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One Shot: Scott Adkins is an Island

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John Donne wrote that “no man is an island,” but no one told that to martial artist Scott Adkins, who miraculously dodges bullets and fights hand-to-hand with ease. His audience knows what Adkins is capable of based on his work in Ninja, The Expendables 2, and a host of action-heavy films. But, in One Shot, he’s in an action film dressed up as an art flick – James Nunn has directed his film to appear as one long, live-action take.

As Navy SEAL Jack Harris, he’s assigned to protect CIA analyst Zoe Anderson (Ashley Greene) to a “black site” where they’ll transport informant Amin Mansur (Waleed Elgadi) away. But the site manager, Ryan Philippe’s loud, rude Jack Yorke refuses to let them extract Mansur immediately, and soon terrorists swarm the CIA forces.

Of course, Adkins’ Harris is the only one with the brain, skills, and courage to save the day…

The film has little to say about black sites – although this is supposedly the last one left – or the ways that people of varying degrees of guilt are treated like war criminals. It’s solely setting up a spot where Nunn can film without interruption and Harris can kick, shoot, and punch without worrying about collateral damage.

As much as I’ve become a fan of Adkins’ periodic roles where he gets to fight and act, this film isn’t one of those, and Shooter (the television series) seems pretty far removed for Philippe, too. It’s pretty shaky in terms of plot and dialogue, but that matches the handheld cam feeling that the whole thing leans heavily into, a style that Paul Greengrass has done much better as well.

One Shot is available on VOD on January 25th, 2022.

Monster Mondays: Godzilla Raids Again (1955)

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By Ben Dower

With the success of Godzilla, Toho immediately began production on a sequel.  Rather than Tokyo, this time it would be Osaka that would face the wrath of the monsters – plural.

In Godzilla Raids Again (1955), Shoichi Tsukioka (Hiroshi Koizumi) is a pilot who spots tuna for an Osaka-based cannery until he runs into engine trouble.  He manages to safely land at a nearby island where his co-worker and friend, Koji Kobayashi (Minoru Chiaki,) comes to rescue him.  While they are there, they spot two giant monsters fighting.  The monsters eventually battle off a cliff and plunge into the ocean.

Dr. Kyohei Yamane (Takashi Shimura, reprising his role from the previous film) identifies one of the monsters as a second Godzilla.  At the end of Godzilla, he had warned the government that continued nuclear testing could bring about another Godzilla.  The other monster, which has a spiky back and is quadruped, is identified as an Anguirus, a dinosaur in the Ankylosaur family that has probably also been awakened through nuclear tests.

The monsters soon make their way to Osaka and continue their battle, devastating the city.  As the monsters square off next to Osaka Castle, Godzilla gains the upper hand.  The two monsters plow through the castle and Godzilla bites down on Anguirus’ neck, killing him.  Godzilla leaves a burning Osaka, the smoke rising up above the city like a mushroom cloud.

With the cannery destroyed, Tsukioka and Kobayashi are transferred to the company’s operation in Hokkaido. While there, they become involved in the hunt for Godzilla.  Godzilla is found at a small, snow-covered island.  Kobayashi’s plane crashes into a mountain on the island, sending an avalanche of ice onto the monster.  The military proceeds to bombard the mountains around Godzilla, burying him in ice.

Godzilla Raids Again was released on April 24, 1955, a little under six months after Godzilla, and the film does feel rushed.  While Godzilla was a deep metaphor for nuclear destruction and Japan’s experience of World War II, Godzilla Raids Again largely jettisons that metaphor in favour of a more upbeat and generic monster film.

That said, there are still hints of the themes of the first film sprinkled throughout, like the long shot of Osaka burning where the smoke resembles a mushroom cloud.  Osaka is an interesting choice for the monster attack.  Like Tokyo, it was heavily bombed during the war.  The last air raid by the United States on Osaka took place on August 14, 1945 as part of a 1,000 plane final raid on Japan, an operation that went ahead despite the fact Japan was moving to surrender.  Emperor Hirohito announced Japan’s surrender the following day, August 15, 1945.

