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Adventures of a Mathematician: Adding Up the Losses

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Set against the backdrop of World War II, Adventures of a Mathematician tells the true story of Stanislav Ulam (Philippe Tlokinski), a Polish immigrant and mathematicians who emigrated to the United States during the 1930s. Hired by the military, Ulam’s incredible intellect made him an essential member of the team tasked with developing both the atomic and hydrogen bombs, as well as the first computer.

While Adventures of a Mathematician feels like somewhat standard fair for a biopic, some particularly enjoyable work by lead Tlokinski keeps the film from dragging. Written and directed by Thor Klein, the film becomes an engaging and surprisingly emotional film that underscores the importance of human life, especially at a time of war. By following the work of Ulam during the 1930s and 40s, Klein brings a unique spin on the events surrounding the discovery of the atomic bomb. Instead of focusing on the wartime efforts on the field of battle, he instead spends his time with those who never carried a gun themselves. Choosing to focus on Ulam’s emotional journey and family relationships, he is able to tell a story that feels so much more human, without getting bogged down by set pieces or special effects. (After all, who would’ve expected a film about the atomic bomb to feature no explosive footage?) 

The most surprising aspect of Mathematician is its conscience. Despite the fact that Ulam and his team worked tirelessly to create weapons which changed the landscape of the world, the film goes to great lengths to also show these men grapple with the ramifications of their actions. One example of this comes when the team of scientists responsible for developing the atomic bomb gather after the desolation of Nagasaki. Despite the fact that they have supposedly accomplished their goal, Ulam and his teammates are quietly despondent, broken by the devastating losses that they are responsible for creating. Whereas past films of this nature have celebrated the ingenuity of its developers or honouring American pride for defeating their enemies, Mathematician sits in the sadness of the moment. Recognizing that their goal was never to cause suffering, this group of men are left mourning the deaths of the innocent. Having believed that the US would only use the nuclear bomb as a deterrent, they are shattered by the heavy losses. (“Aren’t we supposed to be having a party or something?” one scientist laments.) For them, the loss of human life far outweighs the importance of their discovery.

In this way, Mathematician highlights the moral responsibility of knowledge. Rooted at the heart of the film is Ulam’s struggle to reconcile what he knows he can do with whether or not he should do it. To him, science is the opportunity to do the impossible yet those around him consistently misappropriate his knowledge to do evil. As a result, Ulam wrestles with the implications of applying his knowledge in ways that could be misused. While Mathematician never suggests that scientific advancement is problematic, Ulam’s journey points to the fact that there is always a moral question that hovers over their discoveries. Although Ulam believes that the scientific works that matter most are those that better the lives of others and keep people safe, there are those who are willing to abuse them for the sake of power.

Backed by a likable performance from its star, Adventures of a Mathematician is an entertaining look at history from an alternative perspective. As he leans into the moral implications of the discovery, Klein offers a different look at the lives of those that have created weapons of mass destruction and the burden that it placed on their souls. Most importantly though, the film is willing to ask whether or not having all the mathematical equations outweighs having to add up the losses that result.

Adventures of a Mathematician was available on VOD on Friday, October 1st, 2021.

My Little Pony The Next Generation: Truth, Magic, and Hope

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I’m a child of the 80’s. I grew up with Rainbow Brite and She-Ra and, of course, My Little Pony. I also really enjoy kids’ movies in general, so I consider myself a pretty solid authority on the subject.

So, when I say My Little Pony: The Next Generation (now available on Netflix) is top-notch, I think you should believe me. Although you are totally entitled to your own opinions on the matter – I just so happen to think mine is the correct one, ha!

Our ponies have always been magical, with their most powerful magic being the gift of friendship and teamwork. A world without magic ponies is unimaginable. But it has happened! Not only have the ponies lost their magic, Unicorns, Pegasi, and Earth Ponies live isolated from and in fear of each other. Gone are the days of the Friendship is Magic crew of Rainbow Dash, Twilight Sparkle, Pinkie Pie, Fluttershy, Rarity, and Applejack. But Earth pony Sunny (voiced by Vanessa Hudgens) refuses to buy into the stereotypes and clings to the stories from her father that there was a time when all of the ponies lived in magical harmony, surrounded by friendship.

