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The Black Phone: Answering the Call to Fight Back

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Set in a suburban town in Colorado back in 1978, The Black Phone begins as five children go missing. A mysterious (and presumed) serial killer that targets children–who the media calls ‘The Grabber’–is on the loose and abducting children one-by-one in the area. For his 6th victim, The Grabber abducts Finney Shaw, a clever but weak 13-year-old that’s frequently bullied. Trapped in a sound proof basement by the sociopathic lunatic, Finney needs to get out of his prison as quickly as possible. However, when a seemingly disconnected black phone keeps calling him, he learns that the mysterious callers are, in fact, the Grabbers previous captives with a plan to help him escape.

(from left) The Grabber (Ethan Hawke) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

Directed by Scott Derrickson, The Black Phone presents itself as a horror movie with an interesting premise but it’s really about overcoming your fears and standing up for yourself. Constantly getting beat up throughout the film, Finney always takes the abuse without fighting back. (In fact, his friend and even his little sister have to be the ones that fight his battles for him.) As a representation of the ultimate bully, The Grabber only picks on those who are much weaker than him to be his victims, tormenting them for his amusement. When the time comes, Finney has no other option but to stand up to The Grabber. However, in order to fight back, he must use all of the tools and knowledge of the previous victims to defeat his bully and set himself free.

Mason Thames as Finney Shaw in The Black Phone, directed by Scott Derrickson.

Personally, I really loved how they went about the horror and premise of the movie. By using a lunatic abductor as the villain, Derrickson gives a sense of realism to the film as this could easily happen to anyone. Trapped in a small confined space, the film has maintains an eerie claustrophobic feel. (A sense that’s further emphasized by Finney’s reliance on the Grabber for food.) What’s most shocking about the film is the effectiveness of its fight scenes. Inspired by The Karate Kid, the hits are surprisingly heavy with a lot of weight to them, allowing the violence to feel satisfying in the end.

At the same time, although the film seems grounded, The Black Phone also has a supernatural influence to it that should engage horror fans. With each call from those who died at the hand of the Grabber, Finney taps into their power and influence. As a result, the film feel feels almost as though The Grabber is the final boss in a video game and Finney is using tips from the other dead children to ‘level up’.

(from left) Vance Hopper (Brady Hepner) and Finney Shaw (Mason Thames) in The Black Phone, directed by Scott Derrickson.

In many ways, Black Phone becomes really inspirational as it gives anyone who’s ever been bullied the motivation to fight back. As the film builds to its cathartic finale, it’s hard not to empathize with (or even relate to) Finney. One cannot help but put themselves in his shoes as he finds the strength to stand up to his kidnapper.

Derrickson has always been a master of horror and it shows here. Balancing both ‘realistic’ and ‘supernatural’ horror, The Black Phone proves to be a solid horror film with a satisfying ending. In short, this is definitely one scare-fest that will Grab you.

The Black Phone is available in theatres on Friday, June 24th, 2022.

Elvis: Spectacle, Swinging Hips and Singing a New Song

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Elvis always could make a spectacle.

Directed by Baz Luhrmann, Elvis attempts to encapsulate the life of one man who lived larger than anyone who would come before (and, maybe, since) in the pop culture zeitgeist. Told from the perspective of his manager, Colonel Tom Parker (Tom Hanks), the film follows the rise and fall of the rock and roll icon. From his discovery as a young man, Elvis Presley (Austin Butler) always had a star quality about him. After dominating sales charts, Hollywood films and the Vegas strip, Elvis took over the world with his charm, unique voice and swinging hips. However, as secrets begin to be revealed, Presley’s relationship with Parker becomes toxic and arguably plays a role in his demise.

As with all of Luhrmann‘s work, Elvis is an absolute treat for the senses. With films such as Moulin Rouge and The Great Gatsby in his repertoire, it should be no surprise that much of the film feels like a fantasy. Luhrmann has always had strong visual acuity and Elvis is no different. Stunning musical productions take centre stage as this film attempts to resurrect the life of a man who changed music forever. Soft pastels bathe the 1950s in a nostalgic glow yet luminescent colours also burst on the screen whenever possible. (In this way, the film is reminiscent to the recent Queen biopic Bohemian Rhapsody, which places such an emphasis on visuals that one can’t help but be charmed by Luhrmann’s imaginings.) Fueled by enthusiastic and energetic performances, there’s little doubt that this is a film that wants to dazzle the viewer.

