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The Last Duel: Pain from Another Perspective

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By Seun Olowo-Ake

Directed by Ridley Scott, and written Nicole Holofcener, Ben Affleck, and Matt Damon, The Last Duel is set in the 12th Century and is based on the true story of Marguerite de Carrouge (Jodie Comer), Jean de Carrouge (Damon) and Jacques Le Gris (Adam Driver) and the accusation that put all their lives at risk.

Knowing nothing about the movie before I went in, I admit that didn’t think I would enjoy Last Duel. However, the more the story unfolded, the more interested I became. I liked how the film decided to tell the story from the three different perspectives and found it fun seeing how all three people saw the exact same situations in such different ways. I also really enjoyed the performances. Damon captured the hot-headedness of Jean; Driver exemplified the charming, eloquent womanizer that was Jacques; Affleck brought so much humour with his portrayal of the more secondary Lord Pierre; and Comer did an exceptional job portraying the devoted, meek wife, the subtle flirt, and the striving-but-not-quite-good-enough wife that Jean, Jacques and her narratives respectively show her to be.

The film begins by showing us the deterioration of Jean and Jacques’ relationship as fortune continues to smile on Jacque, often at the expense of Jean. The resentment that builds in the already brash Jean reaches its tipping point when his wife, Marguerite, accuses Jacque of rape. Jacques insists that he is innocent, and Jean insists that he is ready to fight to the death to prove that he is guilty. This leads us to the duel itself, which was the last one permitted by the Parliament of Paris. (I just discovered that. The title of the movie makes sense now.)

Many people have called this movie a ‘medieval #MeToo film’, and it very obviously has those undertones. From the characters that did not quite believe Marguerite to the women in the film that came forward with their own stories while simultaneously wondering why on earth Marguerite would ‘bring shame to her family in this way’, to the invasive questioning that she endures on the way to her potential death, The Last Duel certainly shows the struggle of women who have suffered and speak out against the toxic men in their lives.

However, another thing that stood out to me is the idea that we are the centre of our stories and that our actions are reactions to what we perceive around us. We see this in all three main characters, but particularly in Jacques who maintains his innocence because of how the world works to him and how he interpreted the behaviour of Marguerite.

I also found it fascinating that the person with the most drastic character change in all three accounts is Marguerite. Both Jean and Jacques were men who had professed in some way to love her, yet they did not truly see her. In fact, the movie constantly shows her struggling to be seen and heard by her husband, by Jacques and by society. It makes me wonder if we as the main characters in our stories view other people the way they truly are, or the way we want them to be. This idea gains more significance when we consider again that our actions are results of how we see the things around us and that we are constantly interacting with other people who are directly or indirectly affected by what we do. The Last Duel (and historical account) gives the more extreme example of assault, but that is something for us all to ponder as we go about our lives.

True love is putting others before ourselves and, in the context of this movie, seeking to truly understand their motivations before reacting- which I’ll admit is really hard, but no one ever said love was easy.

The Last Duel is available in theatres on Friday, October 15th, 2021.

8.03 Times Up in NO TIME TO DIE

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After five films, time is up on the Daniel Craig era as James Bond with NO TIME TO DIE. Directed by Cary Joji Fukunaga, this entry sees Bond called back into action when secrets from the past come back to haunt him. This week, we welcome an all-star team of Bond villains as OriginalCin’s Thom Ernest, The Mind Reels‘ Tim Rideout and In The Seats’ Dave Voigt commiserate to discuss whether Bond still matters and what we want in a hero.

You can watch the episode on YouTube and stream 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.

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Mass: Rage, Forgiveness and Everything In Between

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Set years after a school shooting ripped their families apart, Mass tells the story of two sets of parents who gather in a church basement to discuss what took place. Having lost their son in the devastation, Gail and Jay (Jason Isaacs and Martha Plimpton) have come to the meeting with the intent of getting answers. Meanwhile, as the parents of the assailant, Linda and Richard (Ann Dowd and Reed Birney) have come in humility to listen but also grieve themselves. As the two families unleash their burdens upon one another, they become faced with an emotional crossroads which demands that they decide the next steps for their lives.

