ScreenFish

where faith and film are intertwined

SmallFish

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

by Leave a Comment

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

Spin-offs are hard to make work.

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

But then there’s How I Met Your Father.

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

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

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

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

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

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

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

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

There’s peace in that assurance.

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

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

Cabin Connection: Real Love Amongst the Pines

by Leave a Comment

“We want real stories. Romance sells.” – Carmen, Cabin Connection

Holding up the phrases ‘real stories’ and ‘romance sells’ together in the same sentence has a certain ring of irony to it. After all, even the best romance films lean into the most fantastic (and fictional) of coincidences and circumstances. Even so, Cabin Connection manages to find a balance between fantasy and reality and uses its tropes to mine something more real.

Cabin Connection tells the story of Hannah Monroe (Katherine Barrell), a lifestyle writer and committed bachelorette who’s working on an article about the nature of love. However, when her grandmother leaves her a cabin in the woods in her will, she leaves so that she can take a look at the property. When she arrives, she discovers that the home needs some serious repair and she hires local handyman Cole (Cody Ray Thompson) to help prep the cabin for sale. But as Hannah and Cole spend more time together, the two strike up their own romantic connection that helps Hannah restore her faith in love and make her reconsider her own future.

Light-hearted and fun, Cabin Connection is a charming getaway for two hours in the cold nights of January. Though this style of film usually rises to prominence over the holiday season, Cabin Connection manages to create the same hopeful vibe without the necessity of Christmas decorations. (Still, is it weird that I missed the traditionally over-developed display of Christmas lights a little bit?) Even without the holiday cheer, Connection successfully leans into many of the same tropes that make this genre so much fun. A smart, young executive who needs to take a trip to the remote countryside? Check. A meet-cute with a handsome local? Yep. 

And, most importantly, the spark of romance between them that changes their lives.

While the tropes may sound cliché, that doesn’t mean that the films aren’t enjoyable. There’s a sweetness embedded within the familiarity of this genre that keeps viewers coming back for more. Admittedly, some of these films are better than others. Thankfully, Cabin Connection works well due largely to the strength of its leads. As is always the case, the romance between Hannah and Cole remains the centerpiece of the film. In fact, he chemistry between stars Barrell and Thompson sparks as they playfully get to know one another amongst the country pines. With an innocent charm, the couple work well together onscreen and have the type of affection that feels welcoming to the viewer. 

Although the characters within these films are always on the search for love, Connection does so a little differently than other entries. Instead of just ‘finding love’, Connection wants to find out what love is. With every interview, Hannah seems to discover a new aspect of what makes love lasts. From a couple married 40 years to a widower moving forward from a deep loss, every person that Hannah speaks to has their own ‘definition’ of love. Some believe in ‘love at first sight’ while others saw their affection develop over time. Some have never questioned their love for one another while other have to choose to do so every morning. There’s a wide variety of experiences that shape the lives of each couple that give

While the fairytale romance still remains the goal of the film, Hannah also begins to see that real love requires hard work. Yes, it may be easier for some than others. However, in every case, the relationships within the film require the commitment to work together in order to create something beautiful that truly lasts. While romance films make love look easy, Connection tries to remind us that it really isn’t.

(I mean, admittedly Connection also makes it look pretty easy too… but that’s beside the point.)

For fans of this style of romance, Cabin Connection offers everything that they’re looking for from the genre. However, the best part about the film isn’t the warm fireplace or the fascination with baking. Instead, what makes Connection unique is that it really seems interested in finding out what makes love work.

In this film, that’s the connection that really matters.

To hear our interview with stars Katherine Barrell and Cody Ray Thompson, click here (YouTube) or here (podcast).

Cabin Connection is available to stream on Super Channel, beginning Saturday, January 15th, 2022.

Son of a Critch: Memories are Made of Critch

by Leave a Comment

They say you can never truly go home again. But can you feel welcome revisiting someone else’s home?

In CBC’s new comedy Son of a Critch, author and comedian Mark Critch tells his story of growing up in St. John’s, Newfoundland. As the youngest in a family of (mostly) adults, Critch grew up with more mature sensibilities and style than other kids his age. While his unique family and different interests made it difficult to make friends at school, it also gives him a humility and innocence as he attempts to navigate the complicated world of childhood relationships.

