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Film Festivals

TIFF20: I Care a Lot

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I Care a Lot follows Marla Grayson (Rosamund Pike), a highly successful legal guardian who takes responsibility for the elderly and then exploits them for their vast fortunes. Sensing a huge potential windfall, she takes on a seemingly innocent new client named Jennifer Peterson (Dianne Wiest), immediately placing her in a nursing facility and strips her of her financial assets. However, when Jennifer’s ruthless benefactor Roman (Peter Dinklage) hears of her plight, Marla and her partner (Eiza Gonzalez) must go to war to protect their investments and potentially, save their lives.

Written and directed by J Blakeson (The Disappearance of Alice Creed), I Care a Lot is an energetic dark comedy that commits to its wicked machinations and never looks back. Bursting with fire and entertaining from start to finish, Blakeson’s script pops with devilish glee as it highlights the malicious nature of corporate greed at the expense of the poor and oppressed. 

By unleashing its inner darkness, I Care allows greed to become the soul of Darwinian business practices. Ferociously attacking each other’s livelihood, both Marla and Roman exemplify the very nature of ‘survival of the fittest’. 

Though the heart of I Care a Lot may sound bleak, the film’s style and enthusiasm are hard to resist. Featuring solid performances across the board and a brutally fun script, Blakeson’s film breathes satirical fire that demands attention. As the stakes continue to rise and the inner darkness of his characters is unleashed in all its fury, Blakeson never loses sight of the damages caused by their carelessness.

Even if they seem completely unaware.

I Care a Lot is currently streaming on the TIFF Bell Digital Theatre during the Toronto International Film Festival.

TIFF20: Shadow in the Cloud

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Set during WWII, Shadow in the Cloud is an action-packed horror movie that stars Chloe Grace Moretz as Maude Garrett, a flight officer who embarks on a secret mission to deliver a confidential package. As a woman alone in a group of men on a rickety aircraft, Garrett finds herself forced to take the ride in the worst seat possible, the bottom glass turret located on the belly of the plane. Soon after, strange things begin to happen on this aircraft and Garrett’s position on the plane forces her to come face to face with a mysterious, unexpected passenger. 

Set in the 1940s, this was a time filled with sexism and toxic masculinity. Though she’s an incredibly accomplished and well-trained soldier, Garrett remains at the very bottom of the social ladder due to her gender. Symbolic of the social hierarchy of men and women of the 1940s, Garrett is forced by the men to stay down in the glass turret located in the bottom of the aircraft. Meanwhile, as she languishes in the most terrifying and cramped area of the ship, the egotistical—and less talented—men undeservingly get to relax in the comfort of the cabin area. Even so, Garrett bites her tongue and, as the film progresses, she helps fight off enemy fighter jets and, yes, even gremlins, in order to save the same men who were belittling her initially. (Incidentally, it’s worth noting that the ‘gremlin’ was an imaginary scapegoat in the 1940s for pilots to blame if they ever made a mistake while flying.) In doing so, Garrett’s bravery symbolically takes her from the bottom of the plane to its highest position, the pilot’s cockpit. 

One of the most unexpected and spuriously badass scenes of the movie comes as Garrett is confronted with one of the gremlins. As Garrett battles the creature with her bare hands, with the supposedly brave men watching from the sidelines. In this moment, the gremlin becomes more than a beast to fight as it also represents the stupidity and sexist attitudes of the male pilots. In doing so, Cloud suggests once again that, despite the social inequalities set into place by our culture, women continue to show strength and perseverance.

Writer/director Roseanne Liang does a great job in utilizing Moretz in the lead role. Personally, I think that Shadow in the Cloud is an excellent example of how directors can create strong female roles in other action movies. As Garrett, star Chloe Grace Moretz oozes confidence as a strong, independent women in this film. Often times, I have found that female-driven action films and tv series include moments that focus too much on addressing its agenda through poor writing. (I’m looking at you, CW…) In doing so, while well meaning, these moments try too hard to prove why women are equal to or better than men. By directing attention to the issue in this way, this style of writing can undermine their agenda by emphasizing differences over gender equality, despite their well-meaning intent. In doing so, these moments can unintentionally create a gender gap where women are required to ‘step it up’. However, in Shadow in the Cloud, Moretz isn’t trying to prove anything to the sexist men or constantly trying to validate why she is strong like them. She simply is. Through her actions, perseverance, flight abilities, combat skills, and ingenuity, Garrett embodies female strength and courage in a way that inspires. 