Written and directed by Fran Kranz, Mass is an in-depth examination of what it means to deal with our suffering and what steps it takes to move forward. For his first feature, Kranz shows remarkable maturity by allowing his characters to search for something—anything—to cling to that would explain what took place yet he also acknowledges the complexity and ambiguity of cultural pain that cannot easily be explained away. By keeping the film in one location, Kranz forces the viewer to remain in the uncomfortable nature of the moment. Like these four souls trapped in this wrestling match of sorrow, so too is the viewer incapable of escaping this difficult conversation. Leaning into the obscurity of their suffering, Kranz speaks of many potential contributing factors for the shooting itself. From parental neglect, mental health or even violent video games, Mass mentions as many reasons as possible yet never focuses on any specific blame. Instead, the film recognizes that these events have no easy answers. As such, Kranz never over-simplifies the conversation, allowing this discussion of trauma and its effects to spin out in ways that feel natural and honest.

In addition, the film features four truly remarkable performances from its leads. While it could be argued that performances by Plimpton and Dowd rise to the top, this is an ensemble film in its truest sense. Each lead feels fully present throughout the film, giving it an aura of authenticity and purity. From Birney’s burden of shame to Plimpton’s passionate reluctance to acknowledge the humanity of those in front of her to Isaac’s search for answers and Dowd’s quiet inner pain, every character is shown as a complex person struggling to survive their own suffering, There is no stereotypical ‘villain’ to hate, nor any particular hero to love. Instead, this is a space of brokenness and trust between four artists who understand how to bring the pain of their character to life in ways that never lean into caricatures or stereotypes.

Perhaps what’s most impressive about Kranz’s script is its interest in humanizing its characters by balancing its voice and perspective. As parents left in the shadows of grief for the loss of their son, Gail and Jay are given every opportunity to vent their rage, pain and questions as they deem necessary. In every way, Mass validates the suffering of the victims who were affected by this unbelievable tragedy. However, whereas other films of this nature might be tempted to exact their pound of flesh on the parents of the shooter, Kranz also manages to portray them as victims themselves. Although Gail and Jay’s son may have been one of the many who were killed, so too have Linda and Richard experienced losses. Whether it’s the loss of a son they thought they knew or simply the fallout from a community looking to blame them for his actions, Linda and Richard are experiencing as many questions and anger as those who sit across the table from them. Through stories and tears, Linda and Richard paint a beautiful picture of their son as valuable that never absolves him of responsibility for his actions. 

Though both families were affected differently, both matter.

What’s more, the film also examines what it means to move forward from these substantial losses. Left with only emotional rubble behind them, these families must navigate the next steps that are required to allow for healing. What does it mean to let go of one’s rage and suffering? Forgiveness here feels like an ‘f-word’ in and of itself. Does it still honour the victim? Does it release the guilty of blame? In many ways, forgiveness feels like the only possible step yet it is almost impossible to utter out loud. Mass recognizes that there is a cost to grace that releases the guilty but also frees the broken hearted and leaves space for hope to begin.

Powerful and unrelenting, Mass is definitely one of the best films of the year. Featuring some truly remarkable performances and a sparkling screenplay, Kranz leans into the darkness and pain of the moment without ever losing hope that something new can begin. As a result, despite its difficult subject matter and challenging conversations, this is definitely one Mass worth attending.

To hear our interview with director Fran Kranz and star Ann Dowd, click here (YouTube) or here (audio).

MASS opened in limited release in the US on October 8th, 2021 and will be available in theatres on Friday, October 15th, 2021.

I’m Your Man: Digital Dating and Loving Lavishly

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You can’t buy love. But can you build it?