And that’s precisely the point.

The pageantry of Luhrmann works exceptionally well when one considers that much of the film is about ‘snowing the audience’. Calling himself ‘The Snowman’ for his ability to convince people of what they want, Colonel Parker understood how to keep the audience watching. For example, in one of the earliest performances, Parker notes that young women will see Elvis’ gyrations and ‘have feelings, knowing that they shouldn’t have them’ but that they wouldn’t be able to look away either. To him, Elvis is another circus act designed to draw people in and distract them with spectacle.

Though, with this in mind, the greatest challenge of the film was always going to be finding someone who could step into the Blue Suede shoes in the first place. As one of the most recognizable faces in pop culture history, Elvis Presley had a unique presence about him. However, (and I don’t say this lightly) it’s possible that Luhrmann may have found the perfect person to take on the role in Butler. Largely unknown before this, Butler absolutely sparkles on screen whenever given the opportunity. (In fact, his anonymity helps further the illusion.) Although much of his performance involves mimicking the famed popstar, there’s no doubt that he gives the audience something to see. Underneath the swinging hips and lip curl, Butler brings a strength and determination to his performance that makes it noteworthy. 

At the same time, Hanks plays Colonel Parker with a level of sleaze that we don’t often see from the actor. Known for his affability, Hanks can’t help but make his characters likeable. While that may seem counter-intuitive to the scheming Parker, Hanks also makes it his greatest weapon. A master of trickery, Hanks’ Parker uses his charm to disguise the maniacal self-centeredness that bubble underneath. Serving as the foil to Butler’s Presley, Hanks’ Snowman remains likeable yet always feels like he’s on the prowl, tantalizing his prey to bite the proverbial apple.

Clocking in at 2 hours and 40 minutes, the film is longer than one might expect but the decision is somewhat understandable. Luhrmann attempts to bring as much of Elvis‘s life and soul onscreen as possible. Yet, as a result, this is very much two films at the same time. Beginning with his discovery and rise to fame, Luhrmann leans fully into his most decadent impulses. Nevertheless, after his famed comeback special, the film takes a darker turn. Showcasing Presley’s fall from grace, Elvis emphasizes the abuse and control that was exhibited upon him by Parker. In these moments, Luhrmann pulls back on his lush visuals, leaning into the heaviness of the shadows that gradually engulf him.

What’s most interesting about Elvis though is its commitment to showing Presley’s passion for social justice. Having grown up in an African-American community, Presley always maintained a deep passion and connection to their culture and music. Living through such world-shaking events as the death of Martin Luther King Jr. and Bobby Kennedy, Elvis shows a side of the singer that we are not accustomed to seeing: his desire to be a voice of hope in a time of struggle.

Even so, this inevitably leads to the question of cultural appropriation. Although he loved African-American music, Presley’s performances have become synonymous with co-opting another culture as his own. Looking back, we understand the deeply racist undertones of these musical actions. However, Elvis suggests that his actions stem from an interest in celebrating and elevating a culture that he admires (and, in fact, feels more comfortable within).

At the same time though, the film (wisely) never allows Elvis Presley to come across as ignorant of his actions. This is especially noted in one particularly poignant scene after he and BB King take in a performance of Little Richard’s ‘Great Balls of Fire’. As Presley contemplates recording the tune for himself, King informs him that ‘if he were to record that song on his own, he would make infinitely more money than Richard ever would.’ With admissions like this, Luhrmann wisely attempts to acknowledge the deeply painful realities of racism of the era without losing the celebration of Presley as rock and roll hero. (Admittedly, while one wishes that this theme might have been explored a little more fully throughout the film, Luhrmann’s attempt to encapsulate the entirety of Presley’s life limits the opportunity to do so.)

While many may discount this film come Oscar time, it may be foolish to do so. Like Bohemian Rhapsody before it, this sort of film is often attractive to voters and, with the right push, may find itself in the mix come January. There will be debates about the depth of the film and its quality, but there’s no doubt that Elvis is entertaining from start to finish. Like the King himself, this is a film designed to please audiences and it’s absolutely worth sitting back and enjoying the show.

