forests, the five-episode event series invites families to witness the world of dinosaurs with as much authenticity as possible. From the parenting techniques of Tyrannosaurus Rex to the brutality of winter conditions and the majesty of the ocean depths, Prehistoric Planet seeks to bring the ancient world to life, one creature at a time.

Anchored by narration from David Attenborough, Prehistoric almost feels like the third entry into his iconic Planet Earth series. With each episode, the series attempts to bring these beasts to life by observing them in their natural habitat. As such, the film feels as close to a natural documentary as possible. Featuring stunning animation and exceptional cinematography, Prehistoric simply feels like a window into the lives of creatures we are never going to get the chance to see in real life. (That is, of course, unless my government funding for a Jurassic Park gets approved. I’m not holding my breath.) 

Produced by Jon Favreau and Mike Gunton, Prehistoric Planet has gone to painstaking links to ensure that the most accurate scientific information was used in developing the creatures themselves. As we gain more information about their appearances through scientific research, questions regarding feathers and body movements continue to develop our understanding of their behaviour. In essence, these are longer simply big lizards but complex creatures who share the DNA of birds and other beasts. With this in mind, from feathers to fur, the level of detail within their animated bodies is particularly impressive. (Just look at the complex skin of the baby T-Rex’s in the first episode and you’ll immediately see what I mean.)

What’s more, however, the detail is far from limited to the dinosaurs themselves. For a series comprised entirely of digital creations, the cinematography is particularly impressive as well. Using techniques that one would find in their Planet Earth series, Prehistoric manages to bring these creatures to life with subtly. Slightly blurred angles and perspectives are relatively unnoticeable but, with their inclusion, Prehistoric genuinely feels as though we are getting authentic footage. In other words, these episodes do not look like they were simply created on a laptop but rather shot in the field using actual cameras. 

Of course, holding the series together is Attenborough himself. With his gentle demeanor and calming narration, he has always excelled in helping to bring storytelling into his subjects. This is not a series designed to terrify the viewer but rather to enrapture them with a delight of the natural world. (The fact that the series is divided up by location as opposed to species is further evidence of this.) Whether it’s the drama of an infant trying to escape their predators or trying to endure the harshest of conditions, Attenborough manages to keep the viewer invested in what’s taking place. We feel the thrill of animals hunting and the sadness of the loss of others who fall victim to their hunger. We witness the birth of creatures and mourn in their deaths. Because of Attenborough’s skill as a narrator, Prehistoric maintains the beauty within creation that gives the viewer a sense of awe. 

With a passion for scientific inquiry and a loving eye, Prehistoric Planet is certainly the most realistic experience that we have gotten onscreen of dinosaurs in their way of life. Making full use of their skills as storytellers, Favreau, Gunton and Attenborough have created something visually stunning that never loses its heart.

The first episode of Prehistoric Planet is available on Apple TV+ on Monday, May 23rd, 2022 with new episodes airing daily throughout the week.

They Call Me Magic – A magical life

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“He’s still the most popular athlete in Los Angeles, and that’s saying something.”

There is just something about Earvin “Magic” Johnson that make you want to like him. Maybe it’s the smile that lights the whole world. Maybe it’s the way he can either put the ball in the hoop or pass it off (without looking) for a teammate to do it. Maybe it’s the way he has faced adversity. Maybe it’s the way he has become a business success. All of those are shown in the new docuseries They Call Me Magic on Apple TV+.

The series gives us a look into this man who has done so much, not only in his sports achievement, but in what he has done after his playing days were ever (much too soon). The four episodes, for the most part, are a chronological look at his life. The first two episodes are fairly pedestrian sports biography. However, watching Magic do his thing on the court can hardly be called pedestrian. The two later episodes are what really show us what the man has had to deal with and how he has overcome and conquered beyond the sports world.

The series makes the point early on that there are two people here: Earvin Johnson, Jr. and “Magic” Johnson (a name given him by a local sportswriter after his second high school game). Magic is the one who dazzles the world—whether with no-look passes or lavish parties. Earvin is quieter. He is a father and husband (more on that later). He is now a businessman who strives to build community.

