ScreenFish

where faith and film are intertwined

Reviews

Rise: Another Disney Slam Dunk

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Perhaps some of the more unsung heroes of Disney’s cinematic canon are their inspirational sports stories.

While they’re primarily known for their animated features, nature documentaries and fantasy-adventure films, Disney has always been able to find inspirational stories in the world of sports. Without even scratching the surface of their vault, films like Remember the Titans, Miracle, Queen of Katwe and Glory Road have become classic tales of young people who have been changed by the experience of competition (and even, in some cases, have changed the world as well).

Rise fits very neatly into this tradition. 

(L-R): Yetide Badaki as Vera and Dayo Okeniyi as Charles in Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Set primariliy in Greece, Rise tells the amazing true story of the Antetokounmpo brothers who came out of obscurity to dominate the NBA. When Charles and Vera Antetokounmpo emigrated from Nigeria to Greece, they dreamed of a better life for their family. However, despite their passion for hard work, they struggled to garner citizenship and lived every day under the risk of deportation. Living from paycheque to paycheque, their children found solace on public basketball courts. Although they had no experience playing the game, the Antetokounmpo boys soon discovered their natural giftings and looked for ways to use their talents to help their family.

(L-R): Ral Agada as Thanasis Antetokounmpo, Dayo Okeniyi as Charles Antetokounmpo, and Uche Agada as Giannis Antetokounmpo in Disney’s live-action RISE, exclusively on Disney+. Photo by Patrick Redmond. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Telling the story of Antetokounmpo brothers and and their ascension to NBA dominance, Rise is an incredible story of resilience that absolutely charms. Directed by Akin Omotoso, the film knows the power of storytelling inherent within the world of sports and uses it to its advantage. Slow motion shots at the buzzer, practice in the rain and battles on the court all bring the action to life with suspense and drama. (Ironically though, the final scenes at the NBA Draft may hold the most solid dramatic tension, even if we already know the outcome.)

Even so, instead of focusing on a particular ‘big game’, Rise primarily spends its time with the Antetokounmpo family as they fight together to survive. As Charles and Vera fight tirelessly to support their family financially, so too do they want to support their children in their dreams. With barely enough money to pay the rent, their boys find their inner spark on the basketball court. Nevertheless, Charles and Vera remain nervous of their endeavours. But their initial apprehension to the boys’ love of basketball is rooted in their desire to protect them from exposure, rather than to selfishly prevent them from enjoyment.

(L-R): Yetide Badaki as Vera and Dayo Okeniyi as Charles in Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

And the fear of exposure is justified.

Due to their undocumented status, the Antetokounmpo family lived under a constant dread. Having witnessed the police tear immigrant families apart themselves, they understood the risks of being discovered. While Charles and Vera fought to make their residency legal, they simply continue to run up against an endless stream of roadblocks and red tape. Unable to find work without legal status (and unable to get legal status without work), they are only able to make ends meet by selling sunglasses to tourists and taking on odd jobs. In this way, the film highlights issues that are far greater than whether or not Giannis understands his basketball fundamentals. Instead, Rise cries out for the poor and impoverished who are attempting to start new lives in a foreign country. 

Interestingly, there’s also a deeply rooted faith that strengthens the Antetokounmpo family as well. Despite everything that they’ve gone through, Giannis‘s mother holds fast to her belief that God has a plan. (“God makes no mistakes. Give it your all and let God do his work,” Vera encourages.) To her, even the darkest of moments can provide blessings by the end and this gives them boundless hope throughout the process.

In some ways, it’s a shame that Rise has gone straight to Disney+. With its passionate heart, incredible story and solid performances, this is a film that actually deserves to be recognized onscreen as opposed to an unknown property that people scroll past while looking for Pixar material. With an eye on justice, Rise inspires with joy and enthusiasm that should please the whole family. Quite simply, there is an affectionate heart within this film which is contagious.

In other words, it is definitely a slam dunk.

A scene still from Disney’s live-action RISE, exclusively on Disney+. Photo courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Rise is available on Disney+ on Friday, June 24th, 2022

The Long Rider: The Long Journey Inward

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They say that life is more about the journey than the destination. But sometimes, that journey is far longer than expected.