Elvis is available in theatres on Friday, June 24th, 2022.

Slash/Back: Hunting for Heritage

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You don’t [mess] with the girls from Pang.

Written and directed by Nyla Innuksuk, Slash/Back is set in Pangnirtung, Nunavut and tells the story of Maika (Tasiana Shirley) and her friends (Alexis Vincent-Wolf, Chelsea Pruksy and Nalajoss Ellsworth). With school closed for summer, this sunlight-drenched part of the world settles in for a typical summer of fun. However, when an unknown presence threatens their hometown, the group must band together to ward off the alien threat.

Set in the heart of Nunavut, Slash/Back is a fun and furious sci-fi horror that also feels relevant with its exploration of Indigenous issues. For her first feature, Innusuk takes a story of four indigenous teens battling aliens and makes it feels like an act of love. Part Attack the Block and part Amblin-style adventure, the film is a celebration of indigenous culture and youthfulness that also fully entertains. As a love letter to the horror genre, this ‘zombie creature-feature’ knows how to make use of its limited budget and special effects to imbue the film with a sense of dread without skimping on the blood splatters. What’s more, the film has some joyful performances from its young cast that help the film feel authentic, even in its wildest of moments. (Performances become particularly noteworthy when one considers that this is also the first film for its young stars.)

While it absolutely brings the blood, Slash/Back also reminds us of the value of owning one’s cultural identity as it speaks to the emotional weight that can be carried by indigenous teens. Struggling to connect with their parents or their culture, the younger generation is shown to have a deeply rooted frustration within themselves. Feeling disconnected from their heritage, there is a sense of frustration about their ethnicity and the way that others view them. (In fact, Maika even argues that her her parents only create art in order to appease white tourists.)

Their indigeneity may be who they are… but that doesn’t mean that it’s who they want to be.

However, as the pressure of alien invasion mount, things begin to change. When their community is threatened, they begin to take ownership of their cultural heritage and they rise up to protection their hometown. All of a sudden, the shame that they once felt gives way a sense of pride. This connection with their history gives life to their souls and the young teens are driven into action. There is a fury that burns deeply within them that is unleashed against the outside threat. 

With its ambitious tone and enthusiasm, there’s a lot to like about Slash/Back. With wild kills and chills, Innuksuk clearly has a love for the horror genre that fuels the film. Even so, what makes the film so special though is its beating heart of cultural celebration. As Maika and her friends step forward to fight, Slash/Back shows the strength of the Indigenous people and the power that stems from owning their heritage.

Because, after all, you don’t [mess] with the girls from Pang.

Slash/Back is available in theatres on Friday, June 24th, 2022

Stay Prayed Up: Singing for Joy

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In Stay Prayed Up, Ms. Lena Mae Perry and her gospel group, The Branchettes, prepare to record a live album with musician and producer, Phil Cook. This documentary film highlights community, faith and just how important gospel music is to the people in this community, and indeed to a lot of people outside it as well.

Ms. Perry grew up singing with her siblings, a talent that was quickly discovered by her church who put them in the Sunshine band – the children’s choir- and ministering in different churches. She eventually would start singing in the senior choir of her church and from, that experience, she and two other women would form The Branchettes in 1973. Ms. Perry is the only original member of The Branchettes still in the group and promises to keep taking that name with her wherever she goes. She is a firm believer in God, her steady faith even coming through the screen in her interviews, and a pillar in her community, fondly referred to as ‘Mother’ by everyone in it, and lives up to that name by cooking for, praying with and counselling people she encounters.

I love that Phil Cook, who grew up in a more reserved church, says that he first discovered gospel music in the movie, Sister Act and that he basically could not refuse its call; and that Ms. Perry taught him to see God in everything, because I can relate to his sentiment.

Not the ‘growing up in a reserved church’ part. I grew up in church in Nigeria with a pastor (and parents) that loved the arts and encouraged as many people as he could to be involved in it in some way; that meant choir practice, guitar lessons, drama, and dance–all at church. As I’ve moved around and been to churches in different communities, my idea of what it meant to be in God’s presence became: solemn. I subconsciously traded in the more vibrant expressions I was raised in for quieter ones. Partially because I’m a quieter person and thought these expressions fit me better. But I also started to believe that music that was loud (or ‘showing off’) distracted us from who God is. Because of this flawed thinking, I felt that I needed to remain lowly and remember that I’m not worthy to be in His presence. (In fact, if I wasn’t crying, I believed that maybe I didn’t really love Him.)