Set in the present day, I’m Your Man tells the story of Alma (Maren Eggert), a scientist who is offered a job evaluating a new line of humanoid companions. After her boss manages to convince her with some mild bribery, Alma agrees to bring the cybernetic Tom (Dan Stevens) into her home for a period of three weeks in order to ascertain their value as romantic mates and potentially the rights they deserve sociologically. Although she’s skeptical (and even resistant), Tom never wavers from his desire to make her happy, forcing Alma to re-examine what she believes to be the nature of love.

Co-written and directed by Maria Schrader, I’m Your Man is a fun and philosophical film that asks some big questions in surprising ways. While the film could potentially unravel due to its high concepts, the film manages to sell its premise and draw the audience in with genuine affection. Admittedly, much of the film’s effectiveness is largely due to the utter charisma of Stevens, who sells Tom with such adorable charisma that you never really question the fact that this woman in this robot seem to be falling in love. (In fact, in the film’s greatest achievement, you’re even rooting for them as a couple.)

At the same time, this is very much a film that wants to explore what love actually means. While the film acknowledges the social implications and dangers of becoming too obsessed with items which aren’t authentic, there is a charm that plays out in this relationship as well. Can a person love a thing as much as it does another human? In truth, this could be argued that this is already the case. If the act of love involves in our investment of time, than where we put our focus should be indicative of what we care most about. For example, rather than invest in our in-person relationships, we frequently spend our days connecting more deeply with our cell phones then we do with those around us. While it seems counter-intuitive, the nature of love has never necessitated that our hearts focus on another living person. (After all, didn’t one say that the ‘love of money is a root of all kinds of evil’?) If love is based on an emotional attachment (even an unhealthy one), I’m Your Man wants to investigate the boundaries of that argument.

What’s most interesting about Alma is that her relationship with Tom truly is beneficial to her soul. When she’s with him, she feels safer and she is more in touch with her own feelings. Because of his programming, Tom will always be affectionate, caring and instill emotional value into Alma. Starved for healthy friendships that encourage and empower, her time with Tom fills her with a security and joy that she is unable to find with others. In short, Tom makes Alma happy (“Isn’t being happy a good thing?” Tom asks repeatedly) As a result, the film makes a compelling argument for this type of connection, one without flaws or missteps.

However, as she grows closer to her robotic companion, Alma recognizes that loving an object has become a primarily selfish act. She’s not wrong in this conclusion. The type of love that has been programmed into Tom is one that allows its owner to focus entirely on being told how wonderful they are. Rather than challenge them towards personal growth, this romance becomes entirely self-validating and one-sided. The healthiest relationships ask both parties to offer grace to their spouse while, at the same time, accepting grace from them. There is an unconditional give and take to love that acknowledges imperfections in both partners and says that they are acceptable to them anyways. 

Last time I checked, my iPhone can’t do that. (Though maybe there’s an app for that.)

Surprisingly witty and compelling, I’m Your Man is a strange blend of sci-fi and romance that absolutely makes you fall in love with its charms. Thanks to a delightful performance by Stevens and some compelling conversations about the true nature of love, the film surprisingly manages to sweep you off your feet while also forcing you to re-examine your priorities.

Now, back to checking my notifications.

I’m Your Man premiered at TIFF ’21 on Monday, September 13th, 2021

GIVEAWAY! BOSS BABY: FAMILY BUSINESS on Blu-Ray!

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This (Canadian) Thanksgiving weekend, you can bring the [Boss] Baby home!

Thanks to our friends at TARO PR, we are giving away a Blu-Ray copy of The Boss Baby: Family Business!

With the adventures of their youth (mostly) forgotten or the stuff of legends, Tim Templeton and his Boss Baby brother Ted are now adults and living their own separate lives. Whereas Tim has settled down with his wife and two daughters, Ted is now a big-shot CEO and living his corporate dream. However, when Baby Corps comes calling, the two men are called back into action. After drinking a magical formula that reverts them into babies for 48 hours, the two brothers must join forces with Tim’s secret-agent daughter in order to prevent an evil genius from destroying the fabric of families everywhere.

In order to enter, simply like/share this post on Facebook and/or Twitter and tell us the actor who plays Ted Templeton, the Boss Baby himself!

