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SF Radio 8.13 Distracted from Devastation in DON’T LOOK UP

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It’s the end of the world as we know it… and we feel fine. After all, who needs to worry about global destruction when we’ve got celebrity culture, political division and other things to distract us. This is the premise of Adam McKay’s DON’T LOOK UP which introduces us to two scientists (Leonardo DiCaprio and Jennifer Lawrence) who discover that a massive comet is about to plummet towards the Earth… but no one seems to care. This week, the Dream Team of Jolie Featherstone (@TOFilmFiles) and ScreenFish’r Julie Levac reassembles to talk about the things that distract us, misunderstood evil and what we’d do on our last night on Earth.

You can watch the episode on YouTube and 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.

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8.12 Behind the Image in THE POWER OF THE DOG

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In Jane Campion’s THE POWER OF THE DOG, Benedict Cumberbatch plays gruff cowboy, Phil Burbank. After his brother returns with a new wife and son, Phil does his best to put on a show of toxic masculinity and dominance, even as his conflicted soul suffers underneath. This week, Seeing & Believing‘s Kevin McLenithan and author Wade Bearden stop by to talk about hiding behind the image and showing our dark side.

(Note: This episode was recorded as part of our ‘Best Movie Moments of 2021’ and re-edited as a standalone. You can watch our Top Movie Moments episode here.)

You can watch the episode on YouTube and 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.

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[Movie] Moments that Mattered: 2021 Edition

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Sometimes, the year’s best moments don’t always happen in the best films. 

Even though we associate the best moments with awards-calibre films, that’s simply not always the case. The most memorable moments that hit us differently can happen at any time, whether we’re sitting in a blockbuster film with a giant bucket of popcorn or streaming an indie drama online. Whether or not awards are involved is almost irrelevant. The stories we hear all speak to us, if we’re willing to listen. 

With that being said, it’s time to examine the year that was through the moments that mattered (to me, at least). Interestingly, this year’s picks have some strange connections, including a surprising amount of cars and dinner scenes throughout my picks but there’s also a whole lotta grace. While many of these picks may not have made my Top 10 of the year, these were the moments that struck a chord with me for any number of reasons. So, let’s get to it.

As always, this article is rated ‘S’ for Spoilers…

Honorable Mention (without context) goes to:

  • The Final Concert – CODA; The Magic Trick – Beyond the Infinite Two Minutes; Conversation on a Chimney Stack – Poupelle of Chimney Town; Debating at the Dinner Table – The Eyes of Tammy Faye;

10.) Caaaaaaaars in Spaaaaaaaaaace – F9: The Fast Saga

Alright, a number of you are already ready to stop reading but hear me out. Over the years, the Fast and the Furious films have become their own unique franchise that celebrates insanity. From heists with cars dragging massive safes through city streets to world-saving spy escapades, the franchise that began about illegal street racing has become marked by over-the-top, adrenaline-fueled adventures in madness. Although the films themselves rarely makes any sense any more (if they ever did), they also continue to make money by the trunkload.

But F9 was the movie that connected in a different way.

For years, fans have been joking about the crazy logic-leaping effects that have been building in the series. Clamouring for more and more ridiculousness, the ongoing joke became that these would-be superheroes would make the jump to space. It was utterly preposterous.

And then they did it.

In F9, Diesel and Co. showed that they were in on the joke and wanted their fans to have their moment. By allowing their Ludacris and Tyrese to drive their car into space to destroy a satellite (!!!), the film demonstrated a relationship with their fans that few other franchises are willing to establish. In doing so, this non-sensical leap into the upper atmosphere validated their dedicated fans and included them in the process. Coming at a time where we’ve all been divided into our homes, this brought people together. (In fact, F9 was the highest grossing film during the pandemic until recently…) This brought fans into the process in a way that makes it noteworthy. (Now if the rumours of a team up with Jurassic World are true…)

9.) Blockade Drive – Beans

Back into an automobile but for an entirely different reason. In Tracey Deer’s Beans, Montreal’s Oka Crisis in the early 90s is put on display but tells the story from the eyes of the children and families that were affected. Conversations surrounding racial attacks on Indigenous populations are central to the film’s intensity but none of them are more terrifying than one simple drive.

As Lily attempts to gently drive through a blockade, their car is nearly frozen by angry protestors. With children in the car, Lily continues her efforts to get them to safety. However, as they move through the crowds, their vehicle is subjected to some of the most harrowing abuse that you will see onscreen. When their vehicle eventually reaches police, they find no safe harbour there either.

It’s a genuinely terrifying moment.

While simply being ‘terrifying’ isn’t enough to get on this list, there’s an honesty to this film which demands attention. Coming on the heels of the ‘Every Child Matters’ movement, Beans is a powerful film that serves as a reminder that history is almost always told from a perspective of power and inevitably means that others are suffering as a result. 