I think there’s an aspect of truth to those beliefs, but they’re certainly not the whole truth. What I discovered as I lived in them was that I began to feel restricted, a feeling that would impact my view of God and consequently, my identity.

Recently, I’ve been trying to get back to the joy and freedom I experienced as a kid–one that I think gospel music represents and that Stay Prayed Up captures, recognising that worship of God includes a celebration of the gifts He has blessed us with.

Stay Prayed Up is now playing a limited engagement at Hot Docs Cinema in Toronto.

Monster Mondays: Jurassic Park III (2001)

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With the success of The Lost World: Jurassic Park (1997), it seemed pretty obvious that film would not be the last in the franchise.  In June 1998, a third Jurassic Park film was confirmed by Universal Pictures, with a release targeted for the summer of 2000.  Unfortunately, the same big problem that faced the writers for the previous film remained: what could possibly happen next?

With no third novel on which to base the new film, the plan was to bring Michael Crichton on to write the script. Crichton, however, left the project very early on to continue working on writing novels.  Likewise, Steven Spielberg decided not to return as director, insteading becoming the executive producer and passing the baton to director Joe Johnston, who had made the successful Honey, I Shrunk the Kids (1989) and Jumanji (1995).

Writing the film proved to be a major challenge.  The script went through several reworkings, even after construction had begun on sets and casting had started.  In the end, principal photography commenced without a finalized script.

The basic premise of the film is pretty simple.  A wealthy couple hire Dr. Alan Grant and his assistant, Billy Brennan, to join them on a chartered flight over Isla Sorna so that he can teach them about the dinosaurs they see.  When they get to Isla Sorna, however, the plane lands.  The couple, it turns out, are not wealthy.  They are actually divorced and have come to the island to search for their missing son.  Of course, they all end up stranded on the island together and have to find a way to get off before they are eaten by the island’s dinosaur residents.

Despite the issues in the writer’s room, Jurassic Park III is a brisk and fun little adventure film.  Though it lacks the depth of the previous two movies, the film delivers on dinosaur action sequences.  Stan Winston’s animatronics are top notch, with the gigantic Spinosaurus being an awe-inspiring practical special effect.  The final encounter our protagonists have with the Spinosaurus happens in a river, and the animatronic is truly life-like as it thrashes and splashes around alongside the human actors.  The CGI is also pretty good for the most part, though it is noticeably weak in a few shots.

While The Lost World: Jurassic Park brought back Ian Malcolm and John Hammond from the first film, with Lex and Tim Murphy getting a small cameo, Jurassic Park III brings back Dr. Alan Grant and Dr. Ellie Sattler, with both Sam Neill and Laura Dern returning to reprise their roles.  It is nice to be reunited with these two characters again, though fans were a little disappointed to learn that Dr. Sattler had married some boring bureaucrat rather than Dr. Grant.  

Replacing the Tyrannosaurus rex as starring carnivore this time is the Spinosaurus, a decision I think was a bit of a mistake.  Spinosaurus was first described by German paleontologist Ernst Stromer in 1915 from very incomplete remains discovered in Egypt in 1912.  In April 1944, this only specimen of Spinosaurus was destroyed as Britain bombed Munich.  Only a handful of highly incomplete Spinosaurus specimens were found in the years between World War II and the making of Jurassic Park III, meaning very little was known about the dinosaur prior to the making of the film.

New discoveries in the years since Jurassic Park III was released has shown that the depiction of Spinosaurus in the movie is terribly inaccurate.  We now believe Spinosaurus was semiaquatic and hunted primarily fish.  In keeping with this semiaquatic lifestyle, Spinosaurus was adapted to live in the water much more so than it was for living on land.  It had shorter hind legs than most other therapods, meaning it was probably not a very fast runner, and it had a flat, paddle-like tail to help with swimming.  The shape of the sail on its back is now also believed to be much different than the semi-circle shown in the movie.  Perhaps one of the most controversial moments in a Jurassic Park film comes when the Spinosaurus battles and kills a Tyrannosaurus rex, impossibly snapping the Tyrannosaurus’ muscular neck with its narrow fish-catching jaws.