Even though its set in 1980s Newfoundland, Son of a Critch almost feels timeless. In other words, despite the specificity of its time and location, there’s something about this series that feels like it could take place anywhere, making it accessible for all. Best known for his work on This Hour has 22 Minutes, Critch has sharp comedic timing and a satirical eye. Mostly though, his charm and warmth for his family creates an infectious invitation into the past. 

While the structure of the series feels similar to other nostalgia comedies like The Wonder Years or Young Sheldon, Critch still manages to set itself apart with its snappy writing and distinctly Canadian voice. (Shout outs to Anne Murray and The Raccoons!) Even so, while the show may be nostalgic, that nostalgia never takes primary focus. Instead of merely focusing on the ‘remember when…’ moments, the past is merely a setting for Critch’s coming-of-age story and the focus remains on the characters and their journeys.

And the characters really are the story.

In Son of a Critch, Critch has assembled a cast with some incredible chemistry between them. There’s an ease between cast members that makes the series instantly likeable and they have created something truly special onscreen. Young star Benjamin Evan Ainsworth sparks the series with an old soul but shows a light heart. Young Sophia Powers and Mark Rivera provide a fun trio of strange supporters for the young protagonist. Even Critch himself gets in on the fun as he steps into the slippers of his own father. However, the most welcome surprise is McDowell as Mark’s cranky but empathetic grandfather. Best known for his work in darker films such as A Clockwork Orange, Halloween (2007), and Caligula, McDowell has had limited opportunities to lean into his lighter side. As such, he uses that experience to mix a sense of gravitas into his playfulness and his performance absolutely pops. 

Aside from the family fun, Critch is an adventure into the world of perspective. Based on Critch’s best-selling memoires of the same name, Son of a Critch is a love-letter to his childhood. Having rebuilt his family home for the set, Critch has done his best to recreate the place where he grew up. (He even went so far as to pull up some of his family’s belongings out of storage to add authenticity to the scene.) While there’s an absolute fondness for his upbringing throughout the series, there’s little doubt that his childhood produced moments that would have left him frustrated and hurt. Bullied for his unique take on the world, Critch’s experiences may be played for laughs here but there’s no question that these times can be difficult for children to endure. However, his position as narrator (not to mention playing his father) shifts his understanding of events from the eyes of a child to that of an adult. Knowing how the story unfolds, Critch is in a better position to remind himself that everything is going to be okay in the end. As a result, Critch balances the frustrations of youth with the hopefulness of adulthood.

Backed by a wonderful cast, Critch’s memories have created something truly memorable. Fun and endearing, Son of a Critch is a tribute to the innocence of youth but still revisits these moments with a wink. From his commitment to authenticity to his willingness to reveal his family’s quirks, Critch breathes such love into this series in such a way that one can’t help but feel like they’ve gone home too.

To hear our interview with writer/star Mark Critch, click here (YouTube) or here (audio).

Son of a Critch streams at 8:30pm on Tuesday, January 4th, 2022 on CBC.

Cobra Kai S4: Mixed Martial Arts Still has Magic

by Leave a Comment

Cobra Kai. (L to R) Ralph Macchio as Daniel LaRusso, William Zabka as Johnny Lawrence in Cobra Kai. Cr. Curtis Bonds Baker/Netflix © 2021

Nostalgia can only last for so long… unless you can make it into something different.

Originally airing on YouTube Red and eventually making the jump to Netflix, Cobra Kai caught everyone by surprise. The re-imagined and reinvented sequel series to the classic Karate Kid movies offered a refreshing new direction for characters long forgotten by pop culture while unabashedly leaning into the nostalgia that the brand promised. As the series took off, Cobra Kai became its own successful ‘comeback kid’ narrative and has only grown in popularity.

Even so, after three solid seasons, one wonders how long Cobra Kai can keep up the Miyagi-magic. After all, one has to assume that the series’ trademark shifting alliances, teen drama and karate tournaments can only remain interesting for so long. However, while Season 4 continues to offer all of these staples of the franchise, Cobra Kai is still very much alive and kicking. 