Shadow in the Cloud is an adventure that will thrill you and surprise with its twists and turns. Personally, I never expected to see Chloe Grace Moretz in such a serious and empowering role as she sets an example for all female action heroes going forward. I highly recommend it.

Shadow in the Cloud is currently streaming at Bell Digital Cinema at the Toronto International Film Festival.

TIFF20: Good Joe Bell

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Directed by Renaldo Marcus Green, Good Joe Bell tells the true story of Joe Bell (Mark Wahlberg), a loving husband and father from the American Heartland. The picture of traditional manhood, Joe’s conservative worldview is threatened when his son, Jadin (Reid Miller) tells him that he’s gay. After Jadin is bullied mercilessly at his high school, Joe sets out on a mission across America to speak to school groups, communities or anyone who will listen about the corrosive dangers of bullying. However, as he sets out on his journey, Joe must also confront his own inner demons in an effort to be fully transformed by his experience. 

Good Joe Bell is a timely look at what means to be truly changed from within. By telling the story from Joe’s perspective, the film effectively delves into inner biases that create a dangerous culture of oppression, as opposed to merely citing examples. Known for action blockbusters and comedic roles, Wahlberg is not generally known for subtly within his work yet his performance as Joe feels both personal and authentic. As Bell, Wahlberg offers an honest portrait of a man searching the very depths of his soul for new understanding. 

For this reason, the beauty of Good Joe Bell is that it feels so much larger than Joe himself. Structurally, the story may be a tale of one man’s attempt to confront his own prejudices out of love for his son, it also serves as an example of a Conservative culture in dire need of doing the same. Moving and sincere, Green’s story of a man who understands the need for change within his own life comes at a time when Joe’s voice needs to be heard.

After all, though his walk is his own, Joe’s journey to redemption could be anyone’s.

Good Joe Bell is currently streaming on the TIFF Bell Digital Theatre during the Toronto International Film Festival.

TIFF20: Trickster

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Trickster follows Jared (Joel Oulette), an Indigenous teen who lives his life from one disaster to the next. Whether he’s dealing with his wild-child mother (Crystle Lightning) or supporting his father (Craig Lauzon), Jared struggles to get through the day, especially financially. When his part-time job selling drugs comes to an end, he feels lost within his own unstable, yet familiar, life. After he meets a mysterious stranger, Jared’s world is shaken as he begins to see talking ravens and doppelgangers. At first, Jared is able to write them off as wild, drug-induced hallucinations. However, as he explores the meaning of his visions, Jared soon discovers that the answer may lie in a tradition that he has long ignored.

Directed by Michelle Latimer (ALIAS), Trickster is a dark and mysterious ride through mythology as it collides with the modern era. While the series falls neatly into the ‘supernatural sub-genre’, Trickster‘s style and celebration of Indigenous culture keep the series fresh and engaging. Through her use of colour and tone, Latimer visually interweaves the mundane with the mystical, seemlessly blending the interaction between them. Featuring solid work by its entire cast, the series also crafts some truly unique characters that bring the world to life. (Crystle Lightning, in particular, is an absolute joy to watch as Jared’s free-wheeling but loving mother.)

In this way, Latimer has created a world that intrigues as well as challenges. Fun and mysterious, Trickster is an entertaining ride that draws you in through its premise but entices you to stay through its strong characters and storytelling. What’s more, while it thrives in its celebration of Indigenous traditions and folklore, it also serves as a humbling reminder of what can be lost when we misjudge our own place within the universe.

Trickster is currently streaming on the TIFF Bell Digital Theatre during the Toronto International Film Festival and premieres on CBC on Wednesday, October 7th, 2020 at 9:00pm.

TIFF20: Enemies of the State

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Enemies of the State' Review: Whistle-Blower Doc Shocks Until the End - Variety

No stranger to American whistle-blower stories, Director Sonia Kennebeck (National Bird) tackles the unique and complicated life of Matt DeHart, formerly of the Air National Guard.  The Indiana home where Matt DeHart lived with his parents was raided based on the suspicion of child pornography.  Assuming that a child pornography charge was just a ploy to catch him with sensitive government documents (and because of his alleged ties with Anonymous and Wikileaks), Matt took action.  He drove to Mexico, and subsequently attempted to seek help with the Russian and Venezuelan embassies in Washington, D.C.  He believed the government was out to get him and realized that it was only a matter of time.

This wild story was only the beginning of a years long dance between DeHart and the United States government, including arrests, alleged torture, and seeking asylum in Canada.  Even after the attempt at seeking asylum in Canada, this story continued to evolve and get more complicated.

