ScreenFish

where faith and film are intertwined

Reviews

Nope: Say Yes to Nope

by Leave a Comment

Jordan Peele has come to dominate the comedic horror genre. 

Bursting out of the gate with Get Out and Us, Peele has established himself as one of the great voices of this generation. Now, with the release of Nope, Peele continues his trend of creating original and inventive sci-fi horror that subverts them our expectations with thought-provoking surprises. 

Set on a vast secluded desert range in California, Nope tells the story of OJ and Emerald Haywood (Daniel Kaluuya and Keke Palmer). After their father is killed in a freak accident, the two siblings are left to deal with the horses that they train for use in Hollywood films. However, mysterious things keep happening on the ranch. The power goes out, horses go missing, and debris falls from the sky. However, when the OJ and Emerald suspect that there’s an unidentified flying object in the sky, they become determined to get photographic evidence of this alien ship and prove to the world that there are life forms that are Not On Planet Earth.

Anchored by a tremendous cast, Nope is more than just pure spectacle. Featuring solid work from Steven Yeun, Michael Wincott and Brandon Perea, the film feels almost plausible due to the strength of their work. Nevertheless, the best performances comes from Kaluuya and Palmer. Having worked together on Get Out, Peele understands how to bring out the best in Kaluuya and that is certainly the case here. As the heavily burdened OJ, Kaluuya brings a confidence to the role that grounds the film. However, at the same time, Palmer absolutely shines as well, bringing a liveliness on screen that contrasts Kaluuya’s gravitas. 

Classic sci-fi films often identify aliens as technologically-advanced sophisticated beings and, without spoilers, Peele brings his own unique spin to the genre. In this way, Nope is also a great love letter to old school Hollywood filmmaking, and acknowledges the role of the black community within that space. However, while both Get Out and Us have contained messages about social injustice within the Black community, Nope takes a slightly different approach. By using sci-fi tropes as his backdrop, Peele creates a film which both celebrates and satirizes our obsession with celebrity culture.

Although their family has been involved in Hollywood for generations, the Haywood family remains relatively unknown in the world of movie-making. When they realize that footage of the potential invaders could bring them mega-stardom, OJ and Emerald fight to get the perfect shot, risking their lives in the process. (After all, this is their chance to get on Oprah.) In fact, everyone in Nope seems to wants their shot at glory. Clinging to his time as a child star, Ricky proudly reminds people of his former fame and accomplishments. Hollywood director Antlers Hoist (Michael Wincott) wants to leave his mark on the industry which has relegated him to commercials. Even minimum wage tech-employee Angel can’t help but look for something more. 

But, as Hoist reminds, the fame isn’t always worth it. And it comes at a cost.

Whether it’s Ricky’s tragedy on set or the endless stream of casualties at the hands of their alien attackers, those who choose to stare too deeply into the eyes of fame find out first-hand how quickly things can go sideways. Coming at a time when celebrities fall from grace on a daily basis, Nope highlights how easy it can become to broken by the sheer carnage around us. While the film doesn’t entirely demonize those who have done wrong—look for the ‘fist bump’—it does remind us of the danger of toxic celebrity. Allegations, scandal and controversies on social media dominate the news cycle, creating a proverbial dark cloud over the industry. (Note that Peele even named his main character ‘OJ’.) These shadows can weigh heavily on us, especially if we spend too much time focusing on upon them.

The more you stare into the abyss, the higher chance there is of you getting sucked into it.

With even film, Peele continues to show that he understands what it takes to elevate sci-fi horror beyond thrills and chills. While the film is slightly more difficult to decode than his previous efforts, there’s no doubt that Nopeis another win for the director. Fueled by fun and fury, the film provides all the necessary scares but also provides solid social commentary through sharp writing.

In other words, Nope is worth saying yes to.

Nope is available in theatres on July 22nd, 2022.

Come Back Anytime: Where Everybody Knows Your Name

by Leave a Comment

Come Back Anytime may take place in a small Japanese restaurant but its having a big impact.