In fact, the fourth season may actually be one of the series’ best.

Cobra Kai. William Zabka as Johnny Lawrence in Cobra Kai. Cr. Curtis Bonds Baker/Netflix © 2021

The new season of Cobra Kai picks up immediately following the merger between Miyagi-Do and Eagle Fang as they join forces to bring down Cobra Kai at the All-Valley Under-18 Karate Tournament. With the doors to their respective dojos on the line, Johnny Lawrence (William Zabka) and Daniel LaRusso (Ralph Macchio) are determined to see John Kreese’s (Martin Kove) violent teachings disappear from the community. However, as their alliance proves to be more precarious than they’d expected, the two must decide whether or not they can bury the decades-long hatchet that lies between them.

As I said earlier, nostalgia is key to the appeal of Cobra Kai and Season 4 is no different. By recruiting former Karate Kid III baddie Terry Silver (Thomas Ian Griffith), the series further fans the rivalry flames of old by reuniting him with the villainous Kreese. However, what makes Kai work is that the series is not limited by the memories. Young characters like Robby Keene (Tanner Buchanan), Samantha LaRusso (Mary Mouser) and of course, Miguel Diaz (Xolo Mariduena) continue to be given meaningful character arcs that keeps the show young and energetic. What’s more, new stories for Daniel’s son, Anthony and Cobra Kai’s newest student Kenny (Dallas Dupree Young) also provide fresh ground for character development.

Cobra Kai. Thomas Ian Griffith as Terry Silver in Cobra Kai. Cr. Courtesy Of Netflix © 2021

Nevertheless, even though the youth remain central, the true magic of Cobra Kai remains the relationship between Zabka and Macchio. While Macchio continues to develop as an actor, Zabka may be one of the more underrated actors on television right now. Blending brokenness and honesty, Zabka continues to offer remarkable performances as the would-be sensei. In every scene, he remains absolutely captivating to watch, whether he’s attempting to navigate the modern world or manage his own flaws. For a character that began as a one-off teen bully, Zabka has infused his performance with nuance and grace that continues to surprise. Although both men may be well into their middle-age, their boyish banter provides the necessary emotional core that the series needs. 

These are two men who have become adults yet neither has fully grown up.

However, that’s not to say that they remain immature. Although Johnny keeps his old school edge, he has clearly matured since we first met him. Originally somewhat brash and self-absorbed, Daniel LaRusso is displaying an openness and humility that represents responsibility. Through solid performances by both men, these are characters who continue to learn what it means to be men in the modern world togehter.

Cobra Kai. (L to R) Khalil Everage as Chris, Gianni DeCenzo as Demetri, Jacob Bertrand as Eli ‘Hawk’ Moskowitz, Aedin Mincks as Mitch, Xolo Maridueña as Miguel Diaz, Mary Mouser as Samantha LaRusso, Nathaniel Oh as Nate, Owen Morgan as Bert in Cobra Kai. Cr. Courtesy of Netflix © 2021

Held up against the heavy darkness of the previous two season finales, the next chapter of the series is surprisingly light-hearted (at least in the beginning). By attempting to merge together Miyagi-Do and Eagle Fang, the writers have ample opportunities for comedy between the two conflicting styles. (One episode where Johnny and Daniel attempt to teach each other is particularly noteworthy.) Of course, as Eagle Fang and Miyagi-Do begin to work together, their conflicting styles makes it difficult to find a common ground. However, when they do begin to listen to one another, the blend of styles creates something unique, with group each gaining strength from the other. 

In this way, the focus of the new series offers something different than previous seasons. Whereas Cobra Kaimost often drew its battle lines over the very different teachings of the two dojos, this new season serves as a reminder that we can learn from one another. As students from Miyagi-Do and Eagle Fang attempt to understand the wildly different ideologies and adapt their styles, the results are stark contrast to the focused (but violent) teachings of Kreese. In Kreese’s ‘strike first’ mentality, his way becomes the only way. Any show of mercy or attempt to question his methods is met with rejection and disgust. However, as Johnny and Daniel (try to) work together, their conflicting styles manage to bring out the best in one another. In the Eagle Fang/Miyagi-Do merger, the mutual willingness to humble themselves is what allows them to grow beyond the limits of one particular teaching. Whereas Kreese demands compliance, Johnny and Daniel want their students to learn from one another.