One constant throughout this whole story was how close the family bond was between Matt and his parents, Paul and Leann.  Paul and Leann were willing to protect their son by any means necessary.  Despite Paul and Leann both serving their country in the US military, they believed their son, lost faith in their country, and stuck with Matt every step of the way.

Matt DeHart, the hacktivist who was refused asylum in Canada, sentenced in U.S. on child porn charges | National Post

Not unsurprisingly, Enemies of the State came off as quite biased for the first three quarters of the film.  There were nominal scenes with statements from people who were against DeHart, but mainly it was Matt’s parents telling their terrifying story.  

However, the last half of the documentary certainly takes a different turn when new evidence is uncovered.  In fact, these new revelations make you question a lot of what you heard earlier on in the film.  You will likely question where the truth lies and whether or not what you just heard really is a giant conspiracy theory.

Enemies of the State is an entertaining and well put together documentary that gives you as much information as possible but still made you question the truth.  In fact, to this day (and largely due to Matt’s silence in the last year after being released from prison), we still don’t have the additional information that I felt was needed for closure.  Needless to say I’m interested to see what, if anything, happens with Matt in the future.  Matt DeHart has been compared to Chelsea Manning and Edward Snowden.  Is he a hero who intended to release information that America needed to hear?  Or is he a criminal who attempted to cover up his wrongdoings with a conspiracy theory? 

Enemies of the State premiered at the Toronto International Film Festival on September 10, 2020.

The Prey: Welcome to the Jungle

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In The Prey, Chinese cop Xin (newcomer Gu Shangwei) is undercover on a secret mission when a surprise raid overturns his plans. Captured and forced to fight to survive within a remote Cambodian jungle prison, Xin is surprised to find that he and several other prisoners have been released into the wild. However, ruthless warden (Vithaya Pansringarm) has other plans as he operates a secret underground game which involves selling prisoners as human prey for rich hunters looking for thrills in the jungle. Lost and on the run, Xin suddenly finds himself running for his life and must ask to what lengths he’s willing to go to survive.

Written and directed by Jimmy Henderson, The Prey takes a familiar tale and entertains through its commitment to the action. To its credit, while the film is far from subtle, it knows exactly what it wants to be and executes its story with enthusiasm. Loosely based on Richard Connell’s The Most Dangerous Game, The Prey builds the intensity well through its jungle locations, making the most of the claustrophobic nature of the area. Though the surroundings may be vast, Henderson does a solid job of keeping the set pieces tight and imposing. Moreover, in his first feature role, Gu Shangwei shows tremendous potential as an action star, playing to the role of Xin with severity (and some sincerity). In doing so, though it may lack in some areas, The Prey mostly earns its thrills through the vigour of its execution.

Doubling down on the action, The Prey may not be the type of film that wants to focus on heavy introspection. Even so, it does attempt to spark conversations about the limits of humanity and what separates us from our animal instincts. While we understand that the hunters are the villains in this piece, the hunted are not without their own demons to face as well. Running for their lives in the hot humidity of the jungle, Xin and the other prisoners who are released into the wild are forced to grapple with their own inner nature. Regardless of their previous crimes, each man must decide whether or not they are willing to kill their hunters in an effort to survive. (“I’m a thief, not a killer,” Xin’s friend recognizes.) Can one remain the hero if they’re willing to take on the role of the villain? As they attempt to justify their increasingly brutal acts of violence, Xin and his ‘friends’ must look into their souls to determine what it means to be human and, as a result, the very essence of true survival as well. 

Energetic from start to finish, fans of the genre should be pleased with The Prey. Though the film could use more nuance and subtlety to bring it to the next level, the film certainly has enough action to entertain viewers who are looking for something with grit and teeth.

The Prey premieres on VOD on August 25th, 2020

You Can’t Kill David Arquette: Wrestling for Redemption

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Who knew that this summer’s greatest superhero story would be David Arquette?

Seriously, I didn’t see it coming.

The new doc, You Can’t Kill David Arquette, reintroduces Arquette himself as a man burdened by the past. Back in 2000, with his wrestling comedy Ready to Rumble about to come out, Arquette was invited to participate in a brief storyline on WCW (World Championship Wrestling) to help promote the film. As a long-time fan of industry, he was thrilled to be a part of the world. However, when the company decided to briefly crown him champion, Arquette was quickly branded the most hated man in wrestling by fans who felt he was an outsider. With You Can’t Kill, Arquette attempts a rocky return to the world of sports entertainment, determined to redeem himself to others and reclaim his self-respect.

