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Team Marco – Life Is Delicioso

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“Life is delicioso; you just have to bite it.”

Team Marco, from director Julio Vincent Gambuto, is a story about generations learning from each other. It asks us to look up from our screens to see the world, and more importantly, the people around us. It also reminds us to cherish the love that fills our lives.

Middle-schooler Marco’s (Owen Vaccaro) plan for the summer is to reach Level 100 in a particular video game. His absent father has promised that if he makes Level 100, he will take him to a big video game expo. But that plan hits a road bump when his grandfather Nonno (Anthony Patellis) nearly burns down his home and moves in with Marco and his mother Anna (Anastasia Ganias). When camp for Marco falls through, Anna talks a reluctant Marco into babysitting his grandfather and talks a reluctant Nonno into babysitting his grandson.

It’s a difficult start. Nonno doesn’t understand the fascination Marco has with his game. Marco is resentful that Nonno has taken over his room. Nonno forces Marco away from his screen and takes him to the bocce ball court where Nonno and his cohort of older men play every day. In time, Marco begins to become attracted to bocce. In a bet to get control of his life, Marco recruits some others his age to form a bocce team.

The film is not so much about knocking screens and virtual entertainment as it is about the value of real connections. Marco, through his video game, has virtual connections with people in many countries. But those relationships do not carry the kind of love that Nonno has with his friends—and Marco begins to find with his new friends.

There is a bit of crossover, though. Much of the time playing his video game, Marco plays wearing a VR headset. There he sees the game in a new way. When Nonno tries to teach Marco bocce, at one point he blindfolds him. He is told to see the game in his head before he tries to do it with his body.

My favorite scene is when Marco’s team meets the older team. Nonno’s friends are all older Italian men. Marco’s team is boys and girls, and different ethnicities. The younger team tells the older bunch that their advantage is their diversity and the ability to build networks that expand their horizons. It serves as a reminder that those kinds of connections that Marco had with his online game are not without value. But we know that the connection Marco has with his new friends, and with Nonno and his friends, is special.

The film teaches that we make choices that may expand our worlds. We may find our insular lives satisfactory, but there are other things that can bring new knowledge and joys.

Team Marco is available on VOD.

Photos courtesy of Samuel Goldwyn Films.

Cowboys – Portrait of an Icon

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“Cowboy’s not what you do; it’s who you are, It’s just something in you.”

One of the key mythic icons of American life is the cowboy. Most young boys, and probably many girls as well, dream of being a cowboy when they grow up. Few actually become cowboys. In Cowboys, directors Bud Force and John Langmore, both of whom have spent time working as cowboys, have created a portrait of what the cowboy life is in the 21st century.

Filmed at several large ranches (some close to a million acres) in states ranging from Texas to Montana, the film shows glimpses of a year of cowboy life. We meet a few of the men and women who have chosen to live this life. It is one of the jobs that is done in somewhat the same way as it was done for the last couple of centuries. There are some technological changes, but for such large operations, it often comes down to men, horses, and cattle in the open range.

It is certainly not a recruitment video looking for new cowboys. It makes it clear that this is hard work, with not much monetary reward. (Starting pay is about $1500 a month.) It is also a challenging life. We meet the wife of a cowboy who is raising their children four and a half hours from the nearest town. Going to the store becomes a three day trip. As she says, if you spill a bag of sugar, it’s nine hours of driving to get more.

The men and women we meet find fulfillment in this life. One of them mentions that his office is about the size of Rhode Island. For many people that kind of isolation would be devastating. For these people it is an opportunity that few people get. They enjoy the outdoors. They get to see beautiful vistas. They get to spend their time with animals. An interesting look at how that isolation can feel to the cowboys is when we talk to a retired cowboy who mentions going into town and living in an apartment feels like jail.

Of course all of this is hard physical work. It involves catching and holding calves for branding or breaking a horse for riding. It can involve riding all day, or camping in a small tent. It’s not always pleasant—as when we watch a cowboy assist a cow delivering a calf that is stillborn, or when a horse is bitten by a rattlesnake.