8.) Staring at the Mountains – The Power of the Dog

In Power of the Dog, Cumberbatch is garnering awards consideration for playing against ‘type’. As the gruff cowboy Phil Burbank, the ‘once and future Dr. Strange’ shows his incredible talents as an actor as he infuses his character with a mix of cruelty and timidity. Whether he’s bullying young Peter (Kody Smit-McPhee) or attempting to hide his inner yearnings, Cumberbatch is a sight to behold in the role. However, one of his best moments is also his most subtle.


Standing in the prairies and staring at the mountains in the distance, Burbank seems lost in thought. His friends push him to know more but they cannot penetrate his gaze. When he’s finally asked if there’s something specific that he’s staring at, Burbank simply remarks, “Not if you can’t see it, there ain’t”. To him, there’s a mystery in the mountains that few can comprehend. However, this also speaks to the turmoil that swirls within him as well. Knowing that he can never truly be himself, there’s a piece of him in those mountains that he wishes someone else could ‘see’. In a brief moment of humility, this brutish beast of a man expresses an inner struggle that he believes will never truly be fixed. Like the enigma of the rolling hills, Phil Burbank is one who believes he will never fully be understood and his character remains broken by loneliness.

7.) Walt Whitman – Nine Days

Directed by Edson Oda, Nine Days tells the story of souls who are looking for employment. In a premise not entirely dissimilar to Pixar’s Soul, Nine Days shows the process that it takes for a ‘pre-soul’ to get the job of a human person. However, unlike Soul, Days spins its focus to the employer (as opposed to the employee) and their dalliances on earth. 

As Will, an angelic creature broken by the sudden death of one of his chosen employees, Winston Duke spends much of the film attempting to understand the meaning of life because he’s never experienced it himself. As he weeds out the potential nominees for the new position, Will continues to be drawn to the seemingly reckless Emma (Zazie Beetz), a young woman who simply doesn’t ‘fit in the box’. As Will tries desperately to convince himself that nothing is of value, Emma seems to live in such a way that he cannot. 

In the film’s final moments, Will finally relents his anger and pain. However, his celebration of life takes the form of a recitation of Walt Whitman’s ‘Song of Myself’. As Will bears his soul through Whitman’s words that “every atom belonging to me as good belongs to you,” a rebirth slowly begins to break through his hardened heart. The power of Whitman’s art provides a moment of sheer joy that pierces the desert within him. 

Once dead, Will’s soul is now alive. 

In this brief moment, Duke demonstrates such energy that one cannot help but experience the ecstasy along with him. His playfulness becomes an infectious force of nature, highlighting the joy of life and the fuel of suffering simultaneously. While the film itself is a fascinating piece, it’s this finale that truly drives everything home and sparks life within it.

6.) ‘Therapy’ – Tick, Tick… Boom!

Andrew Garfield is having a moment in 2021. After three noteworthy performances in the last few months, Garfield has re-established himself as one of Hollywood’s most underrated performers. From entering the Spidey-verse to playing a corrupted televangelist, Garfield’s range has been on full display since the award’s season push began. But his performance in Tick, Tick… Boom! outshines them all.

As Broadway’s brightest son Jonathan Larson, Garfield demonstrated humility, passion and limitless energy all in the same performance. Perhaps the best example of this mix though comes through his performance of Larson’s ‘Therapy’. Fueling his performance with conflicted love and rage, Garfield attempts to navigate his relationship issues with his long-time girlfriend. In this moment, he feels focused, present and even honest. 

However, this performance is juxtaposed with his own live performance with Vanessa Hudgens where he displays an entirely different type of energy. Playfully bouncing around the screen, Garfield showcases the normalcy of these relationship struggles without ever taking away its impact. Suddenly, a moment that’s steeped in intensity and sadness is infused with joy and liveliness. By performing the song well after the event has finished, Garfield highlights the fact that so many of the things that we deem as important are often less so when we look back upon them. It’s an unbelievable juxtaposition that is simply incredible to watch unfold onscreen, unravelling the complexities of relationships while also revealing the fact that distance often creates perspective.

5.) Staircase Descent – Last Night in Soho

Edgar Wright has made a career out of creating gorgeous films with incredible soundtracks. But Last Night in Soho may be his best work to date. Co-written with Krysty Wilson-Cairns, Soho is a love letter to the 60s but also manages to hold them accountable at the same time. Though we tend to look back at our history with rose-coloured glasses, Soho reminds us that nostalgia isn’t always healthy. In fact, our love of an era could be covering up the suffering caused by a time of toxic masculine dominance. 

And it all begins with a staircase.