So, when an unexpected Unicorn visitor, Izzy (voiced by Kimiko Glenn), cheerfully prances into Sunny’s life, they set off to uncover the truth and restore magic to all of the ponies.

This movie is absolutely delightful. The animation is engaging and with a voice cast includes the talents of James Marsden, Sofia Carson, Jane Krakoswki, Ken Jeong, and as previously mentioned Vanessa Hudgens and Kimiko Glenn, the “acting” is on-point.

But it’s the story that is the heart and soul of this movie. Granted themes like stereotypes and fear and living divided aren’t anything new, but I always appreciate when films geared toward children really make universal struggles accessible. And this film delivers on that and then some. Sunny is often ridiculed and ostracized for her conviction that Unicorns and Pegasi aren’t evil, but she doesn’t budge on her hope for reconciliation. And what begins as two new friends on the same mission becomes a movement that will impact everyone.

I am often discouraged these days that there is nothing I can do to impart change. I am one person. Most of the time it’s overwhelming to even try because disappointment looms. But I recently had a conversation with a friend that reminded me that we can take one step to impact the person next to us. We may set out to change the world and everyone’s minds, but it only takes connecting to one other person before a third, and then a fourth, and then a fifth hop on board. And before we know it, change is blooming. Relationships are formed on acceptance and understanding. Lives are changed and communities are built.

Reconciliation is hard work. For Sunny and her new friends, they have to challenge generations of fear and prejudice while facing on of their own who rises into power by latching onto fear and weaponizing it. Again, it’s not a new story and probably more timely than ever.

But if we don’t keep seeking out ways to tell this story, we’ll find ourselves in the same place we’ve been in for generations – stuck in fear of the other, compelled only by self preservation, and completely lost to the beauty that is accepting someone for who they actually are instead of who we fear them to be.

My Little Pony has always stood for friendship. This movie stays true to that while also speaking into the moment we are living in now. Will we choose to stay stuck? Or will we take a lesson from our pony friends and step into a bright new future built on the magic of hope? For me, My Little Pony: The Next Generation compels me to dwell in the truth that even the smallest act of hope can change the world, one friend at a time.

My Little Pony: The Next Generation is now available on Netflix.

23 Walks – A little different love story

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We may think that a love story is a love story. They meet. They clash. They become friends. They fall out. They reconcile. Life is beautiful. Those are the typical beats in such a story. They are all there in 23 Walks, written and directed by Paul Morrison, but it all seems a bit different because the characters are a bit older. That brings some new dimensions to the film.

Dave (Dave Johns) and Fern (Alison Steadman) first meet while walking their dogs in a park in North London. Fern is a bit grumpy that Dave’s dog, while perfectly behaved, is not on a leash. They begin to run into each other on their daily walks, and are soon planning to meet on the walks. Little by little a friendship develops. But they are both in their sixties. This is not a story about raging passion. It is a much mellower journey into the possibility of some kind of new future.

The age of the characters slows down the story just a bit—and that’s fitting. (I move slower now than I used to, too.) Because they are older, they have learned that things can happen over time. But their ages mean that they each have histories. Those pasts have brought joys and pains. They may make them wary about this relationship. It does lead them to keep some important things secret—which leads to serious problems.

It is those histories that bring the new perspective to this romance. In a more traditional love story, we are looking toward a future and the possibilities that holds. While we do hope for a wonderful future for Dave and Fern, we know that for them, this relationship is going to have to deal with the past as well, because those pasts linger in our lives.

Their futures are complicated. Both are about to lose their homes. (No, the answer to their problems isn’t to move in together.) Both have family issues they must deal with—not because of a lack of love, but because of so much love. But perhaps in that tension between their difficult pasts and their uncertain futures, they can find a present in one another that will bring some happiness.

The story is told with sweetness, but it is not cloying. These are characters that are firmly based in reality and common people. They are aging, but still have a good deal of life in them that they are seeking to maximize. The love that grows between them has that same sense of reality. It is grounded in a relationship that feeds them both. Any physical manifestations of love grow from that, which puts it all on a firm foundation. The love we see is a warm-hearted enjoyment of each other. It is the kind of love that those characters in traditional love stories with younger people hope they can grow into over time.