Cobra Kai. (L to R) Xolo Maridueña as Miguel Diaz, William Zabka as Johnny Lawrence in Cobra Kai. Cr. Courtesy of Netflix © 2021

Perhaps this season of Cobra Kai suggests that the true villain is rigidity.

With its unique blend of fun and ferocity, Cobra Kai still packs a punch. Beginning with a simple tale of one young man’s search for courage, Zabka and Macchio have genuinely turned this into something special. Well-written and executed, this is now a series that’s about so much more than karate tournaments. Amazingly, Cobra Kai is about redemption, character and humbly bringing people together. 

So, bring it on, Netflix. I know that I’m certainly ready for the next round.

Cobra Kai: Season 4 streams on Netflix on Friday, December 31st, 2021.

It Takes a Christmas Village: Heartwarming for the Holidays

by Leave a Comment

There’s something about the holidays that invites Christmas romances. Whether it’s the warm feelings of family, hope or just the egg nog talking, the ‘Christmas movie’ has become a time-honoured tradition.

Now, with It Takes a Christmas Village, we are introduced to mayor Alex Foster (Brooke Nevin) as she attempts to prevent some inconvenient construction from putting her town’s shops out of business over the holidays. With only six days until Christmas, Alex comes up with an idea: a Christmas market where local businesses can get their materials to the public. However, the only location available is on the Hawkins’ farm… and tensions over past business failings have not been forgotten by the local town folk. As Alex approaches reclusive Darcy Hawkins (Corey Sevier) about the project, she potentially sparks a new romance but also fans the flame of old family feuds in the process.

Directed by Corey Sevier, It Takes a Christmas Village is a heartwarming and simple romance that fits very neatly into the holiday season. Without question, this is the time of year when television holiday films are often defined by Hallmark romances and certainly, this definitely falls into that category. Anchored by warm chemistry between Sevier and Brooke Nevin, Village‘s simple storyline moves along well. What’s more, because the film was shot in the cold Hamilton, Ontario winter, the visuals feel particularly grounded in their holiday realism. (Though most films like this shoot during the summer months, there’s absolutely no fake snow here.) Like many others before it, Christmas Village leans into the nostalgic elements of the holiday while also offering a rather straight-forward formula with its script. However, that’s not a criticism. 

In fact, it’s precisely the point. 

In all honesty, there’s something beautiful about the simplicity of this Village. Written by Kate Pragnall (who is also Sevier’s wife), the film may have a familiar premise but so too does it also feel like a cup of warm cocoa on a cold winter’s evening. The stakes seem high and noble—saving the small businesses of the town at Christmas!—yet somehow seem manageable as well. (Mayor Alex’s Christmas Market is literally assembled in less than a week, despite its massive size and scope.) The romance moves relatively quickly after a chance ‘meet/cute’. Family rivalries are put aside over a snowball fight. While there are those who would criticize this style of storytelling, these films consistently maintain a wide-reaching audience. And with good reason.

Without question, this is comfort cinema. 

However, it’s also worth noting that the film delves into conversations surrounding moving forward from your past. Because their business decisions damaged the town many years earlier, the Hawkins name is associated with pain and hurt. Despised by the community for the actions of his father, Darcy chooses to stay out of sight and lives as a recluse with his grandmother. Complicating matters is the fact that Alex’s father struggles to see past his experiences with the elder Hawkins as well. 

Even so, for Darcy and Alex, they refuse to be bound by events that took place many years ago. As a result, despite their families maintaining a rivalry that has lasted a generation, Alex and Darcy are attempt to right those wrongs. Whereas Alex’s father believes the Hawkins name cannot be trusted, Alex does not agree. At the same time, Darcy still (albeit reluctantly) opens their family’s farm up for the city to use for their Christmas market. This is a story which reminds the viewer that the sins of the (literal) father must not be bestowed upon the next generation. Regardless of what came before, Alex and Darcy can look forward to building something new. 