Directed by John Daschbach, Come Back Anytime is a documentary about legendary ramen master Masamoto Ueda. For over forty years, Ueda has been perfecting and serving Tokyo-style ramen in his little establishment. Beloved by his neighbourhood and patrons, Ueda has created more than a delicious dish. He’s created a loving community.

Come Back Anytime is more than just a tale about fine Japanese cuisine. It’s the story of one man’s desire to take one thing and do it well. Masamoto Ueda is a man of simple tastes and desires. His goal is merely to do what he loves and do it to the best of his ability. What’s more, Ueda amazingly simple keeps things simple. Where is some restaurants seek to overwhelm you with choice, Ueda instead simply does what he does. Focusing almost exclusively on Tokyo-style ramen, his small restaurant has made a name for itself by perfecting the delicacy. 

And he is very good at it.

With endless footage of him creating his delicious dishes, Daschbach highlights the beauty of Ueda’s creative impulses. Although the viewer cannot taste the food onscreen, Anytime activates the senses. From the subtle spice of the soup to the sliced scallions and tofu, everything about Ueda’s meals seems delightful and delicious. They are created with love and it shows in every bowl.

With a deep passion for his artistry and customers, Ueda seems like a fascinating man who works tirelessly. However, he too has a past. As we learn some of the stories that brought him to this location, we realize that he was very much a man in need of a second chance. Weighed down by gambling debts, his life was quickly spiraling out of control until an act of grace helped him to survive. Underneath the stunning food, there is a powerful redemption story that undergirds the restaurant’s atmosphere.

Looking for a new beginning, ramen came to the rescue.

However, Come Back Anytime is not merely the tale of the chef. Instead, the real story of Anytime seems to be the restaurant itself. Although far from flashy—he does prefer simple, after all—this quaint little eatery is less a place that you visit and more a place where you stay. Even though its guests are paying customers, they are also family. In some ways, the restaurant feels reminiscent of the famed ‘80s sitcom Cheers where, every night, customers enter because this is where they feel safe. 

Like Cheers, this a place where everyone knows your name. 

There’s a beauty about this little establishment where community is created by deliciousness but sustained by safety and care. For example, one customer states that, as soon as she enters the building, her favourite drink awaits her at her table. Ueda knows his customers and they know him. To them, this is a place of sanctuary and recognition. While it may seem strange, it’s this sense of community that keeps them coming back, almost as much as the food itself. (Actually, it’s entirely possible that Ueda’s own redemption story helps play into this atmosphere as well. Like his patrons, he too desperately needed the opportunity to be supported during troubled times.)

As a result, the charm of Come Back Anytime stems beyond the man and his meals. While it is always incredible to see a craftsman create something that blesses others, Anytime emphasizes the warmth of an business that brings joy to all who walk through its door. In this way, Ueda has made something far more beautiful than the very best of meals. He’s made a home for anyone who chooses to enter. 

And it makes the viewer want to visist there so that he might know your name as well.

Come Back Anytime is available in theatres on Friday, July 22nd, 2022.

How to Please a Woman – An intimate comedy

by Leave a Comment

“I’m not sure I know how to please a woman.”

“If you can say that, you’re a better man than most.”

How to Please a Woman, written and directed by Renée Webster, is a risqué comedy about women being given a voice in their own lives. In the process it exposes some of the unspoken societal differences between expectations of men and women. It also opens possibilities for better understanding of the meaning of intimacy.

Gina (Sally Phillips) is turning fifty. Her job is being given to a younger, more buxom woman. Her husband is dispassionate and distant. For her birthday, one of her friends hires Tom (Alexander England), a male sex worker who offers two hours of whatever Gina wants. She asks him to clear her house, which he does with his shirt off.

Alex England as TOM & Sally Phillips as GINA, How To Please A Woman – Photograph by David Dare Parker

When she finds out Tom’s day job is a moving company she knows is being liquidated, she buys the company thinking she can revitalize it by offering beefcake housecleaning as a side hustle. Women love the idea, but soon they want more than just beefcake. The business evolves into one in which “the cleaning must be effective and there must be a minimum of one orgasm.” Obviously, some training will be needed—in both aspects of the job. Also, it requires Gina to interview the women booking the service in order to understand what each wants and needs. It also makes Gina look at her own unhappiness and come to terms with her own needs and desires.

