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Unhinged: Unleashing Hell

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“All it takes is one bad day to reduce the sanest man to lunacy. That’s how far the world is from where I am. Just one bad day.” (The Joker, The Killing Joke)

When you look into the eyes of madness, you’re never quite sure what you’re going to see. Taken from Alan Moore’s iconic graphic novel The Killing Joke, the above quote by the Joker points to the idea that anyone has the potential to be pushed beyond their limits. While he may not be quite as charismatic as the Clown Prince of Crime, Russell Crowe’s latest role in Unhinged explores the explosiveness of madness when a ‘bad day’ gets out of hand.

And, make no mistake, Unhinged is no joke.

Directed by Derrick Borte, Unhinged follows Rachel (Caren Pistorius), a recently divorced mother who can’t seem to catch a break. One morning, as she’s running late to work (again), she finds herself frustrated as she’s stuck behind a stranger (Crowe) who remains stopped at a green light in the intersection. After honking at the man, she passes him and attempts to move on with her day. Enfuriated by her attitude, the man feels the need to ‘teach her what it means to have a bad day’. As a result, Rachel soon finds herself and everyone she loves have become the target of a man who is willing to stop at nothing to exact his revenge.

As the unnamed beast, Crowe ferociously lumbers around onscreen like a bear on the prowl. Throughout his career, Crowe has always maintained a certain level of seriousness in his various roles and that works to his credit here. While there are admittedly moments within Unhinged that seem ridiculous (Did this really all happen because she honked at him?), Crowe’s commitment to intensity makes him a force of nature within the film. Brutal and remorseless, his relentless rage wreaks havoc throughout the city, with little care as to who may bear witness to his wrath. In this way, sheer wildness is something that Unhinged does very well. Without giving anything away, moments of ‘predictable’ violence are often followed immediately by the unpredictable, allowing the film to mimic Crowe’s character as ‘unhinged’ in its story-telling. 

Nevertheless, the very best horror films usually have something to say about the current state of our culture in addition to the thrills and chills that they offer their audience. Whether it’s superb recent examples such as Get Out or The Invisible Man, horror is often a breeding ground to expose the fears and anxieties of our world. In this way, the great irony about Unhinged is that it feels like it has something to say yet struggles to know how.

With repeated messages about ‘road rage’ in the midst of an irate culture, the film recognizes the unhealthy anger that simmers underneath the surface of society. Tossing aside his wedding ring, there is a deep pain seething underneath Crowe’s nameless man, leading the viewer to believe that he reflects the fury of toxic masculinity unleashed. Unable to process the hurt within him, he lashes out on the first woman that (literally) crosses him. At this level, Unhinged seems to work towards some form of metaphor for the loss of masculine identity within our current culture. Unfortunately, however, the lack of motivation (or empathy) that the film provides for Crowe’s unnamed assailant works against fleshing out this idea in any meaningful way, providing less meaning to the film’s wanton destruction.

Vicious and unrelenting, Unhinged will likely satisfy fans of the genre who are looking for a story enthusiastically told with reckless abandon. Though far from Crowe’s best work, there’s a certain level of charisma that he carries within the role that keeps you interested in the method to his madness. Sadly, the chaos and carnage that the film offer do not entirely make up for the wasted opportunity to tell a story underneath that bears as many fangs as the beast that the film focuses upon.

Unhinged premieres on VOD and in Theatres on August 14th

Run This Town: A Question of Character and Consequences

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Written and directed by Ricky Tollman, Run This Town takes the viewer behind the scenes of Toronto’s political system under the leadership of Rob Ford (Damian Lewis). When Ashley (Nina Dobrev) begins her time on Ford’s staff, she is quickly taken under the wing of Kamal (Mena Massoud), right hand to the mayor and his chief spin doctor. However, as a scandal involving Ford’s private life begins to unfold at the hands of aspiring journalist, Bram Shriver (Ben Platt), Kamal, Ashley and the rest of their team must wrestle with the implications of allowing someone morally questionable to remain in leadership.