Directed by David Darg and Price James, You Can’t Kill David Arquette is both a love letter to professional wrestling and a redemption of sorts for Arquette. Darg and James follow Arquette from the local backyard to the underground wrestling circuit of Tijuana in an effort to shine a spotlight on the earnestness of an industry that is considered a joke by man. Though they’ll likely never perform in front of 20, 000 fans, these warriors are no less committed than their big-league counterparts, fighting every night for love of the show. Without question, however, the most endearing aspect of the film is Arquette himself who understands his place as an outsider yet passionately pursues his dream as a pro wrestler. 

Of course, every great hero story needs a villain and, in You Can’t Kill, this is personified by an obsessive fan culture that seemed to crush his spirit outside of the ring. In some ways, the film feels like an apology to diehard fans for his involvement in the highly controversial decision to crown him WCW Champion nearly 20 years ago. As a long-time fan of pro wrestling, Arquette has always held the athletes that put their bodies on the line for the sake of sports entertainment in the highest of esteem. However, after being crowned champion, fans turned on him personally. Viewed as an outsider who was mocking their passion for the sake of promoting his film, Arquette himself became demonized by the very community that he was attempting to celebrate. Like other pop culture icons, wrestling fans can be vicious when they feel that they’ve been crossed and their misplaced loathing at Arquette took a toll on him emotionally. 

With You Can’t Kill, Arquette seems to want to offer an apology for the past while also bravely standing up to those who felt he wasn’t taking things seriously enough. (Interestingly, even the title of the film itself suggests not only the physical punishment of the ring but also serves as notice to those who vilified him emotionally.) Yet, there is much more to this story than simply attempting to make amends. More than anything, Arquette wants to honour and respect the industry and prove to others that his love of the wrestling world is undisputable. While some moments of the doc may feel like pageantry, Arquette’s earnestness and commitment to the process is genuine. Wearing a hat that proclaims that ‘Wrestling’s Not Fake’, Arquette fully recognizes that, while the storylines and outcomes may be scripted, the sacrifices that the men and women make with their bodies for the sake of body slams are very real and take their toll over time. In this way, there’s an authenticity that shines through each performer, despite the wild spectacle of the show. 

Though he calls himself the ‘Magic Man’, Arquette’s credibility stems not from his costume but by his willingness to learn, grow and, most of all, take the hits. His heart and honesty make him a hero. Arquette knows he will never be the best in the business. That’s not his goal. Instead of personal glory, Arquette simply wants to be invited to the table so he can be a part of a world that has meant so much to him over the years. As such, his determination and commitment may redeem him to the public but, more importantly, they also are a testament to the human spirit.

You Can’t Kill David Arquette is an honest look at a man who knows his limitations but wants to stand with his idols. Despite the unjust hate that he’s received over the years because of a poorly conceived publicity stunt, the man behind the championship belt is determined to show the world that he deserves to be there.

After all, in You Can’t Kill David Arquette proves that real heroes may get slammed but they can’t be put down.

You Can’t Kill David Arquette premieres at Fantasia Fest on August 24th, 2020 and on VOD on August 28th, 2020.

The Power of Hope: Inspiration by Influence

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Dear Michelle Obama,

Admittedly, you and I don’t talk much (read: never). Even so, I’m a big fan of your work and I hope you’re doing well. I don’t expect you to reply to this post but I did have one question for you: Did you know that you recently starred in a film?

You really should. 

Because you’d be proud of it.

Written and directed by 13-year-old Kalia Love Jones, The Power of Hope is an animated short that tells the story of a young woman who has big dreams of becoming an architect. When her mother becomes ill, she feels overwhelmed and helpless. However, after hearing a powerful speech by former First Lady Michelle Obama, she is inspired to find the strength to persevere and bring her dreams to life.

Beautifully written and animated, Jones’ short is both charming and challenging. Though brief in length, her desire to empower young girls to overcome the trials that they face shines through, providing encouragement to everyone who watches. Considering her young age, there’s a maturity within the story-telling and visuals that makes this short film an impressive debut for Jones. Gradually moving from shadow to light, the film’s images emphasize the importance of looking for hope in the midst of life’s moments of deepest darkness. From having to care for a sick parent to struggling financially, Jones’ short is willing to stare down the most difficult of circumstances and prove that they need not define or defeat you. For Jones, the message is clear.

No matter what you’re going through, you can do it.