23 Walks is in select theaters and available on VOD.

Come From Away: Love is Always Welcome

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Set immediately after the events of September 11th, 2001, Come From Away tells the story of 7 000 people who were stranded in the remote town of Gander, Newfoundland after 300 planes were grounded after the terrorist attacks. Lost and scared, these involuntary visitors found themselves strangers in an unknown land. Thankfully, the people of Newfoundland embraced those who had ‘come from away’, welcoming them into their community and providing food, shelter and compassion as they waded through the tragedy of 9/11 together.

After the success of last year’s stage recording of Hamilton on Disney+, the Tony Award winning Come From Away opts to make use of the same format, this time on Apple TV+. Performed onstage in the Gerald Schoenfeld Theatre in New York City, Away wants to make you feel as though you’re sitting in the seats on Broadway taking in the show first hand. Shot (mostly) from a view that encapsulates the entire stage, director Christopher Ashley maintains the distance between performer and audience that gives it an authentic feel. While one does somewha wish that a proper cinematic adaptation had been offered, there’s simply something magical about this live performance with a cast of 12 (!) that makes it essential viewing. (Although, it is also worth noting that a film version was in the works until the pandemic derailed the plans.)

Of course, adding to the effectiveness of the piece is that fact that we have hit the 20th anniversary of 9/11 itself. With the performance taking place in New York, there’s simply something special about this one. Filmed in front of an audience of 9/11 survivors and frontline workers, Away carries even greater weight as it becomes instantly personal for its audience. Every musical number, every joke and every poignant moment lands with emotion from a crowd that connects with the material for their own experiences and memories. They may not be onstage but, to this audience, this is their story too.

But isn’t that part of the power of 9/11? In a lot of ways, it’s all of our story.

Like the writers of Come From Away, I may be from Canada. (Just outside Toronto, to be more specific.) And the play takes place in Newfoundland. Even so, 9/11 remains the event that shook the world and re-telling the story from an outside perspective serves as a reminder of how thing changed that day. This is a story that affected everyone and Come From Away recognizes the impact on us all. 

Filled with real stories and characters, the play has always shown the power that real people had on one another in a time of crisis. (Adding to the realism is the fact that Away shows the actors with their real-life counterparts over the credits.) By focusing on the diverse stories of these people who were thrown together, Away gives power and voice to everyone, regardless of race, language, faith or sexuality. (This becomes particularly visible during the play’s stirring and surprisingly inclusive performance of ‘Make Me a Channel of Your Peace’.) Despite the differences between them, all of these travellers were thrown together at the hands of one of the darkest moments in recent history.

Which makes the impact of their hosts even more staggering.

Though the world was in shock, the people of Gander offered grace and shelter to those who were suffering. Despite being far away from their families, these visitors found a home. The actions of the people from this small corner of Canada are the very definition of divine hospitality: no matter who their visitors were or what their stories were, they were going to be safe there. 

Everyone was going to be welcome at their table.

While Come From Away doesn’t ignore the travesty that 9/11 had on the families of those who were stuck in Gander, it does show how hospitality and love can shine a light of hope on others. While their care for others may not have changed what happened, the power of love is that it helped change the way that these broken people could deal with what happened. Suddenly, fear and suspicion were transformed into peace and protection. Yes, the world was changed. Yes, lives were decimated. But, in the midst of that trauma, unconditional love broke through to bring comfort in the most difficult of circumstances.

Fueled by joy and compassion, Come From Away is energetic, entertaining and an absolute joy to behold. Though the cast only consists of 12 people, they manage to share the stories and experiences of many who suffered during those tumultuous days post-9/11. What’s most powerful about the piece though is the fact that it also serves as a reminder that love is always welcome.

To hear our conversation with director Christopher Ashley and writers Irene Sankoff and David Hein, click here.

To hear our conversation with the cast of Come From Away, click here.

Come From Away is available on Apple TV+ on Friday, September 10th, 2021.

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

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You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.

Black Conflux: Fighting for Hope in a World of Toxic Gender

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Set in 1980’s Newfoundland, Black Conflux explores the life of Jackie, a troubled teenage girl, and Dennis, a lonesome man, as they both struggle with their sad lives. Small town blues resulting in depression, alienation, and hopeless all impact these two individuals as they try to make something of themselves. Both want more but both are limited to the town and resources that are available to them.