Also getting its chance to shine is the pterosaur Pteranodon, which briefly appeared in the final shot of The Lost World: Jurassic Park.  Despite the name Pteranodon literally meaning “wing toothless”, the animals on screen are depicted as having sharp teeth lining the inside of their beaks.  Similar to Spinosaurus, Pteranodon was actually primarily a piscivore and spent its life in and around water.  Still, there is no denying the scene in the aviary is one of the highlights of the film. Interestingly, this scene is adapted from a scene in the first Jurassic Park novel that did not make it into the earlier movies.

Where Jurassic Park III really falters, however, is its ending.  After returning some stolen eggs to a Velociraptor pack, the characters run out of the jungle and are greeted by the military.  After all that had come before, including two major clashes with the Spinosaurus, it all just feels anti-climatic.  Worse yet is the reappearance of Billy, who is all bandaged up in the military helicopter after his encounter with the Pteranodon.  It feels a little too neat and tidy, and it lacks any final sense of tension.

Jurassic Park III is a deeply flawed Jurassic Park sequel which likely suffers from its inability to pin down a final script before shooting started.  Its portrayal of the Spinosaurus borders on crossing the line from animal to monster, and its lackluster ending sucks the air out of its sails rather than leaving a strong last impression with viewers.  Still, the film is fun, and its short running time keeps the movie from becoming bogged down.  While not as strong as the previous two films in the franchise, Jurassic Park III is an entertaining movie that is definitely worth watching.

SF Radio 8:28 Monsters and MEN

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Directed by Alex Garland, MEN is visceral journey that exposes the darkest parts of masculinity. When Harper (Jessie Buckley) decided to get away to the country to process her grief, her quiet retreat becomes a terrifying journey into the world of toxic male culture and the damage that it leaves in its wake. This week, Jolie Featherstone (@TOFilmFiles), Catherine Erskine and Amy Hayden join Steve to talk about the film’s examination of men, ‘man-splaining’ and whether or not evil truly begets evil.

You can stream on podomatic, Alexa (via Stitcher), Google Play, 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.

8.28-MenDownload

Jerry and Marge Go Large – What is the value of money?

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“I’ve waited forty years for it to be just us, and so far, we suck at it.”

Retirement can be a challenge for people who have been busy their whole lives. It helps if you find a hobby to fill your time. Maybe that hobby turns out to be lucrative—lucrative enough to change lives. Jerry and Marge Go Large, directed by David Frankel, is a wonderfully entertaining story of such a remarkable hobby and the way it touched lives and built a community. It’s based on a true story.

Jerry Selbee (Bryan Cranston) has just retired (not happily) from a career at Kellogg’s. He lives in a small town in Michigan that is well past its prime. He’s floundering for something to do. Jerry is a wizard with numbers. One day he discovers a loophole in the state lottery that adjust the odds so that winning is more likely. After a couple of failures to score, he determines that he needs to bet really big to get a payoff. So he recruits others in the town to trust him with their money (we’re talking thousands each) and forms a corporation. It starts working, but Michigan shuts that game down. It is still being played in Massachusetts, however.

So every few weeks, when the jackpot gets large enough to trigger the loophole, he and his wife Marge (Annette Benning) do a road trip to Massachusetts to spend the day printing the thousands of lottery tickets involved, aided by a friendly and eccentric convenience store clerk (a very entertaining Rainn Wilson). The payoff is astounding. The small town is enjoying the life of new money in town. More importantly Jerry and Marge are having a great time rebuilding their relationship in a new way.

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However, soon, Tyler Evens (Uly Schlesinger), a student at Harvard, discovers the same loophole and gets money from other well-healed students in his dorm. When Tyler figures out there are two group doing this, he threatens Jerry with the idea that he would hack all his neighbors and ruin their lives. Tyler is the epitome of privilege, who wants nothing more to win at anything he’s involved in.

In some ways, this part of the story provides some dramatic tension to make it interesting, but it also opens the door for us to consider what it means to be stewards of the gifts we have.  