It is really the mythic aspect that made me interested in the film. The cowboy is the epitome of the rugged individual. These men and women certainly fit that characterization. But they also know that they have other needs. One cowboy relates the death of a child, and how he and his wife needed their faith to get through that crisis. We can see that for these people, this lifestyle suits them well. The concept of rugged individualism is one that has value, but it can also be a very difficult and lonely existence. It is one that fits these men and women, but is clearly not for all.

Cowboys is available on VOD.

Photos courtesy of 1922 Films.

Cut Throat City: Breaking Free from a Broken System

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Set in the Lower Ninth Ward of New Orleans, Cut Throat City follows the young artist, Blink (Shameik Moore). Newly married and with an ambitious future, Blink is excited to start a new life. However, after Hurricane Katrina reduced their city to nothing, Blink and his friends are struggling to look for answers. With no employment opportunities and muddled government assistance, Blink and his crew turn to a local gangster (Tip ‘T.I.’ Harris) who gives them a chance to turn their fortunes around by pulling of a dangerous heist. When the job turns sour, the four young men are forced to run for their lives, yearning to return home while being pursued by both police and an angry criminal warlord.

Featuring a cast that includes Terrance Howard, Ethan Hawke, Isaiah Washington and an almost unrecognizable Wesley Snipes, Cut Throat City has some impressive names in the marquis to help market the film. Ultimately, however, the success of Cut Throat lies at the feet of its young four stars, especially that of relative newcomer Shameik Moore who shines. As Blink, Moore carries much of the emotional weight of the film on his shoulders and he rises to the occasion in his performance. 

What’s more, while RZA has spent the majority of his career in front of the camera, he shows some particularly confident work in the director’s chair here by letting his cast take the stage. With a film this gritty and unrelenting, the temptation would be to portray the rage-fueled culture by highlighting the violence onscreen. However, rather than overwhelm the audience with over-the-top action pieces, RZA’s mostly economical use of the camera allows the characters to step out in front, leading to more effective story-telling overall. 

Feeding the drama of Cut Throat is its poignant story about the underlying effects of Hurricane Katrina on the population of New Orleans. Like the people within its borders, New Orleans was (and is) a city that has never recovered from the devastating effects of the infamous hurricane. Although the US government pledged help to those who were suffering as a result of the disaster, their efforts simply were not enough to prevent the criminal underworld from taking hold of the decimation. Caught between lack of jobs and bureaucratic red tape, low income survivors such as Blink found themselves torn between criminal activity and starving to death. While characters yearn for the ‘new New Orleans’ like some renewed vision of the American Dream, the reality for families in the Lower Ninth district is that that many of them felt abandoned by a government that remained too far removed from the situation to make any real difference. As a result, while Blink may have turned to a life of criminal activity, Cut Throat also views his journey with eyes of sympathy and grace.

With that in mind, there is a potentially redemptive storyline within Cut Throat that highlights the value of young men like Blink. Viewed as a ‘good young man’, there are many who reach out to help him, despite the overwhelming odds against him. Even so, despite the value that others see in him, the most heart-wrenching aspect of the film is that it recognizes the difficulty of breaking out of the cycle of violence, especially when the system itself remains unchanged. In this way, Cut Throat acknowledges that the systems set up to help often reinforce the very problems they seek to eliminate. While organizations such as FEMA were created to offer help to the people suffering on the ground, they also often make things more difficult for the population along the way. Fighting to break free from an unjust system, Blink’s tragic journey becomes an example of the plight of so many who remain affected by not only Katrina but any widespread social trauma.

Though Cut Throat City isn’t a film that you’ll likely hear about in wide release, that doesn’t mean it isn’t worth your time. By taking us into the vicious underworld of New Orleans, RZA also spins a narrative that feels important. By calling for justice in the midst of social pain, Cut Throat City serves as a reminder that, sometimes, hope simply feels unreachable in the face of a cruel system.

Cut Throat City is available on demand. 