While I may sound like I downgrade the first episodes, they do lay a lot of the groundwork for what we see in the later ones. For example, we have to understand his drive for perfection in sports to understand his drive in the business world. We need to see the on-and-off relationship with his (eventual) wife Cookie, to understand his role as a father. We need to see how he lived with fame to understand how he lived with HIV. We need to see how he was nurtured by Lakers owner Jerry Buss to fully understand how he could be come a mentor to those who received scholarships from Johnson’s foundation.

For all the talk of the Earvin/Magic dichotomy, there are many ways that the two sides of the man blend well. That is especially true of how he became a prominent spokesperson for HIV. When he was first diagnosed, he and the team kept it quiet for as long as they could. When the news broke, he became the most famous HIV-positive person in the world. Not only his fame, but his drive and personality led him to become very public about the disease, how he caught it, and what it meant to his family life. This was at a time when being HIV-positive usually meant death.

Likewise, his two demeanors blended well to grow his business enterprises, from movie theaters to Starbucks to now three pro sports teams in L.A., including the Dodgers. The blue collar work ethic he learned from his parents combines with a concern for the Black community (especially following the 1992 civil disturbance) to build not only his wealth, but to make the world a better place because of what he is doing.

Even so many years after he played basketball, everyone still knows and loves Magic Johnson. They Call Me Magic gives us an opportunity to meet and appreciate Earvin Johnson as well.

They Call Me Magic streams on Apple TV+.

SF Radio 8.16: Current History in THE TRAGEDY OF MACBETH

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Written almost 400 years ago, Shakespeare’s Macbeth remains one of history’s most well-regarded dramatic stories. Featuring murder, betrayal, and bawdy humour, Macbeth has been studied in classrooms for centuries yet still somehow feels current. Now, with Joel Coen’s THE TRAGEDY OF MACBETH, we once again find ourselves ‘stepped in blood’ with Denzel Washington taking on the crown with a vengeance. This week, Victor Stiff (VictorStiff.com) and Dave Voigt (InTheSeats.ca) drop by to talk about Shakespeare’s low-brow/high-brow entertainment, what the ‘Coen lens’ brings to the play and what we believe the true tragedy of Macbeth may be.

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

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

8.16-The-Tragedy-of-Macbeth

Lincoln’s Dilemma – Evolving toward freedom

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Abraham Lincoln – The Great Emancipator. Well, yes and no. In Lincoln’s Dilemma, showing on Apple TV+, we see a much more complicated picture of Lincoln’s presidency, especially as it relates to the abolition of slavery. The series, directed by Jacqueline Olive and Barak Goodman, is done in a style popularized by Ken Burns, in which historians share their insights as we see pictures of that historical era.

The four hour-long episodes outline the evolution of Lincoln’s choices in regard to slavery. His goal during the election was clearly to preserve the Union, and he clearly stated that if that required slavery continuing, that such was acceptable to him. We learn that while there were some who wanted slavery completely abolished, there were many, even in the north, who were perfectly happy for it to continue. The Civil War does not begin in attempt to end the practice. Emancipation came about in large part as a military weapon. This too evolved with time through the war years, until Lincoln eventually pushed for the 13th Amendment to abolish slavery. (He knew it had to pass Congress before the war ended and southern states would return.)

This is something of a demythologizing of Lincoln. That is very evident when the film looks at the Emancipation Memorial in Washington, and the controversy that grew around it in 2020. Lincoln is seen as a giant of American history—and for good reason. This series also, though, shows a more nuanced man. He was very much a politician who knew how to work the system. He was slow to come around to the idea of Emancipation—in part because there would be a political price to be paid.

Part of the series revolves around the reluctance of Lincoln to move toward emancipation, and the rhetoric of Fredrick Douglas to push for it. The two men met only three times, but the interplay of their ideas is clear in the series. Lincoln was slow to embrace the idea of emancipation, thinking the restoration of the Union was paramount. Douglas was a constant voice demanding that it be part of the nation’s plan.