Also carried over from the first film is the military feel, with planes flying low over the city and dropping flares to try to lure the monsters away.  Scenes of civilian evacuations also evoke wartime imagery, and shots of a smouldering Osaka the day after the monsters’ attack are reminiscent of Hiroshima and Nagasaki, much like the imagery of a charred Tokyo was in Godzilla.

Like Godzilla, Godzilla Raids Again was quickly purchased for U.S. distribution.  There were initially plans to film a whole new American story for the film called The Volcano Monsters.  Toho even shipped Anguirus and Godzilla suits to the United States for the American producers to use to create their own monster scenes.

Ultimately, the plans for The Volcano Monsters fell through and instead the film was dubbed and heavily edited for its North American release.  George Takei, who later found fame portraying Hikaru Sulu in Star Trek, lent his voical talents for the English dub.  While the plot of the film is largely the same, sound effects were altered, stock footage inserted, and music changed.  The film was also retitled Gigantis, the Fire Monster. As with Godzilla, this Americanized cut of the film was the only version released in North America for 50 years. In 2006, both edits of the film were released on a single DVD by Classic Media.  

Currently, Godzilla Raids Again (Japanese version only) is available from The Criterion Collection as part of their Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set featuring the first 15 Godzilla movies.

Zeros and Ones: Ethan Hawke is Seeing Double

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In Zeros and Ones, a movie about a terrorist plot that the audience never quite catches up to, Ethan Hawke plays JJ, a soldier trying to stop said plot, and Justin, JJ’s twin brother who seems to be behind the plot. But in Abel Ferrara’s film, which he wrote and directed, the mood is more important than the details, and the journey is definitely supposed to be more important than the outcome.

Through a darkened, unsteady lens, the audience watches JJ explore Rome, visit a nearly deserted Vatican, and experience life in the midst of a pandemic (although COVID is not named). But the exploration of the terrorist plot isn’t linear. Somehow, JJ ends up with prostitutes who get … involved, and then he’s forced to have sex with a woman while held at gunpoint. (Do these things really happen? It seems like Ferrara is just aimed at ridiculous smuttiness.)

While I’ll openly admit that I’m not sure either where we went or where we ended up, it’s helpful to know that this is the first film where a star recorded a message to the audience before and after, admitting it’s confusing, praising the director, and genuinely seeming to ask the audience to like the film. I like Hawke’s films mostly, but not this one. Honestly, I’m still not sure what to think of it, other than to realize it was made with a blurring of reality in the middle of a pandemic.

Maybe it’s supposed to be funny, or insightful. Maybe that’s why JJ uses hand sanitizer but gets exposed to STDs. Maybe it’s not supposed to make any sense at all. But the end result seems more art house than entertaining, more private insider joke than an invitation to go along for a ride.

Either way, seeing two Hawkes on screen doesn’t mean it’s twice as good.

Zeros and Ones is now available on VOD.

The Whaler Boy – Looking for love

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Perhaps the grass is always greener on the other side of the Bering Sea. That seems to be the basis for Phillipp Yuryev’s premier feature film The Whaler Boy.

Teenaged Leshka lives in a remote whaling village on the edge of the Bering Straits. He and the other men go out to kill whales, that they use to feed the whole village. This is a village without girls. His friend Kolyan invites him to come with him to the next village to find some girls, but their motorbike breaks down on the way. The only chance he has to even see a girl is an erotic chatroom online. He becomes infatuated with an American girl, HollySweet_999.

Leshka spends a lot of time watching HollySweet_999, trying to talk to her through the computer screen. Even trying to learn English. He becomes jealous of others who pay attention to her. After he gets into a fight with Kolyan over her, Leshka decides to take a boat and cross the straits into the US and begins walking until he gets to her, where he’s sure he’ll win her heart.

This is a hazardous crossing, not only the sea, but he must also deal with poachers and ICE. Even after all that, he doggedly sets off across the tundra on his way to Detroit. Yeah, he doesn’t seem to understand geography in the least.