Popping off the screen with energy and style, Run This Town feels like a 70s political thriller had it been written by Aaron Sorkin. Opting to use muted colours, spliced editing and fast-paced dialogue, Tollman does a solid job of creating intrigue in a murky political battle for truth. Wisely, Tollman focuses his script on how Ford affected those around him, as opposed to Ford himself. In doing so, Town allows his young talents to show their own range as they wade through difficult social issues such as sexual assault, racism and the overall qualifications of leadership. As mayoral spin doctors, Massoud and Dobrev show great confidence in their roles while Platt plays his inexperienced journalist with courage and pluck. (Massoud, in particular, stands out as he continues to build his career after the success of the $1B success of Disney’s Aladdin.) Ironically, however, if there’s a limitation to the film’s cast, it may lie in Lewis’ performance as Rob Ford, which loses some of the nuance that made him such a complex character in the public eye.

Bound to be as divisive as Ford himself, Run This Town is an entertaining ride that feels more of a moral cousin to Reitman’s The Front Runner than Spielberg’s The Post in its willingness to blur the lines of morality when it comes to allowing people to govern. Interestingly, for much of the film, Kamal’s ability to spin Ford’s public image almost seems defensible in the face of Shriver’s inexperience. By pointing out the fact that Ford is able to ‘get things done’ around the city, Kamal—and many of the people of the city—justifies his after-hours discrepancies by arguing that everyone has the right to relax after a hard day. (After all, isn’t Ford the ‘man of the people’?) 

However, as Ford’s recklessness leads to the lines of sexual appropriateness becoming crossed, Town also points out the dangers of maintaining a culture of toxic masculinity and white privilege. With the subtlety of a wrecking ball, Ford charges through his administration with an air of superiority, failing to recognize boundaries with women on his team or the ethnicities of his own team members. In doing so, Ford’s lack of character calls into question the effectiveness of leadership when they remain out of touch with healthy diversity and the reality of the world around them. While he would have us believe that his actions for the people outweigh his mistakes, Town points out that there is a point when someone goes too far and must be held accountable for their actions. 

In this way, Run This Town speaks effectively into a culture grappling with arrogance at the hands of leadership. While willing to suggest that everyone in the public sector is broken, there still remains a certain level of accountability of character that must be maintained. While the film curiously opts to conclude with a speech about the challenges of Millennials in the job market that threatens the overall tone of the film, it is at its most effective when it wrestles with the moral murkiness of the political system. This is a film that shows well the tension between the brokenness of those who have become obsessed with maintaining the status quo and the passionate heart of justice of Millennials. In the midst of this conversation, there springs up a measure of hope that expunging the poison the past may birth something healthier in the future.

For full audio of our interview with writer/director Ricky Tollman, click here.

Run This Town tells the truth on VOD on Tuesday, April 21st, 2020.

The Way Back: The Road to Redemption

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Written and directed by Gavin O’Connor (The Accountant), The Way Back is the very human story of addiction, depression and redemption for Jack Cunningham (Ben Affleck). Once a former high school basketball star with a bright ahead of him, Jack is now washed-up, struggling with alcohol addiction. However, things start to turn around when he gets an opportunity coaching a basketball at his old high school. Unfortunately, like Jack himself, the team is a failure, struggling to get anywhere. Suddenly, it’s up to Jack do what he can to fix this team and, at the same time, fix himself so he can be on the way back to redemption.

Throughout his life, Jack has experienced nothing but failure, having turned down a basketball scholarship to spite his father, ruining his marriage, and enduring the death of his son. As a result of his broken past, Jack is severely depressed and, instead of confronting his problems, has become heavily addicted to alcohol, But, when he gets a chance to coach again at his old school, something sparks hope within Jack. In many ways, Jack sees the team as a reflection of himself and recognizes that they need to put in a lot of work if they want to move forward. As Jack trains the team and leads them on their way to the playoffs, he repeats the message that little bits of effort add up and eventually make a big difference. Just like the team he hopes to inspire, Jack doesn’t give up and puts in the necessary effort to get clean, even seeking help and getting therapy. Interestingly, this journey also parallels Affleck’s own struggle with addiction. Before the movie was finished, Affleck, who has famously struggled over the years, relapsed and caused problems for the film’s production. Mirroring the character that he was playing onscreen, Affleck sought help, moved forward for his addiction and failures and set back on the road to redemption.  no matter how many times it takes, they will try to move forward.