There is a certainly a reversal of roles in this story. It’s not just that the sex workers (and housecleaners) are men. It is also a recognition that women are sexual beings. Housework in the film represents the oppression that ties women to the home—even if they have another job. To have men do their expected work frees the women to enjoy other parts of their life (here, a sex life).

Ryan Johnson as ANTHONY, Josh Thomson as BEN, Alex England as TOM & Erik Thomson as STEVE, How To Please A Woman – Photograph by David Dare Parker

There is also some insight into the sexual nature of male privilege. When Gina mentions to her workers that at lease one orgasm is required, one of the men asks if his orgasm doesn’t mean at least two. But he’s told his orgasm doesn’t matter. Women have often been given that idea about their own satisfaction.

One scene that struck me as exemplifying the gender differences is when Gina is being questioned in a police station (she doesn’t have a license to operate a sex business), the male police officers have a hard time understanding the concept. But the women officers are filling the room to watch the interview—all with smiles.

It should be pointed out that prostitution is by its nature prone to abuses. This film does not address those dangers. But it does at times allow us to see the objectification that often takes place between people, especially in sexual situations. However, the story tries to move past that objectification to make a point that intimacy requires knowing what another person wants.

Hayley McElhinney as HAYLEY, Tasma Walton as MONIQUE, Sally Phillips as GINA & Caroline Brazier as SANDRA, How To Please A Woman – Photograph by David Dare Parker

It is here that Gina’s discovery of her own needs comes into play. Steve (Eric Thomson), the former owner of the company, isn’t comfortable doing the sex work. He stays around to keep things orderly. Being the same age as Gina, the two seem a natural match, except for their marriages. But they are also both essentially alone. They too will learn that listening and openness is what makes for intimacy and joy.

How to Please a Woman is in select theaters and coming soon to VOD.

Photos courtesy of Brainstorm Media,

Fire of Love: Heat, Humility and Home

by Leave a Comment

Even in the most desolate areas, love can spark.

Beginning in the 1960s, Fire of Love is a new documentary that tells the incredible story of Katia and Maurice Krafft, two volcanologists who found love in one another’s arms. For over twenty years, the Kraffts travelled the world, examining eruptions and chronicling the wonders set before them. Although they passed away in 1991, the work that they accomplished helped change the way we understand the natural world.

Following the journey of Katia and Maurice Krafft, Fire of Love is the beautiful and tragic tale of one couple’s determination to solve the mysteries of the universe in the most dangerous of places. Directed by Sara Dosa, the film uses archival footage to piece together a loving portrait of the couple, chronicling their relationship from beginning to end. While the details of their first meeting remain a blur, their story is well documented. Drawn together by their mutual passion for geology, they spurred one another on to become the world’s leading volcanologists. 

Although their personalities clashed at times, there is a warmth and affection between the two that anchors their story and fuels their work. (And this is the most dangerous of work, with the potential of either of them disappearing at any time.) Maurice is seen here as a bold man, willing to explore anywhere yet also rarely thinking of the consequences of his actions. (For example, despite the dangerous terrain, Maurice takes the time to literally fry an egg on the ash.) Meanwhile, Katia is shown to be wise and thoughtful, yet often concerned about her husband’s antics. Even with their differences however, their relationship is one of mutual support and care. 

Even in the midst of destruction, they’ve found a home with each other.

In fact, the visuals add to the uniqueness of the story. By emphasizing footage of the bubbling magma from the earth, Dosa highlights the sharp reds that penetrate the shadowed blacks and greys of the terrain. In the midst of this desolation, there is heat that has the potential to change everything. The footage is remarkable and one can almost feel the heat as it emanates onscreen. (Incidentally, Dosa also seems to use this imagery to mimic the relationship between the Kraffts, a couple that live boldly on the edge of desolation yet the spark of their love stands out amidst the emptiness.) 