There is little of Lincoln’s personal life included in the film (with the exception of the death of his son Willie). That means we see little of the development of his moral and theological ideas. Lincoln’s religion is a subject of great debate and conjecture. He never joined a church. Yet he was very comfortable with biblical and religious language. It’s hard to understand Lincoln and his motivation without trying to delve into those waters (murky though they are).

The series is more than just a look at a historical figure. It is designed to help us think better about the racial issues that still confront us as a nation. As one of the historians notes: “What we are seeing today is really dramatic evidence of when you fail to talk honestly about your history.” The racial tensions that continue today are very clearly connected to what happened during Lincoln’s time and the aftermath of the Civil War. To better understand today, this series asks us to look back at our history for a more complete understanding so we can move on to what will hopefully be a better future.

All four episodes will be available on Apple TV+ on February 18.

The Tragedy of Macbeth – What’s done cannot be undone

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“Unnatural deeds do breed unnatural troubles.”

Shakespeare may seem daunting to many. The language and vocabulary are strange to our ears. We may have been force fed bits of it in high school, and we resent it. Don’t let that be a deterrent to seeing The Tragedy of Macbeth. This new adaptation and vision of the play was written for the screen and directed by Joel Coen. It is a way of experiencing one of the Bard’s better known plays in a richly satisfying production.

To briefly state the plot (for those who haven’t seen Macbeth), after winning a major battle Macbeth (Denzel Washington) is returning with his comrade Banquo (Bertie Carvel) when they encounter a trio of witches (Katheryn Hunter as all three Weird Sisters). The witches tell Macbeth that he is to be the next king of Scotland. Banquo, it is said, is to be the father of a line of kings, although not king himself. Lady Macbeth (Frances McDormand) supports this ambition and they plot the assassination of the king. The blood begins to run even more freely as Macbeth must shore up his power against the king’s son who has fled to England. The ambition leads to paranoia and tyranny, which will, in time, lead to destruction.

This is an exceptionally moody production, in part because of the black and white cinematography and its use of shadows and fog, but also because of some wonderfully blocked shots that heighten the sense of a crescendo of madness in Macbeth and his wife.

The performances are all extraordinary. First among them is Hunter as the Weird Sisters, but also Washington and McDormand shine as the original power couple. They allow the characters to evolve along with their ambitions and madness. They are people who have set aside their morality to chase after a vision they have of destiny. And we watch as these characters become darker and darker as the story progresses. I especially liked the scene in which Lady Macbeth asks the spirits to take away her feminine nature and fill her with cruelty.

There is a reason Shakespeare continues to be taught centuries after his death. It’s not the iambic pentameter or what we now think of as flowery language (or amusing insults). It is because the things he wrote about are at the very core of our experience. Macbeth is one of the best examples of that. Today’s world continues to be filled with those who grasp for power without regard for right. There have been bloodbaths in every corner of the world to gain or maintain control of nations and peoples. This story also demonstrates the way such ambition without morality can eventually corrode the souls and the very humanity of those who act in such ways. We often think that the guilt of their actions drove Macbeth and his wife to madness. Perhaps those deeds were the true madness that was their undoing.

The Tragedy of Macbeth in in theaters and comes to Apple TV+ on January 14th, 2022.

Photos courtesy of Apple Original Films.

Come From Away: Love is Always Welcome

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Set immediately after the events of September 11th, 2001, Come From Away tells the story of 7 000 people who were stranded in the remote town of Gander, Newfoundland after 300 planes were grounded after the terrorist attacks. Lost and scared, these involuntary visitors found themselves strangers in an unknown land. Thankfully, the people of Newfoundland embraced those who had ‘come from away’, welcoming them into their community and providing food, shelter and compassion as they waded through the tragedy of 9/11 together.

After the success of last year’s stage recording of Hamilton on Disney+, the Tony Award winning Come From Away opts to make use of the same format, this time on Apple TV+. Performed onstage in the Gerald Schoenfeld Theatre in New York City, Away wants to make you feel as though you’re sitting in the seats on Broadway taking in the show first hand. Shot (mostly) from a view that encapsulates the entire stage, director Christopher Ashley maintains the distance between performer and audience that gives it an authentic feel. While one does somewha wish that a proper cinematic adaptation had been offered, there’s simply something magical about this live performance with a cast of 12 (!) that makes it essential viewing. (Although, it is also worth noting that a film version was in the works until the pandemic derailed the plans.)