Overall, The Way Back was a heartwarming story of one man’s battle with addiction and his struggle on the way back to redemption. Able to draw from his own personal experiences with alcoholism, Ben Affleck does an amazing job in the role of Jack. What’s more, the film does an excellent job of recognizing the pain inherent to the road of recovery. For example, at one crucial in the film, Jack’s team wins an important game against a formidable opponent. Feeling like a conclusion, the film fades to black, allowing the audience to believe that everything works out well. However, as the film continues, the script takes a more realistic approach to the topic, highlighting the fact that recovery is never that easy. In doing so, The Way Back reminds the viewer that relapse and struggle are normal in these cases, revealing a perspective off addiction that many people don’t see. Alcoholism is not a challenge that offers a simple solution to beat it and be cured. Instead, the road to recovery is a constant battle that requires little steps of victory every day that, in the end, make big difference.

The Way Back fights its way into theatres on Friday, March 6th, 2020

Space & Time: Prone to Wander

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Directed by Shawn Gerrard, Space & Time follows academic physicist Siobhan (Victoria Kucher) and her photographer boyfriend Sean (Steven Yaffee) who realize they failed to answer key questions about themselves and their relationship. Their devotion to each other is further tested when Siobhan decides to pursue a career opportunity in Geneva that would cause them to uproot their lives and move into the unknown.

Set in Toronto, Space & Time makes good use of its location by showcasing the city as both charming and daunting. (Incidentally, I always find it somewhat refreshing when Toronto is allowed to play itself onscreen, as opposed to other major cities.) While the relationship between the two leads remains the focus of the film, Toronto itself becomes a character within the film, revealing the contradiction within the urban centre by giving it the feeling of ‘home’ and alienation at the same time. Through his interesting use of lighting and locations, Gerrard gives Toronto an atmosphere of loneliness that makes their story feel very small in a very big world. 

While the driving force of the narrative remains the relationship between Siobhan and Sean, the film seems most interested in the emotional journey of a generation that is searching for a better understanding of who they are. Solid chemistry between Kucher and Yaffee help anchor the emotional core of the film as two young adults on a journey to find themselves but fear being stuck. Gerrard’s direction wisely encourages his leads to stay more grounded in their performances, resisting the urge to push them for over-the-top melodrama. As a result, the film maintains a realism that works well in a film that wants to feel like a window into the world of modern millennials as they look to establish themselves.

As they approach their 30th birthdays, both Siobhan and Sean have reached an age where they wonder what it will mean for them to stretch themselves and take steps into the unknown. Battling questions regarding their future together, neither seems fully content in the direction that their lives have taken and they begin to question both their relationship and their own sense of self. Caught in between their love for one another and an uncertain future, Siobhan and Sean fantasize about alternate versions of themselves in other dimensions, wondering how their lives would turn out had they made different decisions. Despite the fact that their lives seem ‘settled’, their spirits continue to wander, looking for something that truly gives life to their souls. In doing so, Space & Time gives voice to those that want to feel as though their lives matter but struggle to understand what that means. Does true success mean landing the big career opportunity? Is life about finding love? Or does real purpose and value lie within one’s understanding of who they are? Space & Time doesn’t always have the answers to these questions but it is an engaging journey that isn’t afraid to ask them.

While only in limited release, there’s a charm to Space & Time that makes the piece worth a look. Strong performances by Kucher and Yaffee give the film a genuine feel that emphasize the importance of a small story in a very large city.

For audio of our interview with Victoria Kucher, click here.

Space and Time opens at the Carlton Cinema in Toronto, ON on February 21st, 2020 and continues to add theatres in subsequent weeks.

Sacred Lies: Digging Up the Past

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In the race to produce online content, Facebook was the service that I least expected to offer anything of quality. However, after solid online web series such as Limetown and Sorry for Your Loss, Facebook is beginning to fully develop their streaming content (while offering it for free, no less).  With the release of the second season of Sacred Lies, they continue their streak of intriguing material that is worth watching.