The film has some very interesting visual aspects, especially when he comes to what seems to be a whale graveyard in the midst of the tundra. The storyline, however, never quite comes together. Leshka’s naivete is endearing, but is not enough to keep the film consistently engrossing. But the film does at least end with a revelation for him. The grass may be greenest where there are people you know and love. For that you don’t need to brave the ocean and another continent.

The Whaler Boy is in select theaters, on virtual cinema, and available on VOD.

Photos courtesy of Film Movement.

Delicious – Restaurant of the Revolution

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I frequently eat out. Sometimes it’s for convenience; other times it is for something special. The options are endless because restaurants are everywhere. They always have been, right? Well, no. Delicious, from director Éric Bresnard, is the story of the birth of the restaurant, and it was very much a revolutionary idea.

Set just before the French Revolution, we are told that in the 18th century fine cuisine was used by the nobility to “fight boredom and show its grandeur.” This at a time when most people barely had enough to eat. Noblemen would find and train chefs to create outlandish meals to display their wealth. One such chef was Pierre Manceron, who worked for the Duke of Chamford. After one of these elaborate dinners, the Duke brought Manceron into the dining room and let the guests critique the meal. When one dish was disapproved of, the Duke demanded an apology from Manceron, who refused and was dismissed.

Manceron and his son return to the remote post relay station (which served simple meals, such as broths to travelers) to start anew. While there, Louise, a woman who claims to have been a jam maker, shows up and asks to apprentice under Manceron. He thinks there is no point in teaching a woman, especially one he views as unworthy. (At one point he noted that the only women who carried themselves as Louise did were either noblewomen or whores—and if she were a countess she wouldn’t be there.) But she persists and as time goes by ideas start to form that they could make real meals for travelers.

In time, the Duke, who has never found a cook equal to Manceron, is willing to take him back. But it turns out that Louise also has a bone to pick with the Duke, and the plans to serve him a special meal could be deadly. But perhaps there is another way to get even for past injuries.

I doubt the film makes any real claims to historical accuracy, but the modern restaurant did evolve in France around this time. In this film we see various aspects of what we think of as restaurants develop along the way. But we also see how this really does have a revolutionary aspect. The film portrays the development of the restaurant as a democratization of food. Well made food is no longer only for the nobility. Anyone can come and enjoy the meal. And enjoyment is a key, because in this film food is joyful.

Delicious is not going to garner any Michelin stars, but it’s also not a greasy spoon. It may at least make you think when you eat out next about what a revolutionary thing you’re doing among all those other people.

Delicious is in select theaters and available on VOD.

Photos courtesy of Samuel Goldwyn Films

June Again: Rebuilding All Over Again

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This winter, you’re allowed to start believing in June Again.

Set in Australia, June Again tells the story of June Wilton, an elderly woman who has been suffering from dementia for the past five years. Although she has been lost within herself over that time, an astonishing bout of lucidity suddenly awakens her as if no time has passed. As she returns home, June is angered to discover that much has changed within her family. Immediately, June sets to work on fixing the lives of her children and the family business. However, the experience will also awaken a past romance which June had long kept from her family as well.

Written and directed by JJ Winlove, June Again is a heartwarming surprise for the cold month of January. Mixing multiple styles and story threads, Winlove manages to create something that feels new. Although the film’s tone shifts drastically throughout, June somehow comes together in a way that charms the viewer by its end. This is a film that wants us to mourn June’s condition, be frustrated by her and fall in love with her at the same time and yet, the script still works.

Of course, much of the credit to the film’s success belongs to some strong work by Noni Hazlehurst as the grumpy but lovable June. With fire and fury, Hazlehurst demonstrates the stranglehold that June upon her family as its matriarch. However, there is also an innocence about her character that makes us empathize with her. As Winlove’s script moves from family trauma into revisiting past, Hazlehurst owns every scene with authority. Even so, her best work may come in her quieter moments when she’s struggling to hold on to her lucidity. With a single glance, Hazlehurst demonstrates the complex inner struggle that Jane is experiencing as her worlds begin to blur together. 