Here, Wright exemplifies and foreshadows much of the film’s ‘through the looking glass’ mentality. As Eloise (Thomasin Mackenzie) descends the steps into the nightclub as the soul of Sandy (Anya Taylor-Joy), Wright leans into the nostalgia love for the 60s while revealing that we’re going to see it through new eyes. Yes, Sandy is a stunning sight who captivates the room but Eloise’s reflection reminds us that there is a fractured image here. In one single shot, we are enchanted but also understand that all is not right. It’s a moment that may be visually stunning but, more importantly, it’s symbolic of the ride into revisionist history that we’re about to be taken on.

4.) The Hug – MASS

Written and directed by Fran Kranz, MASS feels like a one-act play and features four of the year’s best performances in its leads. Though much of the awards talk has centered on Ann Dowd, each star holds their own in captivating performances and a riveting script. 

Based on the simple but powerful premise of two couples (one couple, the parents of a victim and the other, the parents of the attacker) attempting to pick up the pieces after the tragedy of a school shooting, the film almost never leaves a single room and allowing the performers to go to work. Seemingly trapped in one small space in a church basement, these parents are left to hash out the complex and complicated feelings that come with tragedy of this magnitude, including all of its rage and uncomfortable silence.

But the final scene.

After the victims come to an impasse between them and grace finds its way through the pain, they begin to leave the church basement and return to their lives. But during that time, a hug between mothers becomes a sign of healing. Like a flower in the desert, life—uncomfortable life—returns where there was none. It is a symbol of hope and redemption unlike anything else you’ll see this year and breathes life into the moment in the most powerful of ways.

3.) The Last Supper – Pig

The ‘Nicolas Cage’ project has been a fascinating watch over the last decade. Fully willing to take on roles that dive into the ridiculous, the Oscar winner has become synonymous with and celebrated for B-projects and bizarre roles. 

But then, there’s Pig.

As a former chef forced back into his old life in order to find his lost pig, Cage’s performance here is nothing short of remarkable. On paper, the film seems like another entry into his crazy career. Bearded and disheveled, Cage’s Robin is a man who strikes fear into the other members of the culinary world. (In fact, structurally, the comparisons between Pig and John Wick are undeniable.) But then, the film goes in an entirely different direction. 

In what becomes one of the year’s best films, Pig takes an old trope and completely turns it on its head. Whereas these sorts of sorts of films always seem to end in a murderous rampage, Robin instead changes the world through the power of delicious meals. Without spoilers, the film’s final meal feels like it will fall into disaster but instead ends in a moment reminiscent of Babette’s Feast. This space around a dinner table opens the door for truth to be revealed yet never submits to the possibility of violence. In this role, Cage shows a nuance and courage that we have missed from him—and a grace that suggests there may be hope for us all. 

2.) Spider-Men – Spider-Man: No Way Home

And the grace line continues… With Spider-Man: No Way Home, expectations for Marvel were high. With old villains and cameos throughout the film, there was no doubt that No Way Home was gearing up to be a nostalgia-fest. So, we figured it was going to be fun, to say the least. But I wasn’t prepared for what we got.

Instead of just Spider-Madness, No Way Home‘s emotional arc and genuine character growth surprisingly gave us one of the best films of the year. Rather than simply use those cameos as stunt-casting, they actually felt like a necessary experience. Yes, it was undoubtedly fan service… but it wasn’t only fan service.

No scene summarized this more than the scene on the rooftop.

As all three iterations of Spider-Man (Tobey Maguire, Andrew Garfield and Tom Holland) met face to face on the roof, every fan revelled in the moment. But the scene illustrated the film’s powerful message of hope, grace (there’s that word again) and wrestling with guilt and pain. Maguire and Garfield provide Holland’s Spidey the chance to grieve while also feeling supportive and helpful. But they also help him to regain his perspective. This is a film about saving the worst of us, regardless of what we think they ‘deserve’. Here, Garfield & Maguire show their own emotional battle scars and still manage to remind Holland of his calling in the most loving of ways. 

I know that there are people who are clamouring for this to garner Oscar attention but that’s simply not going to happen. However, the moment—that moment on the rooftop—is easily one of the most special gifts that we were given in 2021. Nostalgia is fun… but this film understood that it’s meaningless without repairing the soul.

1.) Birth Story – Titane 

I really wrestled with this pick. Titane is one of those films which is difficult to recommend to the casual viewer due to its insanely graphic nature and wild premise. However, it’s also brilliant, touching and shockingly soul-filled. Brilliant performances from Agathe Rouselle and Vincent London take an example of body horror and elevate it into something truly special. As Alexia/Adrien, Rouselle fully immerses herself in the character with intensity and humility. However, the real story here is London. As grieving and broken father Vincent, London instills a grace-fuelled performance that breaks the heart and soul. As a result, what begins as the story of one young woman’s traumatic relationship with her car (yep, that’s real…) transforms into a modern representation of the Prodigal Son. 

Posing as Vincent’s long-lost son, Alexia manages to hide from her pain under his protection. Of course, eventually, the ruse is uncovered. Even so, although Vincent knows that Alexia is not related to him, he refuses to give up on her. In fact, it makes him more determined to fight for her. (“I am God to you,” he informs his staff. “And that makes him Jesus. If you harm him, you deal with me.”) 