Katia Krafft wearing aluminized suit standing near lava burst at Krafla Volcano, Iceland. (Credit: Image’Est)

However, what is most striking about the couple is their humility before the natural world. While there are those who may have disagreed with the risks they took together, they are simply enamored by the force of nature that stands in front of them. For instance, at one point, Katia speaks about the power they bear witness to and the humility that it forces them to feel.) They do not tread arrogantly into their experiments but out of respect and admiration for the forces before then. Standing at the edge of nature’s wildest offerings, they know that they are at the mercy of the elements. There is a recognition that man is not greater than the power of creation and yet they are draw towards it. 

Dangerous, absolutely. But also stunning.

Featuring strong visuals and a compelling subject, the heart of Fire of Love is the the heat that exists between the Katia and Maurice Krafft. Although they sometimes disagree, we understand their dedication to one another almost immediately. A couple working together in this field is a rarity yet their mutual respect and support fuels their work. 

Because of their love and commitment to one another, there’s a willingness to draw nearer to the flame until the very end.

Fire of Love is available in theatres on Friday, July 22nd, 2022.

Time Detectives: The Mystery of the Mary Rose

by Leave a Comment

It’s always worth the time to step into history.

Set on July 19th, 1545, Time Detectives: The Mystery of the Mary Rose is a new game on iPhone and Android that transports the viewer into history to investigate the sinking of the titular ship. Claiming the lives of almost 500 crew and soldiers, the disaster has lived in infamy and its now your responsibility to figure out what really happened that fateful day!

As technology improves, we continue to move in the direction of increased VR and AR technology and Mary Rose seems to go the extra mile. Directed by Charlotte Mikkelborg in consultation with Mary Rose’s head of research, Dr. Alex Hildred, Time Detectives: The Mystery of the Mary Rose does it’s very best to bring history to life. Including character actors, interactive scenes and a complex mystery, Mary Rose wants you to feel as though you are in the midst of the action. With incredible research and detail, the app immerses the player into the story, allowing them to investigate potential problems, inspect suspicious items and even listen in on private conversations that may unravel deeper issues onboard. Using AR technology, Mary Rose brings all of this to life wherever you play with solid animation and video. (However, while the app can be used anywhere effectively, one can’t help but be intrigued by the potential gameplay that’s available onsite in Portsmouth’s Mary Rose Museum. Here, the app not only incorporates better video storytelling, they even use scent to help bring it to life.)

It’s also interesting that the adventure can be viewed from two different perspectives. Offering us two primary characters aboard the Mary Rose, Mikkelborg allows history to unravel from multiple perspectives. Whether it’s a young crewmate who knows the secrets of the galley or an inexperienced captain, both viewpoints offer different sides to the tragic events before they unravel. As a result, the player has the opportunity to understand the story from multiple angles that affect their report.

What’s more, in doing so, Mary Rose also acknowledges that history is shaped from more than one perspective. No matter what your role on the ship may be, every person involved in the tragedy of the Mary Rose viewed it through a different lens. Whereas so much of history is told from ‘the winners’, Mary Rose allows other voices to speak up and offer their perspective on history. (Incidentally, the game also highlights the true diversity of Tudor England. Believed to be primarily white Englishmen and women at the time, almost 173 of the skeletons in the wreckage were found to be non-English, proving the flaws within our own understanding of the time.)

Even though the game is exceptionally well orchestrated and researched, it may seem shorter than expected. Nevertheless, Mary Rose still feels worth the price of the trip back in time. In fact, Mikkelborg and her team are developing future adventures for the Time Detectives app that plan to unravel an ever-unfolding tapestry of mysteries. By not limiting themselves to one particular era, there are an infinite number of murders and mayhem that we may yet be allowed to step into. 

As for me, I can’t wait to make the time for more adventures.

Time Detectives: The Mystery of the Mary Rose is available in iPhone and Android app stores.

The Bad Guys: Bad Guys Steals Your Heart

by Leave a Comment

The film may be called The Bad Guys, it’s definitely filled with good fun.