For Tyler this is a matter of ego. The money really doesn’t mean anything to him; his family has plenty. It’s about showing off how clever he is. And he won’t tolerate anyone who threatens his plans. The money, per se, doesn’t matter to Jerry either. He’s more interested in what he and his neighbors can do with their winnings. For them, this is a chance to rebuild their dying little town. Parks are spruced up. Downtown shops, which have been boarded up for years, are bought and rented out for €1 a year. (There is a humorous reason they do it for a euro rather than a dollar.) For the Michigan people, this windfall is all about the community. To be sure, they all get to make some personal upgrades, but more than anything else they see this as making everyone’s lives better.

Stewardship of what we have is a frequent topic in scripture. For example, Peter tells us “Like good stewards of the manifold grace of God, serve one another with whatever gift each of you has received.” (1 Peter 4:10, NRSV). Tyler has no concept of serving others; he expects others to serve him and feed his ego. But for Jerry, Marge, and their neighbors, the gift that Jerry nurtured for them has changed their lives, not just by making them more money. It has enriched their lives as families and community. There we see “the manifold grace of God” at work.

Jerry and Marge Go Large streams on Paramount+.

Photo credit: Jake Giles Netter/Paramount++.

Lightyear: Learning Humility Beyond Infinity

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Mission Log 126.01: Buzz Lightyear has crash landed on a hostile planet. And Lightyear may show more signs of intelligent life than you expect.

From Pixar, Lightyear tells the (toy) story of the iconic Space Ranger Buzz Lightyear (Chris Evans), the hero who inspired Andy’s favourite action figure. Trapped on an uncharted planet 4.2 million light-years away from home, Buzz is determined to complete his mission and get his people safely back to Earth. Tirelessly travelling through space and time, Buzz is slowed by the arrival of the evil Zurg (James Brolin), the massive leader of a robot army determined to prevent him accomplishing his goal.

Admittedly, this writer was skeptical by the film’s release. The legacy of the Toy Story films has only continued to grow over the years as Buzz and Woody have arguably become some of Disney’s most famous characters. As a result, any attempts to refresh a franchise that has had very few misfires simply seemed like a pointless exercise in marketing. (And, frankly, there’s still an argument to be made for this.) When the early trailers highlighted alien life, massive robots in time travel adventures, the film felt oddly out of place with the innocence of Andy’s toy room. (And don’t even get me started on the news that they were recasting Tim Allen…) Thankfully though, Lightyear is a wonderful surprise that actually brings something fresh to the character while still managing to honour what came before [or, technically, after]. 

If you’re wondering how an intergalactic space adventure fits into the Toy Story world, the answer is made plain from the opening credits. Instead of an actual astronaut, Lightyear is considered to be the film that made Andy fall in love with his beloved toy in the first place. (In essence, this film within a franchise is their equivalent of Star Wars, and Andy is now the kid who saw it on the big screen and fell in love with the characters.) As such, when Buzz stumbles out of the box on his bed in the initial Toy Story film, Andy already has a history with the character, which explains his excitement about the gift. This unique and meta-approach frees the film up to tell whatever stories they want without the burden of Toy Story canon. All of a sudden, the audience understands how the film fits in to the Toy Story world and can sit back and enjoy the ride. 

And quite a ride it is. 

Fast-paced and engaging, Lightyear includes everything that you would expect from a massive space adventure. As Buzz frantically fights to save the day, his epic encounters with aliens, robots and more create a fun and (arguably) unpredictable quest for all ages. New characters delight. Action sequences work well. (And just try to resist Sox, his robo-feline companion.) Although there will be many who bemoan the swapping of Evans for Allen, the change works, especially considering that they’re technically not the same character. (And Allen would undoubtedly step back into the role if Toy Story 5 ever comes to fruition.)

And this particular iteration of the Space Ranger has some lessons to learn.

Although this Buzz may not be quite as self-deluded as his toy counterpart, he is definitely self-serving in his sacrifice. While he respects his team, he believes that it is his responsibility to complete the mission and save his friends. Regardless of protocols or recommendations, he is going to get the job done… and he doesn’t need anybody else to do it. 

However, as his adventure unravels, it becomes clearer that his desire to complete the mission makes himself feel like he matters only if he can finish the job. For Buzz, the journey is as much about self-validation as it is about sacrifice. He believes that he must prove his worth through his actions. 