Of course, adding to the effectiveness of the piece is that fact that we have hit the 20th anniversary of 9/11 itself. With the performance taking place in New York, there’s simply something special about this one. Filmed in front of an audience of 9/11 survivors and frontline workers, Away carries even greater weight as it becomes instantly personal for its audience. Every musical number, every joke and every poignant moment lands with emotion from a crowd that connects with the material for their own experiences and memories. They may not be onstage but, to this audience, this is their story too.

But isn’t that part of the power of 9/11? In a lot of ways, it’s all of our story.

Like the writers of Come From Away, I may be from Canada. (Just outside Toronto, to be more specific.) And the play takes place in Newfoundland. Even so, 9/11 remains the event that shook the world and re-telling the story from an outside perspective serves as a reminder of how thing changed that day. This is a story that affected everyone and Come From Away recognizes the impact on us all. 

Filled with real stories and characters, the play has always shown the power that real people had on one another in a time of crisis. (Adding to the realism is the fact that Away shows the actors with their real-life counterparts over the credits.) By focusing on the diverse stories of these people who were thrown together, Away gives power and voice to everyone, regardless of race, language, faith or sexuality. (This becomes particularly visible during the play’s stirring and surprisingly inclusive performance of ‘Make Me a Channel of Your Peace’.) Despite the differences between them, all of these travellers were thrown together at the hands of one of the darkest moments in recent history.

Which makes the impact of their hosts even more staggering.

Though the world was in shock, the people of Gander offered grace and shelter to those who were suffering. Despite being far away from their families, these visitors found a home. The actions of the people from this small corner of Canada are the very definition of divine hospitality: no matter who their visitors were or what their stories were, they were going to be safe there. 

Everyone was going to be welcome at their table.

While Come From Away doesn’t ignore the travesty that 9/11 had on the families of those who were stuck in Gander, it does show how hospitality and love can shine a light of hope on others. While their care for others may not have changed what happened, the power of love is that it helped change the way that these broken people could deal with what happened. Suddenly, fear and suspicion were transformed into peace and protection. Yes, the world was changed. Yes, lives were decimated. But, in the midst of that trauma, unconditional love broke through to bring comfort in the most difficult of circumstances.

Fueled by joy and compassion, Come From Away is energetic, entertaining and an absolute joy to behold. Though the cast only consists of 12 people, they manage to share the stories and experiences of many who suffered during those tumultuous days post-9/11. What’s most powerful about the piece though is the fact that it also serves as a reminder that love is always welcome.

To hear our conversation with director Christopher Ashley and writers Irene Sankoff and David Hein, click here.

To hear our conversation with the cast of Come From Away, click here.

Come From Away is available on Apple TV+ on Friday, September 10th, 2021.

CODA: Family, Fishing and Following Your Dreams

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We’re often told to follow our dreams… but what happens when they collide with reality?

Written and directed by Sian Heder, CODA tells the story of Ruby (Emilia Jones), a 17-year old high school student on the cusp of college (and adulthood). As the only hearing member of her deaf family, Ruby is often tasked with translating for her parents, especially in their fishing business. However, when their business is threatened, Ruby finds herself torn between her own dreams of breaking into the music business and her obligations to help her family.

Although she’s an outsider to Deaf Culture, Heder has absolutely done her homework in the details of her script. Working extensively in tandem with members of the Deaf Community, Heder has done her best to create a story which honours them in the fullest sense. In fact, what sets CODA apart from other films that focus on the Deaf Community is its normalcy. Rather than make a film that attempts to explain Deaf Culture, CODA simply exists within it. This is a film that recognizes that the relationship between children of deaf adults and their parents may differ due to their family circumstances yet it somehow also seems universal. Despite the different culture within the home, Ruby’s attempt to break free from her parents’ expectations is something that every teenager experiences. She yearns to chart her own path yet so too does she want to honour her parents as well. What’s more, her family dynamics also feel familiar and honest. Parents Jackie (Marlee Matlin) and Frank (Troy Kotsur) enjoy their sexuality together, embarrassing their kids. Ruby’s brother draws the eye of her best friend who thinks he’s gotten hotter. In honouring Ruby’s family through these simple touches, Heder’s film celebrates the realities of Deaf Culture without differentiating their experience from families on the outside.