For many years, The Bad Guys have been the world’s most wanted criminals. Led by dashing pickpocket Mr. Wolf (Sam Rockwell), the team is highly skilled and impossible to catch. However, when their biggest heist ever goes wrong and the team gets caught, Mr. Wolf concocts a new plan. In order to save them all from prison, this crew of Bad Guys promise to go good. Allowing themselves to be trained by the adorable guinea pig Professor Marmalade (Richard Ayoade), Mr. Wolf and his crew work towards redemption but also secretly intend on using their new reputations as heroes to their benefit as thieves. But will they be able to follow through with their plan? Or will these Bad Guys see the benefits of becoming good guys after all?

Directed by Pierre Perifel, The Bad Guys is a fast and furry-ous trip outside the law. Based on Aaron Blabey’s children’s books of the same name, Bad Guys pops with lovable characters, stunning animation and genuine fun. Pulling in the charm of the Ocean’s Eleven crew, this crew of misfits has some enjoyable chemistry and fun exploits on screen that invigorates the franchise with life. Featuring some solid voice work by Sam Rockwell, Awkwafina, Marc Maron, Craig Robinson and more, the characters have an energy and likability about them that makes them endearing. This enthusiasm is especially noteworthy in Rockwell who seems to be having more fun than he’s had in years as the sly and scheming Mr. Wolf. (It’s also worth noting that any comparisons to the Ocean’s franchise are absolutely intentional. Not only was Aquafina involved in Ocean’s 8, Mr. Wolf’s attempt to charm the police chief is referred to as going “full Clooney“.) 

Unraveling like the pages of a children’s book at story time, the variety and style of the visuals also gives Bad Guys an extra pop that makes it feel different than other current animated fare. Like other companies such as Pixar and Illumination, the film makes use of CGI animation yet the style feels entirely unique. At times, Bad Guys feels like a water colour illustration. However, in other moments, the film exhibits wildly different influences, ranging from anime to stop-motion animation. 

At its heart, The Bad Guys is [obviously] a film about what it means to be a good guy. As the film begins, we know instantly that these are expert thieves who are the top of their craft. Even so, as the crew attempt to manipulate the public by convincing them that they’ve changed their ways, they begin to discover the joys of helping people. The shivers down their spine that they experience when they do good deeds reveals an almost physical joy that comes from putting your own needs aside to help others. Hated for their appearance, they decide that, if everyone thinks they’re bad, they might as well be.

Interestingly, Bad Guys also recognizes that toxicity of stereotyping (and, potentially, even racially profiling) others. While these Bad Guys definitely do bad things, they do so almost as a result of the expectations of others. Hated by the general public simply for being a wolf, snake, spider and more, they begin to lean into the characters created for them by others. 

After all, a wolf must mean that he’s big and bad, right? 

Though they start out by trying to make friends, public perception presses these characters down until they believe they can be nothing less than villains. In fact, it’s only as others begin to feed positive messages into their heart that they realize that they can live up to their potential. In this way, Bad Guys demonstrates the power of encouraging and supportive voices to those in need, especially when others are doing the opposite. 

Now on 4K and Blu-ray, its worth noting that the animation especially pops on your home entertainment. Though, admittedly, the disc contains some surprisingly solid features that make it worth the purchase. While the disc includes the traditional fare of ‘making-of’ featurettes, the additional animated short, Maraschino Ruby, is cute and Snakes Frozen Pop Shop provides some simple fun for the family. But, sound the alarm! Easily the best feature is its full-length commentary which contains some valuable insight into the creation of the film. (Commentaries continue to be more rare nowadays so they’re always worth your time.)

Fueled by stunning animation and fun characters, Bad Guys pops with the energy of the best of heist films. More importantly though, the film carries an important message about looking past our perceptions so that we can bring out the best in people. As a result, Bad Guys is one animated adventure that is worth opening your wallet for (if they don’t steal it first).

The Bad Guys is available on 4K and Blu-ray on Tuesday, July 19th, 2022.

Where the Crawdads Sing: Murder in the Marsh

by Leave a Comment

When one thinks about summer films, the mind usually imagines superhero blockbusters and animated fare. But, sometimes, a film sneaks through that offers solid counterprogramming for those disinterested in revisiting the worlds of rampaging dinosaurs or villainous minions. 

This summer, that film is Where the Crawdads Sing.