Together, they can chart a new path.

Heartfelt and warm, It Takes a Christmas Village is an entertaining piece that feels like a family affair. At its heart, Village is a feel-good romance that simply wants to invite you to enjoy it with those around you. There is a sweetness inherent to its storytelling that manages to charm, even in the midst of its formula. In addition, the genuine affection sparking between Nevin and Sevier makes this one of the more enjoyable additions to the Christmas holiday calendar.

So, grab a hot cocoa and enjoy. 

To hear our conversation with star Brooke Nevin and director/star Corey Sevier, click here (YouTube) and here (audio).

It Takes a Christmas Village is now playing on Super Channel and will be available on VOD/Digital on December 22nd.

The Beatles: Get Back – Pulling Back the Celebrity Curtain

by Leave a Comment

There are few bands as adored as the Beatles.

With a mere 12 studio albums under their belts, John Lennon, Paul McCartney, George Harrison and Ringo Starr produced music so remarkable that it defined a generation of music lovers. Even now, after over 50 years and the passing of two original members, the fire for Liverpool’s mop-tops burns just as brightly as before.

Now, with the release of the new docuseries The Beatles: Get Back, audiences have the opportunity to travel back in time to the band’s 1969 recording sessions. With the goal of performing live for the first time in two years firmly in view, John, Paul, George and Ringo attempt to create an entirely new album in a mere 21 days. With such a daunting task putting incredible pressure on the Fab Four, tensions begin to mount, causing division and arguments between them. However, as a result of their commitment to both the creative process and one another, the ‘Get Back Sessions’ result in one of the music’s most iconic concerts: the live performance on the rooftop of Apple Studios.

Directed by Peter Jackson, The Beatles: Get Back is an extensive and expansive behind-the-scenes look at one of the greatest bands in music history. Although the series draws inspiration from Michael Lindsay-Hogg’s 1970 documentary of the project, Jackson manages to create something new by sitting more deeply within the moment. Having to choose from over 60 hours of footage and over 150 hours of unheard audio, Get Back massive length offers an intimate portrait of the creative process of the band like we’ve never seen before. 

While we’re familiar with their songs, there’s something special about watching them become the anthems that we know and love. Songs like ‘Get Back’, ‘Let It Be’ and ‘I’ve Got a Feeling’ didn’t simply drop out of the sky. (Well, there are some exceptions here, like Paul’s development of ‘Oh, Darling’ which seems to just… materialize.) Generally, there’s a push and pull that takes place within the creative process that Jackson highlights beautifully. By slowing down and allowing the footage to simmer, he reveals the comraderie that this group enjoyed when they were creating their best work. As the famed rooftop concert develops, the [rubber] soul of the group is exposed and we witness the magic they could make when working together.

Furthermore, even amidst the chaos of attempting to write 14 new songs in 3 weeks, there’s a playfulness that comes through in many of the practices. Yes, they had grown up and matured. Yes, they had changed. But still, Get Back provides glimpses of the boyish charm that defined them in their earliest years. Fully aware that their life as a band was beginning to come to an end, their desire seems to be to reclaim the fire that they once felt one more time. As a result, whether it’s non-sensical riffs and falsettos or simply relaxing by playing the hits of other musicians, there’s a joyfulness that shines through amidst the seriousness of the moment. 

Meanwhile, Jackson’s series also recognizes the tensions that were brewing behind the scenes. Moments such as Harrison’s brief attempt to leave the band, McCartney’s battle to have his own way and the struggle to accept the intensity of John and Yoko’s relationship during creative sessions offer a deeper picture of a band that has been studied for decades. (Incidentally, it’s worth noting that, while any edit of this type will skew the image in some ways, Get Back opens with text that insists that they’re doing their best to portray these icons in their truest forms.) 

In doing so, Jackson also exposes their shortcomings. Whereas pop culture has immortalized the names John, Paul, George and Ringo as examples of creative geniuses, so too were they simple boys from Liverpool who simply wanted to make music. Idolized by millions, they were also flawed and imperfect, squabbling amongst one another over who’s vision would become the final product. (This tension is particularly visible during the audio of a private conversation between McCartney and Lennon where they address Paul’s constant insistence on doing things his way.) As they work through their difficulties together, we begin to see past their celebrity status and focus increasingly on their desire to rediscover their passion for music (and each other). 