Invincible Dragon: Between Hurt and Healing

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In Invincible Dragon, brilliant detective Kowloon (Max Zhang) finds himself perplexed by a serial killer that is focusing on female police officers. When his fiancée becomes the killer’s next victim, Kowloon spirals out of control and returns to the world of fighting. However, when the murderer resurfaces, he is called back into action to hunt his old nemesis and, in the process, unlocks the truth behind their complicated past.

Directed by Fruit Chan, Invincible Dragon is a somewhat compelling mess that fluctuates between gritty crime drama and wild fantasy. Though other films have been able to balance these two tropes well, Dragon doesn’t fully come together. While most of the battle scenes are well choreographed (the fight on the subway car is particularly of note), the story doesn’t always justify the action. To it’d credit, the film does showcase the incredible physical skills of its cast, especially the wonder that is Max Zhang. Balancing some solid acting with his physical abilities, Zhang demonstrates his incredible range as an actor and performer. As the violent and vicious Alexander Sinclair, Anderson Silva has less material to work with as an actor but shows off a particularly brutal side in his fight sequences that blends well with Zhang’s speed. 

On the other hand, despite the quality of the action, the mystery storyline often finds itself bogged down with too many characters and subplots to keep things moving. Although moments between Kowloon and his therapist work well, scenes with other police officers either confuse or simply slow the film down. As a result, the film feels like somewhat of a mixed bag of success and missed opportunities.

Having said this, Dragon does highlight the power that our mental health can hold over one’s soul. Burdened by the loss of his fiancée, Kowloon has become obsessed by his own inner fury. Though he is receiving treatment from his therapist of holistic medicine, he refuses to grapple with what lies within. For Kowloon, to be vulnerable in spirit only serves as a reminder of what he has lost. Blaming himself, he struggles to quell his inner demons in the face of his mission. In doing so, Dragon becomes somewhat of a fascinating look at mental health—an issue rarely examined in a martial arts film—as Kowloon seeks not only revenge but to heal. 

Interestingly, Kowloon’s journey is juxtaposed with that of Sinclair who is also dealing with grief. Though Sinclair claims that both he and Kowloon ‘are the same’, in truth, their primary difference lies in their methodology. For instance, unlike his more valiant counterpart, Sinclair opts to use his pain to empower him, as opposed to seeking healing. In other words, whereas Kowloon is willing to explore the hurt within his mind, Sinclair embraces his rage and uses it as fuel for his actions. In this way, a refreshing twist, Dragon draws the line between hero and villain by the way in which they grapple with the pain of their past.

Featuring some incredible stuntwork and the seeds of some incredible ideas, Invincible Dragon feels like it could have been a ground-breaking entry into the martial arts genre. Unfortunately, muddling storylines and uneven pacing ultimately lead to a much murkier outcome, proving that the film is far from Invincible itself.

Invincible Dragon is available on demand. 

Come Away: The Paths to Freedom

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Come_Away_07.08.18._0115_AB Keira Chansa stars as Alice Littleton in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

Two stories, both beloved by generations. One of a girl who slips through the looking glass and finds herself in a magical world of singing flowers, a grinning cat, and a red queen. The other of the boy who wouldn’t grow up, and instead journeyed to the second star on the right and straight on to morning – never to become a man but to spend his days in play. 

In Come Away, these stories are joined in the lives of the Littleton family. Siblings Peter and Alice (Jordan Nash and Keira Chansa respectively) along with their eldest brother David (Reece Yates) spend their idyllic days creating adventures and soaking up the affection of their doting parents Rose (Angelina Jolie) and Jack (David Oyelowo). Tucked away in the country, the Littletons seem to have all the peace and contentment any family could long for – until tragedy strikes.

As they reel from grief, Rose and Jack slip into despair – Rose turning to drink and Jack retuning to his long-ago gambling past…and those debts come calling. Peter and Alice strive to hold onto the joy of youth, but Peter is burdened by his quest to save his family from the reality knocking at their door, and Alice seeks out the comfort of her high class aunt (and Rose’s sister) Eleanor (Anna Chancellor). Their paths begin to drift –  one into a temporary Wonderland and the other into the timeless Neverland. 