Based on the best-selling book, Where the Crawdads Sing tells the story of Catherine ‘Kya’ Clark (Daisy Edgar-Jones), a resourceful young woman who lives alone in the North Carolina marsh. When her boyfriend is mysteriously killed, Kya quickly becomes the prime suspect. While the townspeople quickly band against the ‘Marsh Girl’, local lawyer Tom Milton (David Strathairn) believes in the young woman’s innocenct and offers to represent her. As Kya unravels her complex story of growing up in an abusive home during a turbulent era, Tom works tirelessly to piece together the death of her former beau in order to save her from the death penalty.

Young Kya (Jojo Regina) in Columbia Pictures’ WHERE THE CRAWDADS SING.

Directed by Olivia Newman and produced by Reese Witherspoon, Where the Crawdads Sing is a brutal but beautiful story of one young woman’s journey to freedom. Beginning in the early 1950s and told mostly in flashback, Crawdads highlights the darkest parts of Kya’s journey. From her abusive childhood to her toxic relationships, Kya has struggled her entire life to trust anyone, especially men. Drowning in a sea of toxic masculinity, Kya has mostly seen the worst of men who have taken advantage of her. This has led to her inability to trust others, leaving her alone in a reclusive life in the marsh. While it’s often difficult to watch, Crawdads is strongly written and well-executed, creating a compelling character drama that’s wrapped in murder and intrigue

While Crawdads benefits from some solid performances, easily the star of the film is Edgar-Jones. As the emotionally-bruised Kya, Edgar-Jones portrays her character with a blend of shyness and inner strength. In essence, there is a gentleness about her character but also an inner fury. At the same time, Strathairn brings a sensitivity and stability to the film which carries it as the courtroom drama begins to take over. There’s simply a likeability about Strathairn that makes him instantly trustworthy. Paired with Edgar-Jones’ quiet rage, his gentleness and confidence helps balance out their pairing, allowing for some genuine chemistry between them. 

Kya (Daisy Edgar-Jones) and Tom (David Strathairn) in Columbia Pictures’ WHERE THE CRAWDADS SING.

At its heart, Crawdads is very much a film about finding one’s inner strength in the face of oppression. Known primarily as the ‘Marsh Girl’, Kya lives a life of seclusion. Although she yearns for safe community, the scorn of the townsfolk forces her to hide away in the solitude of her small cabin. At every turn, she feels the pressure of labels from townsfolk who are unwilling to get to know her. As such, even though she lives only a few miles away from them, Kya is viewed as an outsider. Because her life differs so drastically from theirs, they refuse to accept her and rumours begin to swirl about her. (Incidentally, Crawdads also manages to compare Kya’s situation with Jumpin’ and Mable, the African-American couple who have taken her under her wing. Set during a time of racial segregation, they too are viewed as outsiders from the white community that surrounds them.)

However, while others may view her as weak or insignificant, Kya maintains an inner strength. Though trapped in a white, male-dominated culture, she continues to fight against the powers that be. Men insist that they will take care of her yet she refuses. They are oppressive and abusive, but she has a strength that endures. 

Kya (Daisy Edgar-Jones) in Columbia Pictures’ WHERE THE CRAWDADS SING.

For this reason, there’s a beauty about the film. Kya‘s journey may be filled with pain yet it is also one of power. We empathize with her suffering but we also believe that she is resilient enough to fight back when necessary. 

She has a heart of love but also of fire.

As a result, Where the Crawdads Sing has its own quest for justice. From Kya’s battle for freedom to Jumpin’ and Mable’s courage under oppression, Newman tells a compelling story about what it means to fight back when the world is firmly against you. Anchored by strong performances, the film hears the voice of the oppressed and invites them to tell their story of pain and suffering.

Because, like the Crawdads that sing from the depths of the marsh, they too must be heard.

Where the Crawdads Sing is available in theatres on Friday, July 15th, 2022.