Black Conflux really does an excellent job of exploring the fruitlessness of small-town living. Jackie, a young teen in high school, lives a boring and even depressive life. Her life feels as though it has almost no meaning to it. Because there’s little to do in Newfoundland, she and her friends spend their time drinking, smoking and, when they’re really bored, just hanging out at the mall. Dennis is in a similar situation, working a dead-end warehouse job for scraps with nothing to look forward to on a daily basis. Frustrated and empty, everything in their lives seems to lead to more disappointment. Even so, they both crave more, whether it’s wanting to move away to a big city or meet that special someone. Black Conflux showcases the struggles that average people in a small town endure and how their ordinary lives can be a strenuous journey.

Black Conflux also takes a look into gender issues and the ways that both men and women have been treated or stereotyped in the recent past. For instance, this becomes particularly clear when one character is almost raped by a long-time friend. Because the young man has been portrayed as a sweet and kind guy, the victim struggles to find others who believe her story, even calling her a tease. In this moment, the films showcases how poorly women have been treated, with others minimizing the effects of rape and victim shaming. Plus, this scene also highlights the fact that even someone close to you can be a potential assaulter. 

At the same time, Dennis personifies toxic masculinity. He’s angry, brooding, and aggressive but also kind of sad and pathetic. The notion that a men must be smart, successful, confident, and persuasive definitely weighs on him. His love/sex life is not what he wants it to be. His career as a warehouse stocker leads to nothing but his boss belittling him. In this way, Black Conflux points to the depressive effects of toxic masculinity before it even had a name, and how devasting it can affect the mental health of some men. As both Dennis and Jackie process their feelings of guilt and shame, they also must fight to recognize that they are not merely the sum of their own pain. Instead, regardless of what may have happened in the past, what you do next is what really matters.

Overall, Black Conflux is a powerful film that show the struggles that men and women face on a daily basis. Even though it’s set in the 1980s, its exploration of gender issues feels current and serve as a reminder of the challenges that both genders must endure.

Black Conflux is available on VOD and Digital now.

The Lost Leonardo: The Power of Art

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What once was lost now is found… and it’s gonna cost you a bundle to enjoy it…

The Lost Leonardo follows a neglected painting that shook the art world when one of the world’s top restorers believes it to be an authentic Da Vinci. Known as the Salvador Mundi, the painting is first purchased for a mere $1 175 in a New Orleans auction house and in poor condition but has all the traits of the master himself. As a result, while not everyone is convinced, the painting is refurbished and quickly builds notoriety amongst the artistic community as a here-to undiscovered piece of the legacy of Da Vinci. From there, the painting continues to increase in value at an exponential rate, eventually resulting in its record-breaking sale to a mysterious buyer.

The Lost Leonardo is a fascinating look at the machinations of the art world. Directed by Andreas Koefoed, this documentary highlights the high stakes of an industry that really does play by its own sets of rules. Despite the earnest attempts by some to preserve art history, Koefoed points out that deception and selfishness can easily dictate who holds history within their hands—and at what price.

What’s most interesting about Leonardo though isn’t necessarily the skeezy backroom dealings and underhanded trickery but rather why these power players place their value in the ways that they do. With hundreds of millions of dollars at stake, Leonardo demonstrates the arbitrary nature of assigned value and how personal motivations dictate where the invest their capital. While there are many who would view these obscene amounts of money as misplaced, those who are involved feel like the battle over the (potentially) lost work of one of art’s greatest masters is well worth their savings. To these investors, owning the ‘Lost Leonardo’ represents much more than art. As the world’s wealthiest climb over each other to own history, the meaning stems from what it means to others and how it bolsters their appearance and global importance.

To them, it means prestige, notoriety and power.

However, at the same time, those who truly care about the painting most may be those who want to preserve its purity. Widely regarded as one of the greatest artists in history, Da Vinci’s work has inspired people for hundreds of years and the prospect of finding any new pieces is very exciting. For those in the art world, the financial value of the piece is almost irrelevant. Instead, they focus on Da Vinci himself. Da Vinci matters because there’s value that lies in the unique story that he may be telling about the way he sees people and the world. Instead of power and prestige, those in the arts community recognize that this sense of authenticity and historical importance are what matters most.

His story is an invaluable part of our story.

As such, this debate over value becomes more essential to the heart of The Lost Leonardo than any particular number or price. Even though those sorts of financial dealings are the things that make headlines, Leonardo reminds the viewer that it’s the historical soul of the piece that’s ultimately much more important.