Come_Away_20.08.18._3412_AB (ctr) Jordan A. Nash as stars as Peter in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

From a conceptual standpoint, the joining of these two stories was intriguing. I’ve written before how I’ve always been a fan of Peter Pan lore, so it made sense for me to check this one out. Alice in Wonderland has never been a favorite of mine so I wasn’t sure what to really expect, but this is pretty much set up as a prequel of sorts. And I think it works. The dynamics that lead Peter and Alice onto their respective paths create another level of dimension into their “why’s.” For Peter, it wasn’t just about not wanting to grow up – it was about recognizing the reality of pain and change and a way to hold onto an untainted joy. For Alice it was less about escape and more about being unsure what was real and what wasn’t, and about finding where she would feel at home. 

The casting is phenomenal, with Angelina Jolie in her element playing the once ethereal and doting mother turned despondent and dismissal of her children. David Oyelowo is engaging as a craftsman who encourages the play of his children, but still struggles with both his lower class position and debt-riddled past. Anna Chancellor (of the BBC miniseries Pride and Prejudice) is perfectly balanced between disappointed sister and doting aunt. And the children carry an impressive range of emotions and believability. Rounding out this stellar cast is Gugu Mbatha-Raw as the adult Alice narrating, and Michael Caine as an acquaintance from Jack’s past. Together they tell a dynamic story of what happens when the veil of sanctuary is ripped away.

Come Away_0209_R Gugu Mbatha-Raw stars as adult Alice Littleton in COME AWAY, a Relativity Media release. Credit: Alex Bailey / © Maginot Line, LLC 2020

Overall, I found Come Away engaging and thought provoking. I imagine I’ll uncover even more of the treasures (both real and fanciful) that Peter and Alice sought in the midst of trial and transition with a second or third watch – something that is definitely on my list.

The New Corporation: The Rise of Social Capitalism

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The more things change, the more they stay the same… or get worse…

In their latest documentary, The New Corporation: The Unfortunately Necessary Sequel, filmmakes Joel Bakan and Jennifer Abbott return to explore the underlying issues of corporate greed and how it is currently affecting our lives. The sequel to 2003’s compelling doc The Corporation, Bakan and Abbott have yet again created an enthralling expose regarding the hypocrisy of the modern business mindset.  Whereas the first film explores the legal decisions that allowed business to define themselves as people, the sequel instead sheds light on new social piety embedded within corporate greed and how that is shaping our world. Since their last venture, much has changed in the corporate world with the rise to power of social networks and continuing de-regulations on domestic businesses that have allowed an unprecedented amount of money to be handed to the wealthy. As a result, the gap between rich and poor continuing to widen and civil unrest continues to rise. 

Perhaps the most significant revelation in New Corporation is the evolution of the perception of big business as motivator of social change. Since 2003, corporations such as Amazon, Microsoft, Facebook and many more have publicly stated their intent to support and even spearhead reforms on social justice, globalization and the environment. In doing so, their public image continues to improve while they emphasize the financial bottom line behind the scenes. (In one particularly revealing example, Abbott and Bakan point out that, although efforts to improve education in 3rd world countries appear to be benevolent, the work actually brings more money in for the stockholders back home.) With this in mind, New Corporation proves that the underlying message of big business has not changed in the last two decades: profit. Despite their superficial public benevolence, this ‘win-at-all-costs’ mentality continues to drive their decision-making with little care for those who stand in their way, including influencing government policies.

However, in the midst of this, New Corporation also offers a glimmer of hope. Coming at a time when global culture demands genuine social action, the film is also a call for people to become actively involved in affecting change together. This is not a film merely interested in pulling back the cover on corporate greed but rather one that insists that something must be done to prevent it. Though the statistics and financial influence of these companies can seem deafening, Abbott and Bakan remind their audience that their voice still matters. As more and more people enter the political arena and speak out through social movements such as Occupy, there have been ripple effects that have managed to slow or even overturn the power of major businesses. As such, the film serves as a wake-up call to not only increase awareness for the viewer but also invite them to actively participate in the resistance. In this way, there is a pulsating heartbeat of justice that lies at the core of The New Corporation that makes the film essential viewing.