Paws of Fury: Animated Samurai Western Scores Hits on Multiple Levels

by Leave a Comment

Paws of Fury is the best animated film – maybe one of the best films period – I’ve seen in the last several years. The Legend of Hank tells the story of Hank (Michael Cera), a wannabe samurai who is cursed with being the wrong species – a dog – in a land where only cats become samurai. Mentored unwillingly by the recluse Jimbo (Samuel L. Jackson in all of his animated snarkiness), Hank must face down an evil conspiracy led by Ika Chu (Ricky Gervais), a civil servant who isn’t civil at all as he works to drive the cats of Kakamucho out of their village. In a story that blends feudal Japan with spaghetti westerns, Blazing Saddles, and a rivalry as old as time between cats and dogs, Paws of Fury delivers an adventure that’s fun for the whole family.

Let’s check a few boxes off, and get to the next level of discussion: Paws has snappy animation, an awesome voice cast that includes George Takei, Mel Brooks, Gabriel Iglesias, Djimon Hounsou, and Michelle Yeoh, a sense of humor that includes enough fart jokes for the younger kids and witty comebacks for the adults, and a storyline that allows anyone who has ever since a western to know there’s a showdown coming. All of that works. But the reality is that the film wants to dive deeper, too.

There’s discrimination involved, as Hank is told he isn’t welcome because he’s a dog and that no one can understand him (even though they can). It’s assumed he can’t provide anything admirable or worthwhile to society just because he’s not one of them. The flip side is that it’s assumed that Chu must be reliable just because he’s a cat, and it takes another cat stepping up to finally reveal that Chu isn’t actually a good cat.

There’s an element about being new in the community that works, because Hank doesn’t know how to do things and no one seems all that keen on making him feel welcome. In my experience as a pastor arriving at a new church, there’s a lot to be said for a welcome committee! Whether it’s a new job, or arriving at a new home in a new community, the reception you receive goes a long way to making you comfortable (or not). The story does talk about it a little, but it mostly shows us.

And then there’s my favorite (I think!) element: everyone needs discipleship. Hank needs a mentor but Jimbo doesn’t want to be a mentor. From a faith perspective, this is a crucial element of what it means to be a Christian. Jesus said in Matthew 28 to go into the world and make disciples; it’s a foundational element of what the church is supposed to be about! But too often we get hung up on hanging out with the people we’re already comfortable with, who are already part of our group, who are known to us. It’s important for them to grow as disciples but we’re supposed to make new ones!

I’ll throw in one last one for free: the discrimination isn’t just about cats and dogs. What Paws does wonderfully is show that everyone has the capacity to be a samurai with the right heart and the right training. I won’t spoil how that plays out, but it’s important to note that the film doesn’t spend the entire time trying to convince us that Hank is a hero. There are other heroes, too. [I’ll give you a hint: go read Jeremiah 1!]

Paws of Fury entertained the theater full of parents and children (and teenagers!) I was with a week ago, but better yet, it left me thinking about what it means to lead, to mentor, and to act with courage in the face of criticism. Two giant paw-sized thumbs up!

Queen of Glory – Finding community

by Leave a Comment

Nana Mensah’s dark comedy Queen of Glory is a look at life within the Ghanaian-American community as someone who was raised there. The idea of community and its power to bring healing are central to the story.

Sarah Obeng (Mensah) is a doctoral student at Columbia, who is planning on leaving the city to follow her married lover to his new teaching job in Ohio. When her mother dies unexpectedly, Sarah discovers that she’s inherited her mother’s Christian bookstore in the Bronx. The arrangements become complicated because her father returns from Ghana for the funeral. He and the rest of her mother’s Ghanaian friends expect a much more complicated traditional service than the “white person” wake Sarah planned on.

She plans to sell the bookstore, but there is an employee that would impact. While she is dealing with all this, her lover has pretty much ghosted her. Her life has become chaos, and she has nowhere to turn. Except that as she meets the various people from her mother’s life—the Ghanaian aunties, the bookstore employee, and the family next door (which has it’s own sense of appealing chaos), she finds that there is more to what life can be than what she had imagined in Ohio.