Though she says nothing, she communicates much.

Somewhat impressively, Winslow never loses sight of the emotional strain that takes place on the family when one of their loved ones is struggling with dementia. As June arrives home again and attempts to put her life into context, the mixture of emotions that felt by her family are palpable. On the one hand, there is great joy and relief to see their sick mother stepping back into her life. In addition though, all of the tensions that once existed between them also come flooding back as well. For example, siblings Ginny and Kyle both have moments where they’re relieved to see her well but also frustrated by her overbearing and interfering nature. 

They have a deep love for their mother but there is also years of hurt to process as well.

In this way, Winlove’s film explores the complex relationship between the past and present. In this family, everyone is attempting to deal with history. On the one hand, June’s children are attempting to navigate their own interpersonal struggles. From a traumatic car accident to the pain of financial losses, their family has been torn apart over the last few years. As June re-emerges, her attempt to control the lives causes further friction by reminding them all just how far their family has fallen. On the other hand, June has also experienced a deep personal loss in the form of her past lover. Having been involved in a whirlwind romance that changed her life many years ago, June also feels trapped by her past, albeit in a different manner. Her lost love remains a gap in her soul and she yearns to see him one more time. 

As these two stories converge though, Winslow uses them to provide hope and healing to his characters. By forcing them together, Winlove allows June, Ginny and Devon to begin to see past their pain and offer the support to each another. Despite their history, there is a grace that manages to break through that highlights their importance and brings some much-needed healing to their family.

With a strange mix of sadness and fun, June Again is an unexpected joy. Backed by a perfect performance by Hazlehurst, Winlove manages to craft a story that blends humour and heart, without ever negating the impact of dementia on the family. Though the film may fly under the radar of most, look for it. There is a warmth to this June that is infectious to even the coldest of hearts.

June Again is available on demand on Friday, January 7th, 2021.

See for Me – A Path in Darkness

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From director Randall Okita, See for Me tells the story of a blind young woman who must face off against a gang of intruders. But she isn’t quite alone. Her phone may be her salvation.

Sophie (Skyler Davenport) is heading off to a remote mansion to housesit. She has a very strong independent streak—to the point of rudeness. Her backstory, we learn, is that she was a very talented young skier until she lost her sight. Now, she takes housesitting jobs, where she augments her pay by theft. Yeah, she’s not the innocent young blind woman like we encountered in Wait until Dark. She has a friend who leads her through the house through her phone, as she searches out something to steal. Her friend says he doesn’t want to be involved in this anymore.

When she accidentally locks herself out of the house, she tries a new app, “See for Me”, that connects blind people with volunteers who will see through the phone to help them out. She connects with Kelly (Jessica Parker Kennedy), a veteran who spends her day playing multi-player shooting video games.

That night, Sophie wakes up to voices in the house. A gang of thieves has broken into what they thought was an empty house to rob a hidden safe. After calling 911, she is discovered. When the sheriff shows up, things begin to go downhill. Soon, Sophie must reach out to Kelly again, whose video gaming now takes on an aspect of life-or-death.

The key part of this thriller is Sophie’s seeming helplessness. For all her desire for independence, much of which is driven by ego and anger at what she has lost, when the time comes, she discovers she cannot get out of this situation on her own. She must rely on other people—not so much to save her, as to empower her in different ways. It is in that reliance that she has the chance to grow. But we’re not sure if she has grown enough.

See for Me is in theaters and available on VOD.

No Time To Die: Old Bond, New Tricks

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After over 50 years and twenty-five films, it would be understandable to think that James Bond was out of surprises. But, with the release of No Time To Die, the greatest surprise is that there’s still room to grow.

Directed by Cary Juji Fukanaga, No Time to Die picks up as Bond (Daniel Craig) is living a quiet life with Madeline Swann (Lea Seydoux). After an attack separates the two, Bond moves to Jamaica and attempts to live off the grid. When his old CIA friend, Felix Leiter (Jeffrey Wright) arrives and asks him for his help, Bond reluctantly comes out of his self-imposed retirement to help rescue a kidnapped scientist. However, when a routine mission takes a turn, Bond finds himself in the sights of a mysterious madman who wants to create chaos around the world.