As The New Corporation comes to a close, one cannot help but feel frustrated by the ever-evolving relationship of manipulation between business and consumer. By returning to the world of high-stakes finance, Bakan and Abbott have once again uncovered a story that is as fascinating as much as it is upsetting. As corporations continue to tighten their grip on our lives, the filmmakers understand the importance of their message and prove that, as the title suggests, the film is ‘unfortunately necessary’.

The New Corporation: The Unfortunately Necessary Sequel is available in select theatres on November 13th, 2020. 

Dating Amber: Fake it Until You Find it

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Set in 1995, Dating Amber tells the story of Eddie (Fionn O’Shea), a young Irish teen who is struggling to come to grips with his closeted sexuality. Growing up in a home with a military father, expectations are high that Eddie will follow in his dad’s footsteps and join the military. However, Eddie’s life changes when he meets Amber (Lola Pettigrew), another gay youth who has yet to come out. Pressured by his peers to get involved sexually with the girls, Eddie suggests to Amber that they pretend to date in an effort to fit in with the other youth. While the ruse works at first, soon their desire to be themselves begins to cause tension and they must decide whether speaking the truth is worth the cost.

Written and directed by David Freyne (The Cured), Dating Amber is a fun coming-of-age story that entertains as much as it engages. With a sharp wit and strong sense of purpose, the film charms with its characters and humour yet neither does it shy away from the complexities of young hormones. Featuring a charismatic cast of youth, Amber pops with energy and life as it explores the challenges of adolescence and sexual exploration. Though their onscreen relationship may be fake, stars Fionn O’Shea and Lola Pettigrew have genuine chemistry together as they support and challenge one another throughout their emotional journey.

Dating Amber highlights the pressures of a society that insists on antiquated gender roles out of fear. For example, though his mother remains the primary caregiver while his father is away (sometimes for months at a time), Eddie’s father carries incredible weight in the home. For Eddie, Ian is the proto-typical example of masculinity. Though he is unsure whether or not he can live up to Ian’s expectations, neither does he want to disappoint his father either. As a result, Eddie’s attempt to join the military become as much about proving his manhood as it does about gaining his father’s approval. However, Ian’s stubbornness and inability to see the world from any perspective other than his own set toxic standards of masculinity within the home (and even erode his own marriage).

 Similarly, after the death of her husband, Amber’s mother also sets expectations of cultural ‘normalcy’ for her daughter. Lost and afraid that she will lose her daughter as she lost him, Jill fights for control over her daughter’s life, always using her deceased husband as a reference. (“What would your father say?,” she repeats.) Despite the fact that he passed away long ago, her husband still seems to decide what’s acceptable in the home. As such, the undo expectations that attempt to force Amber and Eddie into more conservative roles have begun to eat away at their souls.

By highlighting the pressures of traditional ideas about gender, Dating Amber also celebrates the inner strength of those who are willing to be themselves, even if it challenges those roles. Though Eddie and Amber shelter themselves under the guise of their relationship, that protection also offers them a chance to find the support they need to truly discover who they are. As they gain the courage to be more fully themselves with one another, they also are built up to become who they were meant to be in the culture at large. (In fact, it’s worth noting that, despite being set over two decades ago and focuses on the journey of two gay Irish teens, somehow the film still feels universal in its appeal with its message of being true to one’s self in the face of adversity.)

Endearing and poignant, Dating Amber is an loveable film about what happens when the innocence of youth collides with the harsh pressures of an unfeeling world. As Amber and Eddie grow more comfortable with themselves, the film serves as a reminder that, when we own who we are made to be, it enlivens the soul.

Dating Amber is available on VOD.

Ammonite: Reigniting the Spark of the Soul

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Set in the 1840s, acclaimed palaeontologist Mary Anning (Kate Winslet) continues her daily search for fossils along the harsh coastline of Lyme Regis. Although she has made significant contributions to the scientific community, she is now largely ignored by the male-dominated historical society and spends her days looking for common fossils to sell to rich tourists. When wealthy visitor Roderick Murchison asks Mary to care for his young wife, Charlotte (Saoirse Ronan) in his absence, she begrudgingly accepts due to her financial needs. However, as Mary and Charlotte spend more time together, their mutual support for one another starts to bring their hearts back to life. As their friendship turns into a passionate love affair, the two women’s lives are irrevocably changed.