Directed by Sean Cisterna (From the Vine), the new documentary The Long Rider tells the story of Filipe Masetti Leite, a young man with an epic quest. Leaving his adopted home in Calgary, Alberta, Leite decides to ride on horseback to his family home in Brazil. Inspired by Aime Tschiffeley’s 1925 equestrian trek, Leite embarks on a journey that will take him over 25,000 kms across twelve international borders as he attempts to reclaim a piece of himself and his family.

In The Long Rider, Cisterna tells the story of one man’s attempt to step into his own life in a unique and powerful way. Interestingly, he chooses to frame the film in such a way that we already know the ending before the ride begins. By opening with Leite’s final arrival, Rider emphasize the power of one man’s journey as opposed to simply whether or not he accomplishes his goal. In essence, because we know that he survives his trek, what becomes most essential to the viewer are the things that he discovers along the way. 

With an almost mythological history behind it, the long rider tradition is one that dates back thousands of years. As such, Leite’s journey connects with cultural narratives that we simply don’t hear about any more. From settlers to warriors, the ‘long rider’ lifestyle feels like the last ghost of a time long ago. (In fact, Leite even points out that, ‘the dog may be man’s best friend but horses helped write history.) In this way, his expedition actually feels as though it claims (and earns) its own corner in the fabled history of humanity.

And what a journey it is.

As Leite ventures out into the wilderness, one can’t help but be riveted by his adventure. Fearing for his life, he navigates around potential drug runners, speeding transport trucks, rough terrain and the elements as he attempts to survive the unknown. (While we know he survives, in the moment, he does not know if he will.) But The Long Rider isn’t just one man’s attempt to take his place in history. 

Instead, it’s a story of one man’s desire to discover his own history. 

Disconnected from his home and family, Leite’s travels are about self-discovery. Left alone with his thoughts, this experience leaves a mark on his soul that allows him to reflect on the things that matter most to him. He yearns for the community and relationships that have supported him throughout his life. (“Life is meant to be shared,” he points out.) He wrestles with the meaning of ‘home’ and how it has shaped him. With each step forward, Leite increasingly realizes that one of his greatest challenges is to wrestle with himself.

In addition though, Cisterna doesn’t just end his story with Leite’s arrival. In fact, some of the most interesting parts of the film lie after the adventure has been completed.

Without giving any spoilers, the question of what happens after he reaches his destination looms large within The Long Rider. Struggling to adjust back into everyday life becomes more difficult than he anticipates. As a result, it becomes increasingly clear that, while his trek across continents may have been completed, his personal journey is just beginning. 

With a heart for adventure that speaks to the soul, The Long Rider is a fascinating trip. Although his expedition is unlike any other of this generation, this is not the story of a man attempting to achieve greatness. Instead, it becomes the story of a man attempting to rediscover a piece of himself amidst the great unknown.

The Long Rider is available in Toronto theatres on Friday, June 24th, 2022 and expands on Friday, July 1st, 2022.

The Black Phone: Answering the Call to Fight Back

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

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

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

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

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

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

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

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

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

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

Elvis: Spectacle, Swinging Hips and Singing a New Song

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Elvis always could make a spectacle.

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

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

And that’s precisely the point.

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

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

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

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

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

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

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

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

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

Slash/Back: Hunting for Heritage

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

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

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

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

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

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

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

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

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

Stay Prayed Up: Singing for Joy

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

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

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

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

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

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

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

A Man of Integrity – Can ethics survive?

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“Life teaches everybody. Some learn quick, others slow. Some learn too much, others not enough.”

Iranian filmmaker Mohammed Rasoulof tells stories that deal with trying to live an ethical life in a less than conducive setting. A Man of Integrity shows the difficulty one man has in trying to live as he feels is right, when everything is built on corruption. Can he stay true to himself and still survive, or must he become the very thing he hates?

Reza (Reza Akhlaghirad) has abandoned the city for what should be a simpler life as a goldfish farmer in rural Iran. He is a man of principle. A man at the bank is willing to help him with his debt (which would require greasing the palm of various managers). Reza instead brings money to pay off the loan and penalties. He would rather pay more that pay a bribe. But such bribery is the way of life in his society.