The second season of Sacred Lies continues the anthology format with a new story and new characters. Drawing inspiration from both the Brothers’ Grimm narrative, The Singing Bones, and real life murder-cases, the limited series follows Elsie (Jordan Alexander), as she attempts to unravel the mystery of her family after having been abandoned as a child. When she discovers that her estranged father, Peter (Ryan Kwanten) is alive and in prison, her visit soon leads to more questions about her early childhood and, potentially, the nature of her father’s crimes. At the same time, Elsie’s journey also brings her into the path of Harper (Juliette Lewis), a free-lance detective who has an obsessive hobby for bringing justice to unsolved murder victims

Produced by Blumhouse Television, Sacred Lies is yet another example of how they continue to grow in their storytelling. Over the last few years, Blumhouse has quickly become one of the premiere distributors for the horror genre. While their films can be hit-and-miss (Fantasy Island being an example of a missed opportunity), thankfully Sacred Lies showcases some of the better aspects of the company’s work. While the writing isn’t always as engaging as the story itself, Sacred Lies is a good example of Blumhouse’s ability to build intense atmospheric worlds with narratives that are frequently willing to venture into darker themes. What’s more, Sacred Lies features relatively solid performances from its leads, especially Alexander’s Elsie who portrays her character with both brokenness and rage. 

Without giving away any spoilers, one of the key narratives of the story involves whether or not our lives are determined by the sins of our fathers. Both Peter and Elsie’s journeys into their past forces them to engage who they are in the present. Despite her traumatic childhood, the unraveling of the mystery of Elsie’s youth forces her to work through whether her family’s secrets determine who she is today. The heaviness that has consumed her for her entire life was not her choice. However, she is left to pick up the pieces of the traumatic experiences left upon her. Similarly, Peter too is grappling with his own traumatic experiences that may or may not have influenced his own actions. As a result, both Peter and Elsie must decide what truly defines their lives—and if there truly is hope for them along the way.

In the end, Sacred Lies: The Singing Bones is neither a game-changing series nor a missed opportunity. While it struggles at times in its writing, the series itself is strong enough to recommend another trip into the darker realm of the Blumhouse. 

Sacred Lies: The Singing Bones releases its first three episodes on Facebook Watch on Thursday, February 20th, 2020 with new episodes released every Thursday.  

Ford v. Ferrari: Driven to Win

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Based on the true story, Ford v. Ferrari takes us back to the year 1966 when the Ford Motor Company was at a crossroads. Losing money and having failed in their attempt to buy Ferrari, they decide that they ultimate opportunity to turn around their company is to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France. In an effort to redesign their vehicles for racing, Ford enlists the help of American automotive designer Carroll Shelby (Matt Damon) and fearless British race car driver Ken Miles (Christian Bale). However, with innovation comes new ideas which threaten the status quo and, as a result, the two men must battle corporate interference, the laws of physics and their own personal demons in order to change history.

Shot with energy and excitement, Ford v. Ferrari feels a throwback film to the such classic ‘guy films’ as Days of Thunder and Top Gun at times. Similar to these other films, Ford v. Ferrari shoots its race sequences with vigor, intensity and fun while emphasizing the stakes at hand. Simple and straightforward in its approach, the film is entertaining and engaging with solid chemistry between its characters. Though the entire cast remains engaged throughout the film, it’s really enthusiastic performances by stars Damon and Bale that push the film forward as their brotherly bromance serves as the film’s backbone.

Given that some of his most recent work includes Logan, 3:10 to Yuma and Walk the Line, it should come as no surprise that director James Mangold continues to explores the masculine identity here as well. However, while these other examples seek to explore the complexity of the male ego, Ford v. Ferrari instead celebrate masculine intensity and competitiveness. While women in the film are held with respect, this really is a film about men looking to prove the size and power of their engines. When Henry Ford’s masculinity is threatened by Enzo Ferrari, his immediate response is to crush his enemies on their home turf of La Mans. Meanwhile, within Ford’s company, right-hand man Leo Beebe reminds Shelby who signs the paychecks by insisting that he does things the ‘Ford way’. Money, winning and power are the gold standards in this world as men scratch and claw at one another for dominance.