Now, having said this, it’s also worth noting that Get Back is likely not going to win over any new members to the Fab Four Fan Club. While the expanded footage is remarkable and revealing, so too does it move at its own pace. Repeated performances of half-finished songs and conversations about chord progressions may excite devotees but, without that prior passion for the group, it’s hard to imagine outsiders getting particularly excited about it. Throw in the fact that the series clocks in at an incredible 7 hours and 50 minutes and one could understand why the massive scope of this project with its slow tempo will make it a difficult ‘binge watch’ for the younger generation. (Yet, ironically, somehow the runtime seems appropriate considering Jackson’s repertoire for longer, more reflective pieces.)

Even so, there’s something truly special about Get Back. As a love letter to the Beatles, Jackson celebrates the originality and ingenuity of the team as they develop songs that will remain stalwarts for the next 50 years and more. However, at the same time, he also reveals their humanity, including the struggles and strains that can be felt as they work together under duress. By allowing their faults and failings to shine through, Jackson manages to pull back the curtain of celebrity and remind us that these were ultimately just boys who wanted to ‘get back to where they once belonged’.

The Beatles: Get Back is now playing on Disney+.

The Boss Baby: Family Business – Wild, Weird… and Kinda Works…?

by Leave a Comment

The Boss Baby: Family Business reacquaints the viewer with the life of Tim Templeton (James Marsden). Once a child dealing with his bossy baby brother, Tim is now a stay-at-home dad caring for his two daughters. With his eldest daughter approaching teenage years, Tim begins to feel like he’s losing his connection with her like he did with his baby brother Ted (Alec Baldwin). Now a big-shot CEO, Ted has the world at his feet and has had little time for his family for several years. However, when Baby Corp comes calling once again, the two brothers must reunite—and turn back the clock—to go undercover and prevent an evil genius from destroying the relationships between babies and their parents around the world.

Once again directed by Tom McGrath, The Boss Baby: Family Business is another insanely strange mindtrip that takes the unexpected path for its sequel. Instead of simply charting ‘the next chapter’ in the relationship between Tim and Ted Templeton, Family Business unnecessarily fast forwards 30 years into the future, with both men fully grown adults who have taken different paths. Why this decision was made is somewhat of a mystery, especially as it forces them to ‘rewind time’ by making the men younger. Perhaps the decision has something to do with the fact that Netflix has a fairly successful series (yes, there is a series…) but, admittedly, somehow that sort of strange writing is also a staple of the franchise. As always, Family Business provides fast-paced animation, wild storytelling and ridiculous humour that borders on the insane.

But, somehow, it kinda works…?

For those who are unaware, the Boss Baby franchise is anchored on voice and comedic talent of Alec Baldwin. While he may not be the first name you think of when you think of funny, Baldwin has done more than his share of humour, having won Emmys for his role on 30 Rock and his portrayal of Donald Trump on Saturday Night Live. As Ted Templeton, Baldwin excels in the role of CEO/’Boss Baby’ by playing his unique style of ‘business-themed comedy’ to the Nth degree here. In fact, it should be noted that Baldwin’s silly business rhetoric really is the show here. (If you’re not sure of that, note that he remains in the lead role while the voice of his onscreen brother was recast for the sequel, by substituting James Marsden for Tobey Maguire.)

Whereas the first film is a bit of a mind-trip about one brother, the second film fully embraces its own madness. Now adults, Family Business knows that it’s a film about babies so it creates a magical milk that gives full-grown adults an opportunity to be kids again. Between tyrannical toddlers to robotic exo-suits to ninja newborns, Family Business is a wild and unruly ball of crazy that will make some laugh and frustrate others. Are the events entirely in Tim’s head as he attempts to reconnect with his daughters? Or are they actually taking place in reality? Honestly, it doesn’t really matter. This is a franchise that doesn’t care if it blurs the lines between reality and imagination if it offers a few laughs on the side. 