What’s most interesting about the film though is how Jones uses Obama’s (your?) speech within the film. Sitting broken in her living room, the young girl overhears the former First Lady’s voice on the television and is instantly transfixed by it. Then, as her hero’s words of hope sink in, she decides to fight for her future. From there, the voiceover takes over the remainder of the film, walking with her through each stage of life. Though leading the narrative component, its true importance lies in the way that it gives the young girl something to cling to and points to the impact that people of influence can have on a generation. Never once does Jones’ character meet Obama or receive any direct help from her yet she owes a great deal to her words. For this young girl, Obama’s message of confidence gives her courage in the face of the overwhelming odds against her. 

This sentiment is also echoed throughout the film’s closing credits, as Jones chooses to highlight other women who have inspired her in her young life. From Ava DuVernay to Ellen DeGeneres to Awkwafina, Jones highlights women of different ethnicities who have become trailblazers in their diverse fields yet have also provided an example of succeeding in the face of adversity to young women everywhere. Although Jones may have never met or spoken to any of these particular women, it’s clear that she holds them in high esteem and views them as people who matter. 

Their example has provided an example for her to follow.

So Mrs. Obama, I hope that you get a chance to see Kalia’s film. Not only because it’s enjoyable and effective but because I believe that it’s a testament to the voice that you have given to the next generation. 

And, like Jones herself, that voice has proven incredibly powerful.

For audio of our interview with Kalia Love Jones, click here.

The Power of Hope premieres at the Shorts by the Sea Festival in September.

Ottolenghi and the Cakes of Versailles: Decadence Then and Now

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The Royal Palace at Versailles was perhaps the most magnificent place on earth in the 17th and 18th centuries. To this day it is still amazing to walk through the halls and gardens. Can the splendor of Versailles be translated to modern minds through the medium of desserts? Ottolenghi and the Cakes of Versailles takes us to a gala at the Metropolitan Museum of Art in New York for an exhibition focused on Versailles.

The Met connected with London-based Israeli chef Yotam Ottolenghi to find a way of conveying the experience of Versailles with food. He enlisted five avant garde pastry chefs from around the world to each make a dessert that would be served at the gala. Those creations are themselves works of art.

Food was a key part of the splendor of Versailles. Elaborate and ostentatious meals were part of the way the French court proclaimed its power and wealth. Because Versailles was an open palace, many people came to see the kings and queens in their daily lives. That often included watching them eat. Foreign dignitaries came to Versailles to be received by the kings. Much of the opulence was designed to impress both the French people and the foreign visitors. So it seems fitting that amazing desserts should be a part of the Met’s exhibition.

The choice of having the cakes at this gala is an interesting reference to the mythology of Versailles. It is reported that when told that people were rioting because there was no bread, Queen Marie Antoinette replied, “Let them eat cake.” It probably never really happened, but why let facts stand in the way of a good story?

The film gives us a glimpse (as in any good cooking show) of the trials of making these desserts. It doesn’t have the competition aspect of such shows, but we stand amazed at the vision of these chefs as they create desserts that are far beyond the ordinary.

It is also interesting that this event is a gala event that draws the rich and famous. These are not cakes that are available to most of us. As at the open court at Versailles, we get to get a glimpse of that lifestyle, but we know that ultimately we are not a part of it. During the last ten minutes of the film Ottolenghi reflects on how the have-nots of the old world and the modern world are never included in the opulence of the world of the wealthy. This reflection is set up throughout the film as we look at the decadence of the court as well as the extravagance of the gala and the desserts that are served there. It serves to point out that there continues to be gross inequalities in our society. It is a reminder, as a French writer said, “plus ça change, plus c’est la même chose” (The more things change, the more they stay the same).

Ottolenghi and the Cakes of Versailles premiered at the Tribeca Film Festival.

 

L.A. Latino International Film Festival: Online and Free

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I really enjoy film festivals. They give me a chance to see films that are very different from the mainstream. They give voice to filmmakers we may have never heard of, but who have important things to say. But most people don’t have much chance to see the films in many film festivals. But this year, because of the COVID-19 isolation, everyone has a chance to see some of these films without traveling, standing in line, or even buying a ticket.

Academy Award®-nominated actor Edward James Olmos, founder of the Latino Film Institute, just announced that the Los Angeles Latino International Film Festival (LALIFF) will be doing a virtual edition for 2020 – LALIFF Connect – which will be held from May 5 – 31st.  In addition, there will be a 2019 Retrospective that will include feature films, short films, episodics, masterclasses and musical performances — all will be available through LALIFF’s website for free with additional titles to be announced.