The Lost Leonardo is available on demand on Friday, August 27th, 2021

Here Today: What Matters is the Moment

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Set in the urban jungle of New York City, Here Today tells the story of veteran comedy writer Charlie Burnz (Billy Crystal). Struggling with oncoming dementia and his broken relationships with his kids, Charlie spends his days as a writer on an SNL-type variety show where the younger team members largely want to ignore his ideas. However, when he meets New York singer Emma Payge (Tiffany Haddish), a spark returns to his soul. Despite the difference in their ages, their relationship gives life to them both and begins to redefine the meaning of love and trust.

While Here Today may not be remembered as much more than a footnote in the careers of both stars, that would be unfortunate. Written and directed by Crystal, there’s no doubt that the sheer talent of both leads is on full display. Whereas both Crystal and Haddish are best known for their frenetic energy, both choose to dial back their performances in ways that allows their genuine affection for one another to shine through. While the script doesn’t always work, the chemistry between Crystal and Haddish is so palpable that the film becomes an utter delight.

As the slowly degenerating but still vigorous Charlie, Crystal gives one of his best performances in years. There’s simply a maturity embedded within his performance here that allows his charm to come forward without overwhelming the film with erratic silliness. What’s more, Haddish absolutely stuns as burgeoning performer Emma, offering tenderness with Crystal but sheer bombastic star power when she’s onstage. Together, they elevate one another’s performances and creates a surprisingly lovable pairing.

Refreshingly honest in its tone, Here Today is a dramatic comedy about what it means to live with perspective. As the entertainment industry has gotten younger and faster, Charlie has become increasingly pushed aside by much of his co-workers. Despite his history and pedigree, Charlie is viewed somewhat as an irrelevant dinosaur who simply doesn’t get today’s edgier humour. However, Charlie’s wisdom and expertise also provide opportunity to see things that others miss in a rapidly paced world. Despite his voice being largely forgotten, those who him always benefit from his years of experience. For example, while the writing team loves their main comedian, Charlie instead prefers the work of the new kid who offers potential. While not as brash as their lead guy, this youth has shown a sharp satirical eye but needs coaching. 

At the same time though, Charlie is also burdened by the poor decisions of his youth. Despite his jovial exterior, the brokenness of his own soul (and failing health) plagues him in his personal life. As such, Charlie lives estranged from his kids and suffers his oncoming dementia alone. However, his struggles with his past and uncertain future causes Charlie to put an emphasis on the day. To him, today is what matters most. Enjoying lunch with a friend. Taking in a concert. Although he has baggage that needs to be dealt with, its the simple pleasures of life that matter most when they are in front of you and he wants to savour the time that he has left. As such, Here Today highlights both the fragility of life and the importance of each moment of it. 

With grace and humour, Here Today is one of the more pleasant surprises of 2021 so far. Elevated by sparkling performances by Crystal and Haddish, the film oozes with personality, making it an absolute joy to watch. Although there are moments where the film dips too far into sentiment, there’s little question that this is a film you may enjoy if you decide to rent it Here Today.

Here Today is available on demand and DVD now.

The Comeback Trail: Hollywood is Murder

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The Comeback Trail follows Max Barber and Walter Creason (Robert De Niro and Zach Braff), two down-on-their-luck Hollywood producers who can’t seem to make a hit. In debt with a ruthless mobster (Morgan Freeman) and trying to stay afloat, Max gets an idea for a scam that could bail them out of financial ruin. For their next film, he hires ageing movie star Duke Montana (Tommy Lee Jones) as their lead actor with the hope that he’ll die on set so that they can collect the insurance money. However, as the filming commences, Duke, Walter and the rest of the team are re-invigorated by the process and Max must hide his true intentions.

Blending the wild west antics of City Slickers with the satirical edge of Wag the Dog, The Comeback Trail is is an over-the-top, silly comedy that probably shouldn’t work but absolutely does. Written and directed by George Gallo, there’s simply an infectious joy within the film that invests you in the characters. Backed by a solid cast and a (mostly) entertaining script, Gallo has created a movie that likely won’t be remembered in the long run but certainly entertains. 