Having said this, the world of Boss Baby actually seems to thrive on the chaos. Despite its utterly nonsensical plot devices and silliness, the sequel may actually be funnier than the original. (Or maybe I’m immune now?) By focusing more on the adventure than the ‘business ethics’, Family Business has more opportunity to lean into the bizarre more than its predecessor, which works for this franchise. In fact, the film is even entirely self-aware of its divisiveness. For example, when adult Tim Templeton is asking his daughter what she thinks of his stories of his childhood, she seems unimpressed. “But the jokes were funny, right?,” he asks. “Not really,” she replies.

Even so, there still is an unexpected genuineness to this franchise. At its heart, the film has its brothers on two different (but connected) emotional arcs. On the one hand, Tim is a man who fears losing his daughter as she begins to show signs of growing up. On the other, Ted is a man who has grown up too much, throwing money (and neglect) on his nieces rather than spending time with them. As they work together to save babies around the world, so too do the ‘men’ begin to reassess their priorities and how they understand their families. Whereas Ted begins to realize how little he has appreciated his brother and his kids, Tim begins to recognize that growing up doesn’t mean the end of everything good. 

Flooding the screen with inane colour and drug-induced dreamscapes where it can, the animation admittedly does look quite good on disc, especially in 4K. What’s more, the bonus features offer the necessary extras to keep your kids engaged. The most noteworthy additions may be the new short, Precious Templeton: A Pony Tale which is entertaining and Boss Baby Art Class which offers some tips on how to draw. While the materials aren’t enough to excite, they are in great quality and worthy additions to the disc.

Though there will be many who aren’t interested in the film, The Boss Baby: Family Business is a relatively worthy successor to the original. There’s such a silliness to the movie that, if you can enjoy, manages to draw you in with its madness.

However, if you’re looking for logic, it’s best to take your Business elsewhere.

The Boss Baby: Family Business is now available on 4K, Blu-Ray, and VOD.

Lego Star Wars: Terrifying Tales – Scared Silly

by Leave a Comment

Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Only Murders in the Building: Killer Fun While Embracing the Mess

by Leave a Comment

From podcasts to true crime stories, the mystery genre has never been hotter and, thankfully, the sheer joy within Only Murders in the Building keeps that trend alive and well. Tightly written and executed, the series pops with fun amidst the murderous mayhem. As unlikely sleuths, Martin, Short and Gomez are simply delightful together onscreen. Backed by some wonderfully fun supporting cast like Tina Fey, Nathan Lane, Amy Ryan and a dog-hating Sting, the three sleuths bound around the hotel looking for clues to the murder of the mysterious Tim Kono with a youthful energy and enthusiasm in their performances that we haven’t seen in a very long time. 

Set in a restless condo in New York City, Only Murders in the Building follows three strangers whose lives are turned upside down after a young man they know as Tim Kono is suddenly killed. Labelled a suicide by the police, the ruling doesn’t sit well with wannabe sleuths Mable (Selina Gomez), Charles (Steve Martin) and Oliver (Martin Short) who immediately set out to uncover the truth about Tim Kono’s demise. Although they know nothing about each other, their love of true crime podcasts and mystery fuels their passion for the case. However, the greatest lies may in fact be the ones that they tell each other as they keep their own secrets hidden on their quest for the truth.

Despite the age gap between the leads, the team may be unlikely but never seems out of place together. Having found a bit of a career boost in recent years, Short and Martin have worked together for so long that their banter stems out of their very real friendship but even they seem rejuvenated here. In addition, while she may seem like an odd choice at first, Gomez is a suitable addition to the team and she bridges the generation gap, making the series more accessible to younger viewers. 

As with all stories of this nature, Only Murders deals with the impact that the secrets and lies we keep have upon our daily lives. What may set it apart however is its interest in ‘embracing our mess’, rather than simply hide from it. Without giving any spoilers, for Mable, Charles and Oliver the appearance of success and happiness have become just as much of a priority as actually experiencing it for themselves. In each case, these broken souls seem to have everything together on the outside, even as they waste away within. Oliver refuses to let go of his apartment, despite his own financial setbacks. Charles happily reminds people of his career long ago as television detective Brazzos. Mable lives in luxury but keeps her emotional traumas close to her vest. To them, anonymity is power and image is everything.