As she gives birth to the child that exists solely as a result of her pain and trauma, Vincent accepts the child as his own. The film’s final shot of him holding the metallic-studded baby is easily the most touching and beautiful moment set to screen this year. It doesn’t matter that he has no relation to the child. It doesn’t matter how the child came to be. All that matters is that the child matters.

The love of this father changes their lives.

Horrifying and humbling, Titane’s Birth Story is one of those moments that leaves a mark on the soul. Even though the film is one of the most difficult watches in recent memory, the story of Alexia is also one of the most poignant and powerful experiences I’ve had in a theatre in some time. Coming at a time when we’re divided by so many issues and controversies, there is simply a stunning beauty to this moment that breaks through the most hardened of hearts.

To hear our episode of SF Radio that talks about our Top Movie Moments with Seeing & Believing‘s Kevin McLenithan, author Wade Bearden and several guests, click here (YouTube) or here (podcast).

This article has also been posted in partnership with InTheSeats.ca.

Drive My Car – A Story of Stories

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“If we hope to truly see another person, we have to start by looking within ourselves.”

Ryusuke Hamaguchi’s Drive My Car is built around the power of storytelling—imagined stories, dramatic stories, and personal stories. The film is based on short stories by Haruki Murakami, but also includes a good deal of Anton Chekhov’s play Uncle Vanya, with which the characters in the film have emotional parallels. Drive My Car, Japan’s official submission for Best International Feature Film, has been shortlisted for Oscar consideration.

The film opens with actor Yasuke Kafuku (Hidetoshi Nishijima) listening to his wife Oto (Reika Kirishima) tell an evolving story in their post-coital revery, a story that he will tell her in the morning when she has forgotten it. Theirs is a complex relationship, but is clearly built on love for each other. Kafuku does multi-language productions of plays, Oto makes tapes that he uses to run lines. One day when he returns home unexpectedly, he discovers a secret. It is one that he seems to be able to live with, but when Oto dies suddenly, it leaves that part of his life unresolved.

The film moves ahead two years. Kafuku travels to Hiroshima to direct Uncle Vanya. When he arrives, he discovers that because of legal reasons, he must have a driver. A young woman, Misaki Watari (Toko Miura), is assigned to him. He is reluctant to entrust her with is beloved bright red Saab 900, but gives in. He has an hour commute each day (at his request), he continues to use the tapes of his wife running lines for the play. Only occasionally do Kafuku and Watari interact at the beginning, but they slowly get to know one another and tell each other bits of their stories.

Much of the film is set in the rehearsals for the play, in which Kafuku has cast a young actor to play Vanya—an actor he suspects had an affair with Oto. His process for doing plays in several languages at once is challenging for the cast, but we watch as the play begins to come together.

Some may be put off by the three hour running time of the film, but whereas many films fill up time with special effects and amazing stunts, this is time that is filled with story. This is a film that peals the layers of story back like an onion. As Kafuku and Watari spend the hours in the car, they open themselves to speak of their traumas and sense of guilt and pain. Finally, they must undertake a road trip that will allow them each to see that life goes on in spite of suffering and sorrow. This is, in fact, the same conclusion that Uncle Vanya comes to. (And when we see the troupe perform the final scene from the play on stage, it is captivating and powerful in the way it is done.)

The sharing of stories, not just in the car, but among actors during and after rehearsals, is not small talk. They are the characters “looking within”, and in so doing discovering their own pain and the pain of others. That allows them to find healing.

It is interesting that filming had to be shut down for eight months. There is a coda to the film in which we see Watari in a supermarket in which everyone is masked. That scene continues to give us an ambiguous vision of how this story ends, but by setting that scene in the midst of the pandemic brings the film’s stories into our story. We too may find ourselves dealing with grief, pain, or guilt. But we too have life to live.

Drive My Car is in select theaters.

Photos courtesy of Janus Films.

How I Met Your Father: Back to Going Back in Time

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How I Met Your Father — “FOMO” – Episode 102 — Determined to try and live in the moment, Sophie and the gang head to an exclusive new club for a wild night out. Valentina has doubts about her relationship with Charlie. Sid pushes Jesse to be open to love. Ellen tries her luck with women at the club. Jesse (Chris Lowell), Sophie (Hilary Duff), Valentina (Francia Raisa), Charlie (Tom Ainsley), Sid (Suraj Sharma), and Ellen (Tien Tran), shown. (Photo by: Patrick Wymore/Hulu)

Spin-offs are hard to make work.

Still, that doesn’t stop us from trying. From That 80s Show to Joey and countless others, networks have tried for years to recapture the magic of their original series. In theory, it should work. Take an established setting and a character (or more) that’s already beloved, set them up with a few new pieces and let the series take off. Yet fondness for the characters and humour from the original often taints our willingness to accept new people in the world that we once loved. Either expectations are too high or it simply feels repetitive.