In this way, Lightyear highlights the damage of toxic masculinity. For example, as the foolhardy white male, Buzz is determined to be the one to lead the mission, even though his team is full of people who are capable of coming through. From his African-American female copilot to an elderly ex-con, Lightyear acknowledges that moving forward requires everybody and buzz, as the powerful white male, would be missing out if he did not humble himself in the process. (It’s also worth noting that the film contains Pixar’s first openly LGBTQ couple as well.)

Even so, Lightyear reminds the viewer that, even after our greatest mistakes, there is still room to live forward. After his mission goes wrong, Buzz bears the weight of his errors and it intensifies his desire to finish what he started. However, despite his failures, those around him have not suffered in the way that he believed. Yes, there was hurt and pain but everyone has been able to adapt. His errors were unexpected yet they still took the opportunity to thrive. This realization offers a whisper of grace to Buzz’s soul and helps him recognize

While Lightyear doesn’t quite take us to beyond infinity, its fresh take on the already established world is anything but a misfire. Charting an unexpected new course for the franchise, the film is fun, often hilarious and has a taste for adventure.

In short, it’s definitely a mission worth taking.

Lightyear is available in theatres on Friday, June 17th, 2022

Peace by Chocolate: A Delectable Story of Hope

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Chocolate can do amazing things. Who knew that it could bring peace and hope as well?

Set in Antigonish, Nova Scotia, Peace by Chocolate tells the amazing true story of the Hadhads, a family of Syrian refugees fleeing their nation’s civil war. First to arrive is eldest son Tareq (Ayham Abou Ammar), a respected physician in his home country. As he prepares for his family’s arrival, he quickly discovers that this new land of opportunity is frought with challenges, ranging from financial struggles to xenophobia. However, when his parents join him, things begin to change, especially when his father Issam (Hayem Ali) begins to sell the amazing chocolate delicacies that he create to the community. As his father’s new business begins to grow in popularity, Tareq becomes torn between his family’s success and creating his own legacy in the medical world.

Directed by Jonathan Keijser, Peace by Chocolate is an unexpected treat from start to finish. Anchored by some wonderful performances by Hayem Ali and Ayham Abou Ammar, Chocolate not only inspires but also reveals the challenges of immigrant life. Interestingly, while Keijser could have used the film to take a deep dive into the mishandled aspects of Canadian immigration policies, Keijser instead keeps the focus on the dynamics within the family and the people of their new home. As a result, there’s an aspect of Chocolate that feels instantly relatable to every parent who has struggled to connect with their children.

On the surface, Chocolate is a testament to one family’s ability to pivot in the midst of their own painful traumas. Having lost everything in the Syrian civil war, Issam and his family were felt as though they were left adrift. While Tareq fights desperately to secure his medical license, his parents are left wondering how they fit into their new environment. However, when Issam rediscovers his passion for chocolate, things begin to change. Colour returns into their home and hope begins to inspire them. By the simple gift of candy, Issam begins to leave his mark once again.  Then, as the popularity of their dessert began to rise, Chocolatebecomes a celebration of those who are able to navigate the challenges of refugee status.

Though, despite the massive success that this family achieves, Chocolate also acknowledges the seemingly insurmountable barriers that New Canadians face. Inexplicable rules and regulations that forces family members to be left behind or simply attempting to find work all work against the Hadhad family, threatening their physical and mental health. For instance, the best example of this comes through Tareq’s journey as he tirelessly pursues his medical license in his new home. Once a doctor, he too wants to be acknowledged for all the hard work that he accomplished in his home country. Nevertheless, his skills are not acknowledged due to Canadian regulations. As one would expect, these frustrations eat away at his soul as he refuses to settle for a job less than his stature yet this sort of sacrifice remains a painful reality for the most highly skilled of immigrant families. (As his friend suggests, “Here, paramedics drive ambulances and doctors drive cabs.”)  

What’s more, one of the more charming aspects of the film is the deep sense of compassion from much of the community at large. While not everyone is willing to accept their new neighbors, there is a deeper sense that this community sees the value of all people. So, while this may be an incredible story of one family triumphing in their new home, Chocolate also serve as a reminder of the importance of opening the doors that help newcomers flourish as well.