Christian Bale and Matt Damon in Twentieth Century Fox’s FORD V. FERRARI.

Where the film differs in this approach however is through Shelby and Miles who, although driven to prove their worth on the racetrack, get most excited when invited to create. Their purest joy comes through developing new technology and breaking barriers. Rather than being driven to win, their primary interest in Le Mans is based on breaking new barriers and showing the stodgy old regimes in power that their ideas and improvements matter. For Shelby and Miles, progress and innovation are the ultimate victory. Even though winning the competition at Le Mans is the goal, there is a freedom in their creativity that creates an almost divine sense of joy in these men that gives them life and energy. For Shelby and Miles, hope lies in the challenge of making something new, as opposed to maintaining the status quo.

In the end, Ford v. Ferrari races across the finish line with fun and fervour. While the film does slightly miss an opportunity to explore the fragile nature of the male ego, it also proves highly entertaining and engaging. As a result, solid performances and high-octane energy ensures that Ford v. Ferrari crosses the finish line well.

Ford v. Ferrari recently had its Canadian premiere at the Toronto International Film Festival and roars into theatres on November 17th, 2019.

Doctor Sleep: Facing Our [Literal] Demons

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[Caution: The following review contains spoilers for Doctor Sleep.]

A continuation of Stanley Kubrick’s classic horror movie, The Shining, Doctor Sleep takes place after the events that occurred at the Overlook Hotel and follows the now grown-up Danny Torrance (Ewan McGregor). Doing his best to live with the horror that transpired as a child, Danny is tired and beaten by life. Doing his best to forget his past, Danny drinks his problems away in an attempt to repress his ‘shining’. To Danny, his ability is nothing short of a curse, until he meets Abra, a young girl in trouble who also has the shining and is much more powerful than him. Abra needs help fighting a sinister group called “The True Knot”, a group of shining users that want to murder and leech off of others who possess the shining in order to stop their aging. Dan decides to work together with Abra to save and stop this group from continuing their centuries long murder spree. 

For most of his life, Danny lives as a drifter, travelling city to city to get by. Constantly on the run from his personal issues including the traumatic events at the Overlook hotel, Danny has become a drunken selfish drifter that lives his life by drinking his problems away, sleeping with random woman and stealing from them. When he moves to a small town on the East coast, he finally finds a community, a job, a place to stay, and seems to have overcome his alcohol addiction. However, he still has not yet dealt with the pain of his own past. For example, in one particular scene, the film takes us travels into a mental representation of the Overlook hotel in Danny’s mind. Here, in a metaphor for Danny’s locking away and repression of his personal demons, we see dozens of boxes locked up with the ghosts of the hotel. Having repressed his powers for his whole life, when he meets up with Abra as she is looking for help to defeat the True Knot group, Danny tells her to hide and to stop using her powers altogether. 

Eventually, Danny must visit the Overlook Hotel and face the source of his trauma and even confront the ghost of his father, Jack. In doing so, Danny finally has the opportunity to challenge his father, venting his years of anguish as a result of his father’s actions. Given that his alcohol addiction remains a big internal conflict for Danny, his confrontation with his father helps him realize that his addiction was a result of him trying to relate to Jack, the father he used to look up to. When Jack offers Danny a drink, calling it ‘medicine to get on with life’, Danny is forced to choose between his sobriety and submitting to his own demons. 

Ironically, this scene is just one that parallels Jack’s story arc in the original movie. Like his son, Jack was also someone struggling with addiction, a tortured soul trying to survive. (In fact, at one point, Danny even becomes possessed by the same spirit of the hotel that possessed his father, attacking Abra with an axe and chasing her throughout the hotel.) However, unlike Jack, Danny is able to overcome the ghost, allowing him to finally move on from his father. Later, Danny even comes to realize that he was wrong about the shining and that it is a gift that should be used openly and embraced.