But then there’s How I Met Your Father.

Using the same devices as How I Met Your Mother, How I Met Your Father unashamedly leans into the IP established in the original. Nostalgic reminiscing as a storytelling device? Check. A diverse cast of quirky characters who try to navigate love in New York? Absolutely. (In fact, the premiere even sees the introduction of a very familiar apartment.) However, unlike many series who have failed before it, Father is an absolute joy, largely due to the strength of its cast.

How I Met Your Father — “Pilot” – Episode 101 — After a slew of let-down Tinder dates, Sophie meets the seemingly perfect guy. Meanwhile, her roommate, Valentina, returns home from London Fashion Week with a sexy souvenir. An Uber-related phone mishap leads them to an eclectic new group of friends. Charlie (Tom Ainsley), Sophie (Hilary Duff), and Valentina (Francia Raisa), shown. (Photo by: Patrick Wymore/Hulu)

Set in the near future, How I Met Your Father introduces us to Sophie (Kim Cattrell) as she decides to tell her adult son the story of how she and his father came together. From there, the series travels back to 2022 as the younger Sophie (Hilary Duff) attempts to navigate the New York dating scene. Plagued by bad Tinder dates, games of broken texts and other romantic misfires, Sophie and her group of friends try to figure out who they are and what they want out of life together.

With a solid cast, the series has absolutely scored with a modern mixture of characters and possibilities. Led by the charisma and sweetness of Duff, each cast member brings their own unique pop to their performances. Whether it’s Tien Tran’s frantic energy, Francia Rasa’s sly street-smarts, Christopher Lowell’s humility, Suraj Sharma’s integrity or Tom Ainsley’s innocence, each member of the group feels like they have something to offer from the outset. Having said that though, the anchors of the series truly are Duff and Raisa. As best friends Sophie and Valentina, the two women have solid onscreen presence and are genuinely fun to watch together.

How I Met Your Father — “FOMO” – Episode 102 — Determined to try and live in the moment, Sophie and the gang head to an exclusive new club for a wild night out. Valentina has doubts about her relationship with Charlie. Sid pushes Jesse to be open to love. Ellen tries her luck with women at the club. Sophie (Hilary Duff) and Valentina (Francia Raisa), shown. (Photo by: Patrick Wymore/Hulu)

However, it’s worth noting that the starkest difference within Father lies in its racial and gender inclusivity. Whereas the Mother primarily focused on the lives of five white adults, Father does a far better job of showcasing the diverse population of New York. In other words, although the framing of the narration is through Sophie’s eyes, the series does its best to balance the variety of voices and experiences that make up the city. (In fact, it’s worth noting that, whereas Mother focused the storytelling on the kids, Father only shows the older Sophie. In doing so, the narrator never gives away any clues to the ethnicity of the unknown father through the identity of their inevitable child together.)

As with the original, the charm of Father’s premise lies in the fact that the dramatic events of Sophie’s past often feel more significant in the moment than they do in the future. By narrating the story (technically) through flashback, Sophie is able to gain a new perspective on her life. In essence, while we know that, ultimately, Sophie is going to form a meaningful connection with the mysterious ‘father’, younger Sophie has no such assurances. Just like Sophie, the dating misfires and relationship problems of our youth may have taken on massive significance to us in the moment. However, when we look back on them, those moments often help lead to something much better. As such, through this format, the viewer automatically starts with a certain sense of hope. No matter what she goes through, we know that Sophie is going to be okay. Although she’s struggling, the events of her youth have not defined her in the present, no matter who the ‘father’ turns out to be.

How I Met Your Father — “Pilot” – Episode 101 — After a slew of let-down Tinder dates, Sophie meets the seemingly perfect guy. Meanwhile, her roommate, Valentina, returns home from London Fashion Week with a sexy souvenir. An Uber-related phone mishap leads them to an eclectic new group of friends. Valentina (Francia Raisa), Sophie (Hilary Duff), and Charlie (Tom Ainsley), shown. (Photo by: Patrick Wymore/Hulu)

There’s peace in that assurance.

So, even though How I Met Your Father may be going back to a familiar setting and style, it’s possible that this spin-off may just succeed where others have failed. Certainly, there’s enough charm amongst its cast to bring me back again for another trip into the past.

The first two episodes of How I Met Your Father stream on Hulu on Tuesday, January 18th, 2021, with new episodes arriving weekly.

Monster Mondays: Godzilla (1954)

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Note from the Editor: A longtime friend to SF Radio, Ben Dower knows a thing or two about monster movies. Starting this week, Ben will be penning a weekly review of classic monster mayhem and their historical importance.