Sweet and soulful, Peace by Chocolate is a delectable delight. Smartly written and executed, there’s simply a joy about this film that’s crowd-pleasing in every way yet still manages to call the viewer to a deeper sensitivity to others.

As such, this Chocolate is definitely worth biting into.

Peace by Chocolate is available on VOD on Tuesday, June 14th, 2022.

Morbius: It’s Morbin’ Time!

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The relationship between Sony and Morbius is… complicated.

As they lean further into their SPUMC (or ‘Sony Pictures Universe of Marvel Characters’), Sony continues to fight for their share of the Marvel box office pie. After the success of the Venom films, one can almost see Sony salivate over the potential of creating their own extended universe of super-characters. Plans to merge characters such as Spider-Woman, Kraven the Huner, Vulture and even the rumoured return of Andrew Garfield as Spider-Man into the Venom-verse have driven this (sub)Marvel franchise forward with surprising speed over the last couple of years.

But things hit a speedbump with Morbius. 

Morbius tells the story of Michael Morbius (Jared Leto), a brilliant doctor that has suffered from a rare blood disorder since childhood. Determined to save himself and others who are suffering from the same fate, Morbius allows his DNA to be fused with that of vampire bats in the hopes of creating a cure. However, while his experiment seems to be successful, the effects on him are far worse than he could have imagined. Now with a taste for human blood, Morbius must decide if he can quell his evil urges and become the hero he wants to be.

After a disastrous run in theatres, Morbius didn’t take well with audiences for any number of reasons. Whether it’s Jared Leto’s more serious tone, bad writing or removed Spider-Man teases, the Living Vampire was not seen as a success in taking their plans to the next level. 

But that’s when things took a turn. All of a sudden, the Twitter-verse took over. Memes and TikTok clips celebrating ‘Morbin’ Time’ began to mock the film constantly. Tweets about the hilarious nature of the film seemed to make it trend popularly once again. Unable to recognize the fact that the film’s trending popularity was due to the brutal mocking of internet trolls, Sony even re-released the film in theatres, trying to capitalize on the film’s (sarcastic) buzz. When the film failed again to garner money, they seemed surprised. (Personally, my favourite response from one TikTok’r was ‘We were busy that weekend. Please release it a third time.’)

They may have missed the memo.

But seriously, is Morbius misunderstood? Misguided? Or just plain awful?

In truth, it’s probably a bit of all three. Directed by Daniel Espinoza, Morbius is an ambitious project that continues to develop the more horrifying aspects of Sony’s universe. However, whereas Venom appears to own its silliness (especially in its second film), Morbius leans into the seriousness of its darker tone. Frankly, it doesn’t work. While Leto seems committed to his character, his performance is somewhat joyless in the midst of a ridiculous concept. (At least Tom Hardy appears to be having some fun with his evil symbiote…) While one can’t expect (or even potentially, want) Sony’s superhero universe to mimic Marvel’s blend of action and humour, one would hope that they would understand that their characters lack both the grit of Batman or the silliness of Iron Man. 

They’re something different. And different can be great, if done well.

As with Venom, Morbius has the opportunity to explore what it means to battle our darkest impulses and even potentially use them for good. Is it possible to find redemption after our inner demons have been unleashed? As Morbius wrestles his own desire for human blood, Espinoza could have used the character to take a deep dive into the human experience. It’s ripe with potential. Yet, unfortunately, all that we’re given is a bland photocopy of other films we’ve received over the last decade, without the fun that could’ve been had along the way.

Admittedly, the disc transfer does look good. Morbius features a lot of heavy shadows and backlit areas, yet the film is clear and looks surprisingly sharp onscreen. However, special features are lacking. While Defining the Antihero is a relatively interesting look at the dark side of heroes, few other features are notable. (If anything, this is a project which needs to have a director’s commentary attached, especially one that acknowledges the mixed reaction to the film.)

So, while Morbius may not a ‘good’ film (or even a ‘so-bad-it’s-good’ film), it may make for a night of laughs with friends who are in on the joke.

Because, apparently, Sony is not.

Morbius is available on Blu-ray, DVD and VOD on Tuesday, June 14, 2022