Mensah made this film because she felt the Ghanaian-American immigrant experience hasn’t really been seen. She is the son of immigrants. Her mother owns a Christian bookstore in the Bronx. Her depiction of the experience gives us some insight into the community. However, for someone not in that community, the various customs we see are never really explained, nor is the role that Christianity plays in Sarah’s life (given that her mother has a Christian bookstore).

The film offers a glimpse at the grace that is found in community. The bookstore worker, Pitt (Meeko Gattsuo), is the obvious example. He’s not Ghanaian, but has been taken in by Sarah’s mother in spite of his background and the tattoos that cover him. Our first impression of him is not who he really is. There is also the acceptance that Sarah finds in the community that she has been trying to ignore for the last several years.

What brings healing into Sarah’s life is not based in her personality or determination; it is in the communities that welcome her—bookstore, neighbors, Ghanaian immigrants. It is when she allows herself to be in community that her grief and solitude find outlets.

Queen of Glory is in select theaters.

Marcel the Shell with Shoes On: Little Shell, Big Love

by Leave a Comment

For the first time in a while, there seems to be a lot for families to see in theatres. Between Minions, Lightyearand, arguably, Jurassic World, there’s a lot of frenetic action and crazy special effects that are designed to draw eyeballs to the multiplex.

But the best family film of the year is probably the least likely.

Directed by Dean Fleischer-Camp, Marcel the Shell with Shoes On is a delightful film that tells the story of an adorable knick-knack and his search for family. Marcel (voiced by Jenny Slate), one-inch-tall shell with a single googly-eye, lives with his Grandmother as the sole survivors of a tragedy that saw his family disappear into the night. When a documentary director rents their home as an AirBnB, he cannot help but make Marcel his next subject. But, when the video goes viral online, Marcel begins to hope that these simple videos might lead to him finding the family that he lost and loves so dearly.

Told in documentary style, Marcel the Shell with Shoes On may be the tale of one tiny trinket’s journey to find his family but it could it feels like it’s everyone’s story. As stop-motion animation brings the characters to life, Marcel becomes a soulful tale that speaks directly to the heart of all ages. There’s a charming inexperience about Marcel yet he contains a certain sardonic wisdom. Although he approaches the world with childlike innocence, he is also responsible, caregiving and intelligent. 

Similarly, the film has an authenticity and beauty about it as it approaches its subject with respect and joy. Admittedly, it may seem odd to refer to the character as a ‘subject’ as the film is clearly fictional. But there’s something so real about Marcel. 

Fueled by creativity, joy and heart, Marcel is a film that calls the young trinket to adventure. However, he has suffered a great loss and abandonment. Reeling from the loss of his family, Marcel wants desperately to be reunited with those who left him behind (even if it was unintentionally). He is young and feels the loss deeply. Now, with only himself and his grandmother remaining, he yearns for community. 

And Marcel is very much a film about the nature of community. 

However, rather than simply acknowledging that we need relationships, Marcel explores what it means to truly mine the depths of those connections. This is best exemplified between Marcel and his relationship with filmmaker Dean. Wanting to remain the unobstructed observer to Marcel’s life, Dean desperately wishes to remain off camera. But that’s not what Marcel wants. 

Marcel wants a friend. 

As he shares the stories about his life, he can’t understand why Dean will not share stories of his own. Eventually though, Marcel manages to crack Dean’s shell and gets him to open up. Suddenly, what began as a relationship between filmmaker and subject becomes a deep friendship. You see, Marcel doesn’t nearly want to be around people. He wants to people in his life that he can invest in emotionally (and can invest in him). Even in his youth, Marcel understands that real love can only happen when everyone lets down their guard to truly care for one another. 

That’s an awfully mature understanding of relationships for a googly-eyed shell.

While Marcel the Shell with Shoes On may not draw the attention of children at a time of Minions and Lightyears, the sweetness of the film cannot be underrated or underestimated. With one loving googly-eye, Marcel penetrates the heart and remind us of the need we have for authentic community so that we may deal with the pain storms that inevitably comes in life. On the surface, Marcel may appear to be an insignificant (and inanimate) trinket. 

But this tiny knick-knack has a lot to teach us about what it means to love.

Marcel the Shell with Shoes On is available in theatres on Friday, June 10th, 2022