Doctor Sleep is a great sequel to The Shining. Picking up in modern times and giving science to the shining ability, Sleep becomes more of a thriller/superhero movie than the horror of the original. In fact, the film is a great redemption story to the broken Danny, who has become a grizzled old man who is broken and struggling with addiction. He’s also a great contrast with his partner Abra, an optimistic preppy young girl that looks forward to the journey they’re set on. Doctor Sleep also hits the nostalgia factor by referencing the iconic lines, locations and ghosts from the original movie. Overall, I recommend Doctor Sleep, the long-awaited sequel is an exciting thriller that does justice to the original movie.

Doctor Sleep scares its way into theatres on Friday, November 8th, 2019.

Harriet: Leader to Freedom

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Harriet Tubman was an incredible woman and remains an important part of our history. Born Araminta “Minty” Ross, and later changing her name to Harriet Tubman (inspired by her mother and husband), she would ultimately be nicknamed “Moses”, a leader to freedom. A conductor of the Underground Railroad, she not only escaped slavery herself, but is responsible for freeing approximately 70 other people. She was a vital player in the fight to abolish slavery in the American Civil War, acting as a cook, nurse, spy, and was the first woman ever to lead an armed assault. With that said, I was shocked to learn that Harriet (directed by Kasi Lemmons) is the first feature film made about this exceptional woman.

Harriet was able to tackle the enormous task of retelling a crucial story in history so successfully that I believe this film could (and should) be shown in classrooms around the world. This film is simultaneously real and emotional yet has an incredible hopefulness to it. I can still see Harriet (Cynthia Erivo) holding her hands up to frame the rising sun as she steps across the border to freedom for the first time. She wove her desperation into determination, proclaiming “Imma be free or die”, and did everything in her power to succeed.

Cynthia Erivo effortlessly embodies Harriet Tubman in such a special way. If her performance wasn’t telling enough, she brings her gorgeous voice to the role, highlighting various songs from that time period, which often acted as secret messages to other slaves. Just try not to have chills during the trailer of this film as “Farewell Oh Farewell” plays.

Painted across stunning landscapes, Harriet reproduces impressive costumes of that time period, and takes advantage of light and dark to convey emotion.

The only slight misstep was the story line surrounding Harriet’s visions from God. Harriet was known to be very religious, claiming to have had vision from God, and crediting Him for guiding her through her successful escape and subsequent missions. Although this was imperative to the story, I felt that, closer to the end of the film, they started feeling more like psychic premonitions rather than the voice of God. (Even so, this didn’t detract from the overall quality of the film.)

As a human being, I can barely find the words to express my gratitude to Harriet Tubman for her valiancy and single-handedly shifting the trajectory of history. As a woman, how do I convey my sheer inspiration? How do I convey my thanks for her role in my right to vote? Harriet Tubman was a down right warrior and I don’t want to begin to think where we would be without her.

“I made it this far on my own so don’t you tell me what I can’t do.”

Greener Grass: Suburban Lies and Desperate Housewives

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In the most unique comedy of the year, Greener Grass takes the viewer into the heart of a demented yet timeless suburbia where perfection is idealized but never truly attained. The film follows the story of Jill (Jocelyn DeBoer) and Lisa (Dawn Luebbe), two soccer moms and best friends that struggle to keep up with the competitive middle-class atmosphere. Though both women are married with children and live in beautiful homes, they find themselves caught up in a world where everyone believes that they can do better.

Written and directed by Jocelyn DeBoer and Dawn Luebbe, Greener Grass is a wild comedy with the visual sensibilities of Wes Anderson and the quirkiness of David Lynch. Set in an otherworldly vision of suburbia where all the women where braces and everyone dresses in pastel colours, DeBoer and Luebbe have created a world that twists itself into knots repeatedly. Through its willingness to dive into the bizarre, the film presents a number of stereotypical storylines in the most atypical of ways. (For example, in a different twist on grieving the loss of a child, Jill struggles emotionally after she randomly gives her new baby to her friend simply because she doesn’t have one.) In Greener Grass, multiple issues ranging from coming-of-age to stalking to midlife crises all find themselves onscreen yet upended in bizarre (and often hilarious) means. 