By Ben Dower

As World War II approached its end, Japanese cities were heavily bombed by the United States.  In one night in March 1945, Tokyo was devastated in a brutal firebombing raid that killed over 90,000 people, mostly civilians.  On August 6th, 1945, the United States dropped the first nuclear bomb used in warfare on the city of Hiroshima, followed three days later by the second on Nagasaki.  

During the Occupation of Japan in the years following the war, occupation forces exorcised heavy censorship of the media to prevent criticism of the Allies.  When the Occupation of Japan ended in 1952, there was much more freedom for the media to begin discussing the topics that had been off-limits, including the atomic bombings.

In March 1954, the United States conducted the Castle Bravo H-bomb test on Bikini Atoll.  The test caused highly radioactive fallout to rain down on nearby inhabited islands, as well as the Japanese fishing vessel Daigo Fukuryū Maru.

It is from these events that Godzilla was born.  

While most American giant monster movies featured a beast that goes on a rampage before it’s eventually killed (ie.  King Kong or The Beast from 20,000 Fathoms), Godzilla took this formula and infused it with metaphor. The film starts with a fishing vessel plowing along the ocean, its crew relaxing on the deck in the sun.  Suddenly there is a flash of light, a roar, and the ship bursts into flames.  This is an obvious reference to the Daigo Fukuryū Maru, an event that had occurred just months prior and was fresh in the minds of the audience.

The film builds slowly, revealing first Godzilla’s leg as he tramples a village on Odo Island.  Paleontologist Dr. Kyohei Yamane (played by Takashi Shimura, an Akira Kurosawa staple) heads to Odo Island and it is discovered Godzilla’s footprints are radioactive with material consistent with a hydrogen bomb.  During the expedition to Odo Island, Godzilla appears on land again, his head rising over a hill and roaring menacingly at our protagonists in an incredible composite shot.

The Japan Self-Defense Force (JSDF), which had only been founded in July of that year, drops depth charges on Godzilla and it is thought the monster is defeated.  As people celebrate Godzilla’s demise, the monster surfaces very much alive inside Tokyo Bay.

Godzilla soon comes ashore in Tokyo, trampling through a train station and picking up a train car in his mouth.  This sequence is the big reveal, featuring the first full shots of the monster.  It is an amazing special effects sequence, with the man-in-suit Godzilla composited behind real shots of Tokyo, the black-and-white film helping to conceal any imperfections.  The result is truly haunting as Godzilla moves like a spectre through the city, looming over the buildings and people below.  After a short rampage, Godzilla heads back into Tokyo Bay and disappears under the water.

The government quickly mobilizes the JSDF and constructs a barrier of high-tension wires along the shore to prevent Godzilla from entering the city again.  Civilians are evacuated, with scenes of soldiers loading children onto trucks and people carrying everything they can as they flee.  These scenes are very reminiscent of the war.

Sure enough, Godzilla rises from the sea again and heads to Tokyo.  He easily tears through the electrified barrier, clawing through the wires and melting the towers with his atomic breath.  Godzilla proceeds to blast away the JSDF and much of Tokyo, moving through the city silhouetted against the flames like a demon in hell.

It is in this rampage through Tokyo that we get our clearest wartime imagery.  The flames towering over Tokyo’s landmarks are no doubt meant to evoke the firebombing of March 1945.  Godzilla’s atomic breath, which is portrayed like a cloud fired out of his mouth, is an effort to visualize radiation on screen, vaporizing people like the atomic bombs did in Hiroshima and Nagasaki, and leaving others in the vicinity with radiation sickness.  Added to this are the planes, tanks, cannons, and rescue forces, all of which would remind viewers of the war.

Watching the devastation on his TV at home is the young scientist Dr. Serizawa (played by Akihiko Hirata).  Dr. Serizawa has been conducting research on oxygen and has discovered a way to create a new super weapon, which he calls the Oxygen Destroyer.  Dr. Serizawa ultimately must make a horrible decision: reveal the weapon to kill Godzilla and risk the nations of the world adding it to their arsenals, or keep his weapon a secret and let Godzilla continue his reign of death.

Godzilla was released in Japan on November 3, 1954 and was an immediate hit.  The North American distribution rights were sold in 1955 and the film was heavily re-edited, toning down some of the more explicit anti-nuclear themes and inserting scenes of Raymond Burr as an American reporter witnessing the events as they unfold.  While generally considered inferior to the original version, the editing to insert Raymond Burr into the action is incredibly well done.  This version was released to North American theatres in 1956 as Godzilla, King of the Monsters! and was the only way the first Godzilla film was distributed in North America for 50 years.  In 2004, the original Japanese version got a limited theatrical release in North America by Rialto Pictures.  

Godzilla and Godzilla, King of the Monsters! are currently available from The Criterion Collection, both as a stand alone DVD or Blu-ray and as part of their Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set featuring the first 15 Godzilla movies.