As they hide their stories from one another, they play a sort of emotional poker with one another (and themselves). However, as their shadows begin to emerge, they become forced to accept the dark corners of their lives that they despise most. (“Embrace the mess. That’s where the best stuff happens,” they’re told.) For Oliver, Mable and Charlie, embracing the mess means being willing to address their brokenness and acknowledge it as a part of who they are. While this is never an easy task, the three characters begin to experience a personal wholeness that has eluded them for some time as they open themselves up to the flaws in their journey. Their stories are as intricate as that of Tim Kono and just as important to reconcile.

Lively and hilarious, Only Murders in the Building has all the makings of a hit. Led by its eager cast and anchored by a solid script, the series is easily one of the most fun surprises of the summer and well worth investigating. Like the podcasts that the characters adore, these Murders are killer fun and should keep people tuning in. 

The first 3 episodes of Only Murders in the Building are available on Hulu and Disney+ on Tuesday, August 31st, 2021, with new episodes weekly.

This Way Up: Nowhere to Go But…

by Leave a Comment

It’s always hard to go home again. But it’s even more difficult when you’re bringing your own emotional baggage along with you.

Returning for its second season on Hulu, This Way Up is a comedy series about Aine (Aisling Bea), a sharp English-as-a-Second Language (TESL) teacher who has recently finished some recovery time in a rehab facility. After suffering a nervous breakdown, Aine returns home to reconnect with her loving but protective sister, Shona (Sharon Horgan) and attempt to pull things together. As she returns to work (and her old life), Aine rediscovers the challenges and pressures that caused her such stresses before and attempts to move forward with a new determination to survive.

Written by Bea, This Way Up is an engaging and hilarious form of coming-of-age story. Oftentimes, when a series is written by its star, the series can either feel self-indulgent or garner a sense of authenticity. Thankfully, Up falls into the latter category as Bea continues to create a character that feels real. In virtually every scene, Bea feels present and sincere in her performance. Whether she’s bantering with her sister or frustrated by those around her, Bea allows Aine to feel her feelings with strength and courage.

What’s most refreshing about Up though is the way that it tackles mental health issues with earnestness and honesty. Unlike other projects that simply portray their main characters as having to ‘get their life together’, Aine is allowed the freedom to break down at times. Coping with her own anxieties and the shame associated with her time in rehab, Aine is a work in progress. For her, health may not a straight line yet she continues to move towards it. Though she may have her daily struggles, she bravely remains determined to come out on the other side of her depression. In this way, the series offers a balance between the daily challenges of mental health and the courage that it takes to work through them. 

This sort of emotional processing was especially visible in Season One as Aine attempted to rebuild the live that she had left behind. With the release of Season Two, however, we do find Aine in a better place. With her life somewhat sorted out, she has finally regained some stability which has allowed her to become more emotionally healthy. With her relationship with Richard beginning to bloom and the offer of a new and exciting role at work, she has started to take some positive steps towards moving forward in her life. However, while Aine’s life feels less chaotic, Shona’s is beginning to unravel. Torn between two lovers, Shona is finding it difficult to balance the life she has and the one she potentially may want.

By putting a greater emphasis on Shona’s journey, Up effectively balances the fact that everyone is broken to some capacity. While Aine may have been the one to go to rehab, characters like Shona and Richard demonstrate their own inability to cope with the stresses of life and relationships as well. However, in each case, the series also paints its characters with a brush of understanding that recognizes their brokenness but also allows for grace. In Up, everyone may have baggage but, at the same time, there is also hope for all.

Funny and sharply written, the second season of This Way Up continues to give Bea the opportunity to shine but she is not the highlight of the series. Instead, in a rare matter of praise, the most noteworthy aspect of Up is its sensitivity towards those who struggle with daily mental health issues. Like Aine, this is a daily struggle for many. But, also like Aine’s journey, the series reminds the viewer that there is always the potential for Up.

The second season of This Way Up is available on Hulu on Friday, July 9th, 2021.