Winners will receive a Blu-ray copy of Boss Baby: Family Business.

All entries must be received by 11:59pm on Wednesday October 13th, 2021.

Boss Baby: Family Business was be released on Blu-Ray, 4K and DVD on September 14th, 2021.

8.02 Family History in SHANG CHI AND THE LEGEND OF THE TEN RINGS

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In SHANG CHI AND THE LEGEND OF THE TEN RINGS, Sean (Simu Liu) is enjoying his life of simplicity in San Francisco. However, when a group of hired assassins attempt to attack him and his friend Katy (Awkwafina), Sean must re-enter a world that he has left behind in an attempt to stop an old foe from destroying the world. This week, Jason Thai and Daniel Collins drop by to talk about celebrating culture, breaking free from our parents’ legacy, and owning who we are.

You can watch the episode on YouTube and stream 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.

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Night Raiders: The Future is History

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Set in the year 2043, Night Raiders takes place in a world where disenfranchised cities in post-war North America are controlled by a maniacal military organization called The Emerson Group. Under their regime, children are considered property of the State and forced into their children’s academy. Having been on the run for years, Niska (Elle-Maija Tailfeathers) and her 11-year-old daughter, Waseese (Brooklyn Letexier-Hart) have managed to stay under the radar by keeping a low profile. However, after Waseese is captured by The Emerson Group, Niska connects with an underground band of vigilantes and joins in their plot to infiltrate the facility and free her daughter.

Written and directed by Danis Goulet, Night Raiders is a sci-fi film with a historical edge. Co-produced by Taika Waititi, there’s a fire to this film that demands attention.  Sharply written and executed, Raiders is an entertaining thrill ride from start to finish. More importantly though, Goulet brings a unique voice into the science fiction genre that allows her to tackle Indigenous stories in a way that connects with everyone. Though its set in the world of sci-fi, Night Raiders still resonates with the real world. Goulet has created a tale that maintains a certain distance from its subject matter yet still feels powerful and poignant. Intense and engaging, Goulet creates a compelling metaphor for the pain of a people group that have often been silenced and ignored. As such, despite the fact that it takes place 20 years into the future, its themes feel current and important in today’s cultural conversations surrounding the history of Indigenous peoples.

Though its set in the world of sci-fi, Night Raiders still resonates with the real world. Intense and engaging, Goulet creates a compelling piece that expresses the pain of a people group that have often been silenced and ignored. As a metaphor for the poisonous environment of residential schools and their effect on the Indigenous communities, Raiders leans into the concept of erasure. With an emphasis on controlling the population, the Emerson Group longs to build a country built on the backs of sameness. As captives, children are indoctrinated into a neutralized culture. Dressing their children in gray tones and keeping them in white cages, Emerson brainwashes their conscripted children with phrasing of dedication to the cause. Colour is eliminated wherever possible with the hope of creating the sense of a unified society. As their indoctrination takes hold, the memories and livelihoods of these children are erased at the hands of the Emerson psychological machine. Similar to the leadership which tormented the children of residential schools, the Emerson Group is concerned only with eliminating differences for the sake of their own ideologies. (It’s also worth noting that everyone who represents Emerson is white while children and families who are subject to their cruelty are all visible minorities.)

With an eye on history, Raiders also very much looks towards the present and the future by speaking into the challenges of breaking free. Although Niska is challenged to step up and take command, her years of oppression keep her under a blanket of fear. Having been stuck under the weight of the Emerson tyranny for so long, she is reluctant to join in the fight against them. Although she yearns for her daughter’s freedom, she believes that the revolution is not her battle. (After all, what can she do about it?) In this way, Niska’s struggle mirrors our current culture as Indigenous populations are being called to step forward and share their stories of suffering. With every traumatic tale that is told, the truth about systemic oppression continues to come to light, allowing for change. However, this bearing of souls is always a challenge, especially after years of psychological oppression. As such, Niska’s journey also resonates at a time when the Indigenous population has finally found the courage to speak out against those that have hurt them in the past.