Hotel Transylvania: Transformania – Trust and Transformations

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Every Hotel has to close its doors eventually… but hopefully, it gets to do so when the time feels right.

In its fourth film, Hotel Transylvania: Transylvania comes at a time when Drac (Brian Hull, formerly Adam Sandler) is considering stepping away from the hotel game so he can spend more time with his new wife, Ericka (Kathryn Hahn). When word gets to Mavis (Selena Gomez) and Johnny (Andy Samberg), Johnny is thrilled! But Drac still has his concerns about letting Johnny have free reign over his beloved resort and convinces him that only monsters can run it. Determined to win Drac over, Johnny uses Van Helsing’s ‘Monsterfication Ray’ to correct that problem. However, after the ray goes haywire, Drac and his friends get to see what the world looks like through human eyes as they try to find a cure before it’s too late.

Directed by Jennifer Kluska and Derek Dryman, the wild and silly Hotel Transylvania: Transformania is meant to be the final film in the franchise. Written by series creator Genndy Tartakovsky, the script feels like a worthy addition to the series’ legacy as it continues the character development from the previous films. Led by Tartakovsky’s unique voice, the story still offers the same frenetic energy that families expect from the franchise. Returning stars Andy Samberg, Selena Gomez (now with a producer credit), Fran Drescher and David Spade seem as enthusiastic about the series as ever. (In fact, Spade’s role is drastically increased this time around.)

Even so, something feels… off about this Transformania. 

Vibrant animation still pops with colour but somehow doesn’t entirely capture the magic of other entries. The most significant change, however, stems from its cast which has seen significant turnover this time around. Although several of the original cast remain, gone are franchise stalwarts Adam Sandler, Kevin James, and CeeLo Green. While their replacements do an entertaining job of mimicking their original cast members, the mix of old and new cast members is noticeable. (This is especially true in the case of Sandler who has remained the franchise’s focus throughout the previous films.) As a result of these changes, the film feels more like a transition away from its stars as opposed to any sort of wrap-up for the series. (In fact, for a film that’s supposed to be final chapter, the film’s ending doesn’t feel like they’re closing the book on the franchise at all.)

Although the franchise has always leaned heavily into the theme of ‘looking beyond appearances’, Transformania’s body-swap storyline manages to take it to the next level. As Johnny and Drac learn what it is to live in the other person’s [literal] shoes, so too do they also begin to understand the difficulties of each other’s experiences. While Johnny relishes the power of being a monster, so too does it almost drive him to madness. At the same time, Drac’s experience as a middle-aged man is a pain-inducing (and entirely relatable) nightmare but it also helps him to see the world from Johnny’s perspective. As the two men live with the strengths and weaknesses of the other, a deeper bond eventually emerges between them.

Because at the heart of this Transformania is trust. 

For example, in Transformania, trust stems from one’s ability to see their value. Prior to the switcheroo, although Drac has grown fond of Johnny over the years, he still cannot bring himself to entrust him with the responsibility of the hotel. Johnny’s different ideas simply don’t align with Drac’s and so, he concocts an elaborate lie to prevent him from taking over. However, as Drac begins to realize the purity of Johnny’s soul, he understands how important he truly is to him. This reframing allows Drac to celebrate Johnny’s strengths and accept his faults, opening the door for trust to break in between them.

Filled with monster mayhem and madness, Hotel Transylvania: Transformania should entertain both kids and longtime fans of the franchise. Although, this is not a Hotel that feels closed. Just ‘under renovations’. With that being said, even though there definitely pieces missing, one has to hope that there’s a more fitting finale to the franchise.

This Hotel needs one last ‘grand re-opening’ in its future.

To hear our conversation with producer Alice Dewey Goldstone, click here (YouTube) or here (podcast).

Hotel Transylvania: Transformania is available on Amazon Prime on January 14th, 2022.

Beyond the Infinite Two Minutes: What the Future Holds

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Time is a funny thing. Sometimes it inches by at a snail’s pace. Sometimes years seem to pass in the blink of an eye. Sometimes it feels like it has stopped and everything around you is moving in slow motion.

In the case of Beyond the Infinite Two Minutes from Director Junta Yamaguchi and writer Makoto Ueda, time is just as much of a character as anyone or anything else. Shot in one take, this comedy-meets-sci-fi-meets-time travel-meets-“where did the mafia come in” film goes beyond the limits of time as we know it and instead brings it to life as an active participant.

Upon returning to his room above his café, Kato (Kazunari Tosa), hears a familiar voice calling for his attention. He turns to his computer monitor to see himself – the self from two minutes in the future. Alarmed and intrigued, Kato runs downstairs back into the café to see the view from the TV monitor, and sees his past self doing the very thing he was doing two minutes earlier. He repeats the same words and gets the same responses, each version of Kato mimicking the previous one as if in a loop. But it’s a loop that gets larger and wider as his friends push the limits of looking into the future and even manipulating it in a way that can only lead to one thing: trouble.