The Corporation that controls everything in his area wants his land, and will interfere with water and will even get him jailed if he stands in their way. He could make some deals, and get powerful friends, but he doesn’t want to be part of that system. His wife Hadis (Soudebeh Beizaee) is more pragmatic. She views his stand as prideful. She begins working to save their life together. She is not afraid to use intimidation and power in the process. Little by little the corrupt system erodes Reza’s world and he eventually must act to set himself free—even if it means he must use the same methods that the Corporation has used against him.

This film premiered at Cannes in 2017. Rasoulof’s 2020 film There Is No Evil also has a theme of the corruption of the soul by an immoral system. The latter film, while still dark, has a much more hopeful view of whether people can bring change. In this film, although Rasoulof says in production notes that he wanted to write a hopeful story, the film has a very dark conclusion that shows that sometimes even when we win, the cost may be more than we can bear.

It is always tempting to see films such as this as a condemnation of a tyrannical regime. It is in part. Of the six films Rasoulof has made, none has been able to be seen in Iran. Rasoulof has also be sentenced to time in jail, although to date that hasn’t been enforced. The censorship in his homeland is a part of the corrupt system that he seeks to expose through his films.

The film should also be seen as a universal story of how difficult it can be to live out our ethics. We may wish the world were a moral place, but more often than not we will be disappointed. How will we respond when our own ethical stands go against the prevailing amorality of the culture around us? Politics, business, even (sadly) the church are all too often driven by ideas that we know are the way things work, but go against our core principles. Can we stand up to such a world? Or will we bend beneath the weight of its burdens?

A Man of Integrity is in select theaters.

Photos courtesy of Big World Pictures.

Kicking Blood: Kicking the Habit

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“You gotta kick at the darkness till it bleeds daylight” – Leonard Cohen

To be fair, Cohen’s words were likely never meant to connect with vampire films. But they certainly apply to Kicking Blood.

Kicking Blood tells the story of Anna (Alanna Bale), a young vampire who must feed on the blood of others to survive. Together with her brood, they feed nightly off of toxic men and thrive off the high they feel after doing so. However, when she meets a humble alcoholic named Robbie (Luke Bilyk) who tries to get clean, Anna begins to wonder if she can kick her own habit of consuming blood as well, even if doing so could kill her.

Directed and co-written by Blaine Thurman (The New Pornographers), Kicking Blood has a surprising amount of bite to its story. Tightly the written and executed, Blood may be brief but also has something to say. Clocking in at a paltry 75 minutes, Thurman’s film takes a much more metaphorical approach with its storytelling. Although the film fully leans into its horror elements, Blood is equally as interested in exploring the trauma of abuse and its relationship to addiction as well. In this world, death is a dark and mysterious place… but what does it mean to live? Is it possible to begin again when what came before is so broken? These are the questions that are embedded within Thurman’s tale of blood that make it worth exploring.

At first, Blood feels very much like revenge film. As Anna chooses her victims, we quickly notice a pattern beginning to form. Each prey that she targets has been some form of predator. Whether adulterous or abusive, each of Anna’s victims reveals their sins. As such, she appears to justify her kills as an act of vengeance against the darkness of man. (Who’s going to miss men who have hurt others like that, right?) In this way, her feedings are given shades of justice as she fights on behalf of those who have been hurt. If these victims cannot stand up for themselves, she will do it for them.

When she meets Robbie though, things begin to change. Broken by alcoholism, Robbie is ready to die and suggests that he is willing to let Anna take his life. However, in doing so, she sees something different in him. His humility and repentant soul are different than the other men that she has fed upon. In this way, there’s a complexity within their relationship that complicates this tale of vengeance. As Anna’s instinctive desire to feed battles a burgeoning compassion, suddenly she struggles to bring herself to end his life. 

Unlike the others, Robbie may worth saving.

However, her experience with him also begins to show her things about herself. It’s here that Blood’s metaphor begins to shift. Whereas once feeding took on an element of justice or revenge, now it seems to point to addiction. For Anna, her desire to inflict violence masks an inner rage that she carries within her. While each kill may be necessary for her to live, it also gives her an energetic high that keeps her going. Even so, her experience with Robbie challenges her to choose a new path for herself. While her friends feed for the rush, Anna decides to try and break free from the painful pattern that rules her life.