Written and directed by Francis Lee (God’s Own Country), Ammonite is a slow burn of smoldering sensuality. Based on the life of Mary Anning but not on true events, the film is an interesting look at a historical context without feeling forced to recreate actual events. As a result, Lee’s film is an intriguing mix of fact and fiction as he manages to tell a story that seems to flesh out the experiences of women during the 19th century yet also maintains his creative license to explore the modern female voice as well.

While period pieces can become tropes unto themselves, the performances in Ammonite help to elevate the film above other more recent examples. Both Ronan and Winslet have genuine chemistry onscreen and each unspoken glance offers more passion than any flurry of poetic words. Both women are excellent together onscreen yet it’s Winslet that is absolutely remarkable as the emotionally stilted Mary. Anchoring the film with her performance, Winslet says few words yet communicates much. Like the fossils that she uncovers, Mary too is frozen in time and requires gentle care to free her soul from her hardened emotional shell. As such, Winslet brings a complicated subtly to the role that reveals both an inner strength and underlying fear.

While the film’s sweeping romance remains the focal point of the narrative, the empowering of women in the midst of a toxically masculine society is telling. Having both been taken advantage by men in different ways, Mary and Charlotte have both been silenced by their culture. Though the effects of Charlotte’s abusive relationship are much more visible, Mary too has been neglected by the male-dominated historical society that features her work. As such, both women have lost their voices at the hands of others. As they begin to carry one another’s burdens, sparks of life begins to resurface within them and their spirits lighten.

photograph by Agatha A. Nitecka/RÅN studio

While Ammonite uses this spiritual resurgence to emphasize their sweeping romance, the joy that stems from feeling heard and seen by another is far more important. By highlighting the healing power of relationships, the film serves as a reminder of the value of each human soul and how easily they can be trampled on by the ignorant and selfish. Then, when their sexual journey finally comes together, their affair stems not merely from some base, animal attraction but from the fact that both women have empowered one another in ways that have restored their souls. In this way, Ammonite recognizes that genuine intimacy and mutual support is far more life-giving than raw physical attraction and celebrates the spiritual spark that such relationships bring.

While the film may not be for everyone, there is something poignant about Ammonite that stays with the viewer after the film is complete. As Mary and Charlotte’s relationship blossoms, their love carries an intimate beauty that is often missing from today’s romance films. Like each fossil that the women, Lee shows the viewer that the heart can be restored once again, even when it has been embedded in the muck and mire.

Ammonite is in select theatres now and will be available on VOD in early December. 

Dinner with Friends: [Un]happy Friendsgiving

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In Dinner with Friends, Abby is a single woman suffering from a recent break who is dreading the day’s Thanksgiving celebrations. When she commits to spend the day with her dear friend Molly (Malin Akerman), a movie star and recent divorcee, Abby believes that she can make it through the holiday… until she discovers that Molly has invited her new lover Jeff (Jeff Donnelly) to dinner. As the group begins to grow with more and more friends attending and an unwelcome surprise visit by Molly’s trainwreck mother (Jane Seymour), Abby and Molly soon become overwhelmed by the group and the holiday celebration spins out of control.

While it doesn’t feel like it fully lives up to its potential, there’s enough about this Dinner to bring you to the table. The debut feature of writer/director Nicol Paone, Dinner with Friends (or Friendsgiving, as it’s known south of the border) is a bit of a mixed bag that both entertains and frustrates at times. 

There is something genuinely charismatic about the premise of friends gathering together instead of the traditional family atmosphere. This environment allows for a slight twist on the relationships that we’ve seen in other films like this where people are forced together for the holiday. For her first feature, Paone shows a confidence and creativity behind the camera in her ability to include different cinematic looks, such as ‘dating video’ imagery and her unique visuals during drug-affected conversations. However, at the same time, while switching between storytelling styles does give the film an element of texture, it can also be jarring and create a lack of cohesiveness.