Sparking the film is relationship between relative newcomer Emilia Jones and veteran Marlee Matlin. As the film’s central focus, Jones anchors the piece with courage and strength. Filled with innocence, strength and affection, Jones’ performance is simply delightful and she lights up the screen. At the same time, Matlin’s experience provides a grounded and honest portrayal of a mother who fears losing her daughter to the world. A mother herself, Matlin draws on her experiences to feel present in every scene, especially in moments where she and her daughter go toe-to-toe. Having said this though, although Matlin and Jones may anchor the film, the entire cast of CODA delivers good work here, especially the incredible Daniel Durant and Troy Kotsur (who almost steals the film in some moments).

Embedded within CODA is a struggle between pursuing guaranteed employment in the fishing industry and a far-less secure future in the arts. Torn between two options, Ruby is caught between the joy of following her heart and the pressure to help her family. However, this decision between music and fishing has so much more at stake than her future. For her, this feels much more like a choice between two worlds. Though she adores singing, so too is that a lifestyle that seems to alienate her family. (This is particularly accentuated in a scene where she performs publicly, with her parents in attendance.) In essence, to lean into music feels like abandoning those she loves. At the same time, to focus on their business means killing her dreams. 

In this way, CODA sets a stunning example of what it means to live with integrity. Although Ruby may struggle with her decision, her motivation is never one of laziness or selfishness. Instead, Ruby wants to remain faithful to her family and herself. An incredibly hard worker, Ruby does her best to make everything work. She works hard at her musical training yet still also manages to support her family as their bridge to the world of the hearing. However, as that tension between worlds gets stronger and she must make her ultimate decision, she never loses sight of what matters most. 

With a solid script and stunning performances, CODA truly is one of the most engaging films of 2021 thus far. With beauty, grace and an infectious joy, Heder’s story highlights the universal struggles of family within the context of the Deaf Community but never succumbs to any form of negative stereotypes. Instead, she creates a story that explores the moment in everyone’s life where they must choose who they’re going to be and what it’s going to cost them to do so.

CODA is available on Apple TV+ on Friday, August 6th, 2021.

Apollo 11: Quarantine – The Past Meets the Present

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Set in 1969, Apollo 11: Quarantine is a documentary short that shows what happened after NASA’s successful launch to the moon. In case the astronauts made contact with any microscopic life on the moon, NASA deemed it necessary for them to distance themselves from others for 21 days as a precaution so that they could be properly monitored. Using never before seen footage, the film gives you an interesting look into what it was like for them to quarantine. 

Premiering during the COVID-19 pandemic, the release of Apollo 11 could not have been timed better. Directed by Todd Douglas Miller, the film does a good job portraying the mood and feeling of quarantine as well. By showing scenes of the astronauts playing mundane games to pass the time, waving to friends and family from afar and celebrating birthdays alone, the experience of the astronauts greatly mirrors that of people who are forced to quarantine today. Stuck in isolation, everyone is so close but so far away and cannot be reached. With most of the scenes filmed in silence, the viewer gets a good sense of the boredom and isolation these brave astronauts felt. 

Admittedly, the documentary does feel a bit slow. Though it may match the current feeling of quarantine by people today, the lack of narrative or urgency does make the film feel a bit boring. In many ways, Apollo 11 almost feels like we were just watching people relax or prisoners stay in their room all day. (Though, again, that’s a fair point considering the parallels to our experiences today.)

Even so, Apollo 11: Quarantine offers us a new look into the days that follow the Apollo 11 mission from the astronauts’ point of view. What’s more, given our situation in 2021 due to COVID, the film provides an interesting angle into both space life and quarantine in general. In many ways, though the footage was taken in 1969, it could have also been shot last month with the average American family. 

Apollo 11: Quarantine is available on Apple TV.