Whether or not that’s possible for her is another story.

Dark and edgy, Kicking Blood makes good use of its runtime to prove its point. Using vampires as a metaphor for addiction and abuse, Blood takes one of the darkest of classic villain tropes and uses it to explore what it takes to find hope and healing at a time when it feels most elusive. 

After all, as the man says, when darkness falls, Blood reminds us that we can kick against it.

Kicking Blood is available in select theatres on Friday, April 15th, 2022.

Triple Threat: Three Times the Love

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Broadway doesn’t always work onscreen.

Even though there can be something magical about live theatre, that doesn’t necessarily translate (Cats) into big screen success. Nevertheless, when it’s done well, there’s a certain charm that can burst forth, no matter its medium. Thankfully, the new musical Triple Threat is closer to the latter than the former. While it doesn’t quite reach the bright lights of Broadway, Triple Threat has a charm and energy that remains infectious.

In Triple Threat, the dream of creating the next Broadway smash firmly in view for artists Chloe (Stacey Maltin), Maggie (Margarita Zhitnikova) and Gus (Jay DeYonker), who have together tirelessly for a decade. After years of grinding away, their original production ‘Firefly’ finally seems ready for the big time. Now, as things are beginning to come together, Jay decides that he wants to father a child with his friends. With Chloe donating an egg and Maggie willing to serve as surrogate, the three begin a journey to make Gus a father. Nevertheless, as the challenges of bringing ‘Firefly’ to Broadway continue to grow, the three must navigate the ongoing changes in their lives with the never-ending pressures of success.

Directed (and co-written) by Stacey Maltin, Triple Threat is a a love letter to Broadway. While its young stars do a wonderful job in their respective roles, the story here truly is the music. Featuring some truly wonderful musical numbers, the film has a joyful pop to it that stays with the viewer after the credits of rolled. (The film’s signature tune, ‘Fireflies’, alone is worth searching on Spotify.) In some ways, the film feels like Rent for the modern age with its celebration of the bohemian lifestyle of New York’s theatre district and an acknowledgement that everyone needs to follow their dreams. Although the film admittedly has a few rough moments story-wise, the passion and heart of the film help cover over any major issues to offer the viewer a unique and fun experience that’s worth checking out.

However, Triple’s best aspects is its willingness to flip tropes on the viewer. The story of a woman forced to choose between career and child rearing is a story that we’ve heard many times before in Hollywood. By flipping genders though, the film feels fresh, especially considering the fact that this is between three people, as opposed to the traditional couple. As a result, this non-traditional family feels more current in our constantly changing and growing culture. 

As each member of the ‘throuple’ attempts to navigate the complexities of their situation, the film seems to become about what it means to give up one’s ‘baby’. As Gus attempts to prepare for the child on his own, so too must the other women in the relationship figure out their place in this unique relationship. Whereas Maggie wishes to help with the babies naming, Chloe is unsure about her position in the relationship either. To Chloe, she has her own ‘baby’ to worry about in the form of her play. Similar to Gus’ desire to create something (well… ‘someone’) for himself, so too does Chloe’s play represent her life’s work. Nevertheless, that dream continues to be infringed upon by its producers who want to change it from her original vision. As the two storylines unfurl together, their similarities create a surprisingly wonderful tension that often works well within the film. 

As such, the deepest salvation in the film comes in the form of grace and community. What does it mean to raise a family together when the world is constantly in flux? This question lies at the heart of Triple Threat and shows the humility and trust that is required to make love work. Interestingly, one of the film’s most resonating lines comes in the form of what it means to find their inner light. Everyone wants to find the thing that sparks their soul, whether it’s love, work, creativity or simply being who you are. However, at the same time, Triplereminds us that there’s a balance involved. While all of us need to tap into the pieces of our soul that gives us life, so too must we work together to create loving community with those around us.

Fueled by fun, some enjoyable character stories and, of course, the music, Triple Threat is a joy worth experiencing. This is a film about taking risks in life and love but, most importantly, leaning into the light that wants so badly to spark within us.

Triple Threat premieres in New York City on Tuesday, June 22nd, 2022 and the soundtrack is available now on Spotify.

Monster Mondays: Jurassic Park III (2001)

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

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

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

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

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

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

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

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

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

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

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