Even so, the cast is certainly ready for the festivities. As she often does, Akerman anchors the film with her performance with a spark of life. As the connecting tissue through most of the relationships, Molly’s character holds the film together and Akerman truly shines in the spotlight. (However, almost equally important to the film is Donnelly as the philanthropic—and often shirtless—Jeff who hilariously charms as he balances humility and bizarre behaviour throughout the film.) Genuine and entertaining performances by Aisha Tyler, Chelsea Peretti, Denning and an absolutely wild Jane Seymour also keep the film entertaining, even when the story drags. 

As with many films about Thanksgiving, Dinner focuses on the dysfunctional relationships that can be highlighted when family (or friends) get together for the holidays. Grief and pain bubble to the surface when held up against relationships that seem more steady. More grounded personalities become unhinged when free spirits let themselves go. However, amidst the emotional chaos, the soul of the film lies in the fact that we all have brokenness that needs to be healed. Whether it’s the damage of past relationships or general dissatisfaction with one’s life, every one of us has endured hardship and can struggle to move forward. 

Between Molly and Abby, the relational fall-out differs in their approach. While Abby is left frozen in her hurt, Molly lives in denial about her pain and attempts to move ahead too quickly with a new lover. While both find distinct ways to cope, they nevertheless have both experienced betrayal which leave them feeling lost. However, as they fight through their woundedness, their relationship of mutual support also proves as a solid foundation for recovery. By hurting together, they also begin to find a way to heal together. In this way, Dinner shows the way in which community has the power to offer hope rather than merely tear down.

Although it has its flaws, there’s enough to enjoy about Dinner with Friends to help yourself to a viewing. With energetic performances from its cast, Paone does tell a story that [mostly] bounces along with enthusiasm.

Though, honestly, I just might not go back for seconds.

Dinner with Friends is available on VOD on November 10, 2020 and on BluRay and DVD on November 24th, 2020.

Memories of Murder: Murder, Mayhem and Mind Games

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From Oscar-winning director Bong Joon-Ho, the classic Memories of Murder is based on Korean’s first real serial killer who committed his murders from 1986 – 199 until they were caught in 2019. Originally released in 2003, Memories tells the story of a big city detective from Seoul who has to team up with 2 inept small city cops in order to track down an elusive murderer who plays games with both his victims and the officers that try to bring him down. 

Memories of Murder centers around two dimwitted cops, Park and Cho. Totally unprepared for this type of case, a big city detective named Seo has to join them. A detective story at its core, you get to see how the horrifying 5-year murder spree played on the psyche of these officers. As the killer plays games with them, they are increasingly driven to unethical interrogation methods in order to find the killer, torturing and intimidating any suspect they can get their hands on.

At first, having been pulled in to lead the investigation, Seo looks down on Park and Cho’s methods as idiotic, desperate, and barbaric. However, as the killer continues to toy with him, Seo begins to act in desperation with his suspects in the same way. In this way, Memories showcases how this allusive serial danced around every detective on the case for years and the psychological effect that this had on those who were pursuing him. 

Personally, I enjoyed Memories of Murder greatly. Bong Joon-ho thoroughly tells the stories surrounding the investigation and gives insight as to how the limited forensic technology of the time and the lack of preparedness of the detectives allowed the killer to get away for so long. (In real life, the killer’s name is Lee Choon-jae, having confessing to his crimes in 2019. Though, because he had passed the statue of limitations, he is a free man.) 

[Caution: Spoilers] Towards the end of the film, Park goes back to the old site of the first killings and runs into a girl. She proceeds to tell him that there was a man earlier who was revisiting for nostalgia purposes. When he realizes that this girl must have run into the killer, the camera zooms in on his face, eyes glaring at the camera. For Park, the obsession is unending as he uses his eye detector test to spot the killer, potentially in the audience of the film itself. [Spoilers end]

Overall, the rerelease of Memories of Murder did great in retelling the classic story. The film features a great dynamic from the trio of cops and shows their psychological struggle through 

Memories of Murder is available on VOD on Friday, October 23rd, 2020.