At the same time, Goulet also demonstrates what’s at stake when she highlights the power of the children themselves. Whereas adults have the opportunity to fight the today’s battles, Raiders acknowledges that their struggle will allow the next generation to have a greater understanding of justice and equity for the future. Although the children require rescue at the hands of the Emerson Group, the film also points to the fact that there is a strength within them that bodes well for future generations. As a result, Goulet balances Raiders with dual perspectives by examining the importance of both an adult awakening and children uprising.

For Goulet, both generations are needed because both voices matter.

To hear our interview with director Danis Goulet & Elle-Maija Tailfeathers, click here (audio) and here (YouTube).

Night Raiders premiered at TIFF and is available in theatres on Friday, October 8th, 2021.

8.01 Writing Back to DEAR EVAN HANSEN

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Directed by Stephen Chbosky, DEAR EVAN HANSEN tells the story of a young man who write letters to himself in order to provide a way of dealing with his mental health issues. However, when one of his letters is mistaken for the last words of another teen who takes his own life, Evan finds himself trapped in a lie that deceives the youth’s family and his friends. This week, the Movies You Missed crew convene to dig into EVAN HANSEN’s moral compass, the film’s depiction of mental health and who they believe the true villain of the film may be.

You can watch the episode on YouTube and stream 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.

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The Guilty: Blurring the Lines of Justice

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Everyone wants to catch the guilty but not everyone recognizes that same guilt within themselves.

Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. With few officers available due to the fires (not to mention the time of night), Joe feverishly works towards rescuing her. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Reteaming with his Southpaw star Gyllenhaal, Fuqua has never taken the easy approach with his filmmaking and Guilty is yet another example of his ability to tell stories that others simply cannot. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone). From Phone Booth to Netflix’s Oxygen, many other films have attempted to make this format engaging but most of these examples begin to falter as the film drags on. (Ryan Reynold’s Buried may be one of the few exceptions.) Quite simply, the viewer expects (and usually requires) some sort of visual change in order to keep them focused for an extended runtime. Nevertheless, The Guilty somehow makes it work. 

Much of this can be credited to the commitment of its star. Jake Gyllenhaal has always done intensity very, very well. With few exceptions, Gyllenhaal has always sought characters that he could sink his teeth into and, as a police officer about to stand trial, he fully dives into his performance. Let off the leash by Fuqua, this becomes yet another example of his incredible talent. As a result, anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. The Guilty tells a story of a police officer who is about to face trial for an undisclosed crime and he does not want to be held accountable. At the same time though, so too does he also refuse to acknowledge his own mental instability. As he fights to save the life of a young woman, he also exposes his own flaws and brokenness. Joe is a man who is determined to save those who he feels deserve it yet is also willing to unleash hell on those that don’t. The pressures of the job have clearly broken his spirit and his judgement is compromised. (“Broken people save broken people,“ he is told by a coworker.) Although we never fully fully discover what his crimes may be, we certainly understand that he made the wrong decision when he caused them. His desire to do right has been overcome by his pension to do wrong.

As such, there’s a complexity to Joe that keeps the viewer at a distance. We believe that he is someone who wants to defend the innocent. He is passionate about bringing down ‘the bad guys’ and wants to be one of the ‘good guys’. His love for his estranged family is genuine.

However, Joe also proves that he’s not currently suited to wear the badge. Bored and frustrated by the average person, he has little interest in the everyday problems of everyday people. Then, when really difficult situations arise, he is far too willing to take matters into his own hands. While this sort of rogue cop has been celebrated on film for decades (ie. 24‘s Jack Bauer), The Guilty understands that this sort of rage-filled avenger simply has no place in real life. There’s an inner rage and hatred against ‘scumbags’ that fuels Joe’s actions, making him a toxic presence in the community. In other words, his ‘justice’ can just as easily become an outlet for his own mental health issues. In this way, The Guilty acknowledges the importance of the police yet also calls for accountability and health of those who don the uniform.

Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent.

The Guilty is available on Netflix on October 1st, 2021

Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.