While time travel movies aren’t typically my go-to genre, I have to admit I’ve never seen a film like this. For one, time isn’t just something passing in the background. Like I mentioned previously, it feels like an actual character that is impacted by the decisions of Kato and his friends, but it’s also the one prompting those decisions. After seeing and hearing what their future selves say, the group makes sure they say the same things when it’s their “turn” to be in the future.

There is also a goofiness to it that keeps it from being too serious. The plot of the “Droste TV,” has the science and intelligence needed for it to theoretically make sense (as much as time travel can make sense), but it doesn’t slack on the fun. I mean let’s be real, who wouldn’t want to know how to find a little extra cash if they could? And if it led to local mafia bosses taking your neighbor hostage so you go rescue them, I mean that’s just a risk we may have to take.

Which actually leads me to a more serious reflection. IF we could know, SHOULD we ask? Kato is often the one prompting his friends to leave the monitors and stop digging further into the future, warning them that it isn’t a great idea. And is he right? Sure we all like to joke about how great it would be to know the future lottery numbers or the next Super Bowl champions, but to Kato’s point, how far down the rabbit hole do we go? So often I wish I could see into the future so that I could know if I was doing the right thing in the present – thinking that if I knew the outcome, THEN I could make the decision or choice. Or, as Beyond the Infinite Two Minutes asks, could I instead change the outcome so that I could spend more time in the present?

Even if we saw our future literally in front of us on a TV screen, we aren’t bound to it. There is always an opportunity to shift directions toward something else. But what will stick with me from this film is that it isn’t really about the future at all. It’s about the present. And, if I look at time as a partner as opposed to a construct or crystal ball, maybe I don’t have to worry so much about what lies ahead. Instead time and I can take it moment by moment, doing the best we can for now, and let tomorrow take care of itself.

Beyond the Infinite Two Minutes is now playing in select theatres.

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.

The Tender Bar – Learning “the male sciences”

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“Grandpa’s house was a revolving door of cousins and aunts, with a full complement of laughter and tears, with an occasional nervous breakdown. But above all, it’s where Uncle Charlie lived.”

The Tender Bar, directed by George Clooney and based on a memoir by J.R. Moehringer, can be characterized as a coming-of-age story, but it veers a bit into the philosophy of masculinity. While the film is very male-oriented, its story is appealing enough that women should find it enjoyable as well.

LILY RABE and DANIEL RANIERI star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

It begins in 1973 when nine year old, J.R. Maquire (Daniel Ranieri, later Tye Sheridan) moves with his mother (Lily Rabe) into her father’s house, an event she views as a sign of failure, but J.R. finds exciting. His father abandoned them long ago. He is a semi-nomadic radio DJ who J.R. refers to as The Voice—after all, that is about all J.R. knows of him. Grandpa (Christopher Lloyd) is a curmudgeon who seems to resent having his adult children back in his house. (But at least he is willing to help support them.)

J.R. finds an important role model in his Uncle Charlie (Ben Affleck). Charlie is a bar tender at a local dive, The Dickens. It is there that Charlie (and some of the barflies that are always there) teach J.R. what Charlie refers to as the “male sciences”, simple rules of how to live and especially how to treat women. (The prime directive in these sciences is “You don’t hit a woman, ever, up to and including if she has stabbed you with scissors.”) Charlie is something of an autodidact philosopher. He seems to have read everything, and makes sure that J.R., who wants to be a writer, reads it as well.

CHRISTOPHER LLOYD and DANIEL RANIERI star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

J.R.’s mother is laser-focused on him going to an Ivy League school, even though there’s no way she could afford it. In time he is accepted to Yale on scholarship, and the film explores his life there, and continues to build on Charlie’s life training. At Yale he falls in love with a beautiful and bright young woman (Briana Middleton). The relationship with her is something that teaches J.R. about trials that he cannot control.

J.R., with the help of family (which includes the patrons of The Dickens) and friends, slowly negotiates life without his father, life at Yale where he feels out of place, and entering adulthood with confidence—enough to face his father and to assert himself.

BEN AFFLECK and TYE SHERIDAN star in TENDER BAR Photo: CLAIRE FOLGER © AMAZON CONTENT SERVICES LLC

For all the “male science” aspect of Charlie’s mentorship of J.R., the philosophy that he teaches is applicable to all people. It can be summed up is a few important concepts: kindness, honesty, and honor. I don’t think Charlie ever uses those words, but through the instructions he gives J.R.—and through his actions—those ideas are clear. Such a view of life is certainly in line with Paul’s comment: “…Whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is pleasing, whatever is commendable, if there is any excellence and if there is anything worthy of praise, think about these things.” (Philippians 4:8 NRSV)

The Tender Bar is in theaters and is streaming on Prime Video

Photos courtesy of Amazon Content Services.