This dream-like depiction of suburban life highlights what happens when no one is satisfied with the things that they have been blessed with. Though Jill and her husband Nick (Beck Bennett) love their son, they feel that he doesn’t live up to proper standards. Frustrated by her sex-life with her husband, best-friend Lisa yearns for Nick. (In fact, recognizing that her own life is lacking, one character is even interested in becoming one of her acquaintances.) In this world, every character is dissatisfied with their circumstances and are looking over their shoulder to find something else. However, while those around her attempt to manipulate Jill into conforming to their ideals, Jill finds herself torn between society’s standards and her own self-acceptance. In doing so, Greener Grass highlights the damage that can be done to relationships when someone becomes obsessed with their materialistic or selfish heart. While it has been said that ‘no one can serve two masters’, this is world has only one: “more”. Here, happiness comes when you have what the other person has, no matter the toll it takes on your family or your soul.

In the end, Greener Grass is a surprisingly smart comedy that revels in its bizarre sensibilities. Smartly written by DeBoer and Luebbe and visually gorgeous in its colour coordinated world, the film is absolutely self-aware and knows what it wants to say from the outset.

Greener Grass opens at the TIFF Bell Lightbox on Friday, October 18th, 2019.

Philophobia: Stepping into the Future

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Set in the rolling hills of the English countryside, Guy Davies’ Philophobia is a picture of small-town adolescence. With only one more week of high school remaining, Kai (Joshua Glenister), an aspiring writer, and his friends are both excited and terrified about what lies ahead. As the clock ticks down on their school experience, the teens must wrestle with their awaked sexual desires and new battles with power in ways that may leave them all changed forever.

Written and directed by Guy Davies, Philophobia is an interesting coming-of-age film that balances the realities and fantasies of adolescence. As one of the key moments in the lives of every teen, Philophobia shows much of the angst, confusion and fear associated with the end of high school. Engaging performances from its cast of youth serve as a window into the heart of an age where teens are caught between the life they have known and the life they have not yet discovered. What’s more, by telling the story primarily through the mind of Kai, Davies allows himself the freedom to move back and forth between the situations that every teen faces and the images and dreams that they harbour in their minds. What’s more, stemming from his own personal experience, Davies’ film also captures the contradictory nature of small-town life by highlighting its intimate nature but also its suffocating environment. As such, the film wisely maintains a small scope with huge implications on the horizon.

For Kai, the biggest questions involve the future but not only for his career and future job opportunities. By emphasizing the gap between youth and adults, Philophobia effectively underscores the difficulties of growing up when young people are lacking in mentors. With few strong male role models in his life, Kai’s heart questions the very nature of masculinity. Yearning for the (literal) girl next door and bullied by her boyfriend, Kai wonders what it means to be a man. Caught between youth and adulthood, he wrestles with issues of power, sexuality and simply balancing fun and responsibility. As he navigates these difficult questions, few adults seem to understand—or are even interested in—his journey, despite his obvious search for role models. (This also is shown through Davies’ recurring motif of a mysterious stag that mysteriously appears in the distance during moments where Kai needs guidance.) 

Due to this sort of emotional neglect, Kai and his friends are left adrift in a sea of confusion to discover for themselves who they want to be. As a result, there remains an intrinsic sadness within this coming-of-age tale that speaks to what happens when adults lose sight of the seriousness of the challenges of youth and cease to listen to their issues. To these adults, love and patience give way to telling them to ‘follow the rules’ and, in the process, the youth become further alienated. (To be fair, there is at least one male teacher who cares about Kai’s future and well-being, even if his encouragement is fleeting at best.)

Philophobia may mean the fear of falling in love but, in the end, the film demonstrates most clearly the fear of stepping into the future. Torn between teen and adulthood, Kai and his friends wonder what life has in store for them and what it means to lean into the unknown. However, without caring support from adults who have experienced this transition themselves, this moment in time can be much more difficult.

To hear audio of our interview with writer/director Guy Davies, click here.

Philophobia debuted last night at Heartland International Film Festival and will also screen at the San Diego Film Festival on Thursday, October 17th, 2019.