Although his choices have been hit (Last Vegas, Analyze This) and miss (Dirty Grandpa, Analyze That) throughout his career, De Niro has always shown an interest in comedy. While he’s never been great at wackier material, there’s no doubt that he seems invested in his performance here. In fact, Comeback allows DeNiro’s performance as a corrupt producer to tap into the type of sleaze that makes him such a memorable villain. 

However, while De Niro may be the film’s central focus, it’s really Braff and Jones who steal the show. Braff has an incredible ability to move between silliness and earnestness within his performances, which proves invaluable when held up against De Niro’s frenetic energy. Meanwhile, as washed up veteran Duke Montana, Jones absolutely shines as his character begins to find his stride. Jones has always had the ability to bring gravitas to a role and he manages to offer the film’s strongest performance by far.

Embedded within the film is a message about moving forward. While Max and Duke remain entrenched in the pain of their past, the world around them continues to grow and change. They are the old guard. Living in an era where toxic masculinity and white privilege run rampant and remains unchallenged, both men have been willing to compromise their integrity for the sake of fame and success. 

However, whereas Max seems unable to face a new world, Duke recognizes the damage that he’s caused and seeks to do things differently. (In this way, the film also contains a subtext of ‘white guilt’ as Duke carries the burden of turning his back on visible minorities due to his own selfishness, both on and offscreen.) Embracing change with humility and grace, Duke is grateful for a second chance. By hiring Megan as director and attempting to repair the mistakes of his past, Duke genuinely wants to live his life differently in the future. Through Duke’s journey, Comeback shows that there’s room for change—and potentially hope for those who have caused the harm in the first place

While Comeback is far from perfect, it does have a liveliness and fun that genuinely works. More importantly, even though it may be over-the-top, there’s more to this story than first appears. As Braff, De Niro and Jones slog through the trials of the movie industry, Comeback reveals the brutal toxicity that has held it together for so long. Though change is definitely in the wind, the film shows that Hollywood really can be murder.

The Comeback Trail is available on demand on Friday, August 13th, 2021.

The Meaning of Hitler – Does History Mean Anything?

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Hitler. A name that for much of the world connotes absolute evil. But that name is burnt into history in such a way that we continue to struggle with the legacy that left millions dead. Petra Epperline and Michael Tucker bring us The Meaning of Hitler, a film framed by the 1987 book by Sebastian Haffner. The film is not so much an attempt to discover the meaning of Hitler in history as it is trying to understand why that worldview, something we see as so evil, continues in many ways in today’s world.

The filmmakers began the project during the time of the UK voting on Brexit, the election of Donald Trump, and rising nationalist and anti-immigrant movements in many places. There was a very clear shift going on in the world that reached something of an apex at Charlottesville, and the rally of the extreme right that featured Nazis prominently. Since that time comparisons to fascism and Nazis have flown in accusations (going towards both the right and the left). Trump was often compared to Hitler. Was that a fair comparison?

The film begins with an interview with writer Martin Amis, who talks about the similarities (and the dissimilarities) of the two. It follows Hitler’s life and career through comments by a series of historians (including both the Hitler apologist David Irving and Deborah Lipstadt, whom Irving sued for libel [cf. the film Denial]) who shed light on the history and the present from different perspectives.

Petra Epperlein and Michael Tucker’s THE MEANING OF HITLER. Courtesy of IFC Films. An IFC Films release.

The film looks at Holocaust denial, the return of anti-Semitism in various forms, and the ways history is being rewritten so that the very concept of truth is being questioned. The film even questions whether a film such as itself can really find the truth amidst so much conflicting opinions and the rhetoric that fills everything around Hitler and his legacy.

Until a few years ago, I might have thought that the world had moved past that ugly period in our history. But like the filmmakers, I too have been shocked, deeply saddened, and at times angered by the growing sentiments (that I especially notice in my own country) that parallel the kind of authoritarian nationalism that was such a key part of Nazism. And while the filmmakers point out, Trump is not Hitler, they also point out the many ways Trump has used very similar techniques.

The fact that we do makes those comparisons, justly or not, between Hitler and modern situations (that are not limited to the US), is the reason that this film is needed. It allows us a chance to question the rhetoric of both sides. More important, it allows us to see ourselves in an evolving historical moment that may well lead either away or closer to the kinds of abuses of the past. If we associate Hitler with absolute evil, will these comparisons change the way we see that evolving world?

The Meaning of Hitler is in select theaters and available on VOD.

Photos courtesy of IFC Films.