As his final foray into the role of James Bond, No Time to Die provides Daniel Craig with an incredible wrap-up to his series. Let’s not forget that, although he has only made five films, he is the franchise’s longest serving leading man. (In fact, beginning in 2006’s Casino Royale, Craig has been the face of the franchise for almost an entire generation.) In No Time To Die, Craig and Fukanaga deliver a story that not only shows maturity in its lead character, it also demonstrates a self-awareness in its world-building. Featuring characters both old and new, the film is an opportunity to (potentially) pass the baton to the next wave of MI6 agents while still offering all the things that one expects from the franchise. Set pieces remain exotic and explosive. Gadgets are fun and the world is at stake. In No Time To Die, Fukanaga ensures that there is tonnes of Bond fun to go around.

With intensity and solid character development, No Time may be the best final film for an actor in the franchise. Whereas other Bond actors have tried to go out on a high note (or weren’t aware they were being recast), Craig uses the opportunity to wrap up storylines from all of his films. In fact, while it may have gone unnoticed by many, the greatest gift that Daniel Craig may have brought to this franchise is continuity. Over the decades, every other iteration of Bond has told its narratives on a film-by-film basis. While this has worked for one off adventures, it has limited the character from showing any true personal growth. (To be fair, Pierce Brosnan attempted to do some of this character development throughout his films in the 90s but with poor results.) Although other cast members like Desmond Llewelyn and Judi Dench have continued through various Bond iterations, their transitions never included any awareness of the change. 

One day, one actor played Bond… and then, suddenly, another did the same.

However, Craig’s Bond films have taken a decidedly different approach by allowing his exploits to build upon one another. In doing so, Bond has had the opportunity to grow and mature over time. As a result, we have seen legitimate change in the character as he has moved from Royale‘s ‘blunt instrument’ to a man with a heart in No Time. There is a genuine arc that takes place throughout these films as this young and reckless rogue grows into more self-aware and loving character. As such, what we witnessed was a character (and a franchise) born out of the 60s try to find new relevance in the 21st Century. 

And it’s a good thing too.

Over the last 20 years, the world is changed a great deal. From #MeToo to Black Lives Matter to the pandemic, the global community is a very different place than it was at the start of the millennium. While these sorts of inclusions can feel forced, the story feels like its trying to be more honest about the state of our current culture. Strong female characters such as Ana de Armas and Lashana Lynch serve as Bond’s equals. Sexuality stems out of genuine intimacy rather than desire. Inclusion and sexual respect have become a priority for a franchise for the first time. (For the first time, this Bond film does not include a one-night stand for the notorious philanderer!) While the action scenes in No Time are fun and furious, its actually these changes that are the most noteworthy aspects of the story. For decades, James Bond has exemplified masculine power and dominance… yet we now recognize the toxic nature of that same flawed masculinity. 

James Bond is trying to grow up.

Furthermore, what Fukanaga has emphasizes most in this film is that Bond has developed a soul. Throughout the history of the franchise, Bond has been a man who cares only about ‘the job’. Depth of relationships are (mostly) an afterthought as he uses assets ‘for the greater good’ and uses women to feed his ego. (Again, that toxic masculinity rears its ugly head.) While the character has always been willing to sacrifice himself for the sake of his mission, his actions either came off as reckless or even self-serving. Because of this, there has always remained a quiet emptiness within the character that was never addressed. However, in No Time, Bond demonstrates a deeper understanding of himself and even the ability to love. No longer is the man defined by his OO-status. (What’s more, No Time even manages to intentionally separate James Bond from his famed title of 007.) In this way, No Time reminds us of the importance of who he is, not just what he does. 

All of a sudden, Bond doesn’t just exemplify being a ‘man’. He now chooses to explore his own humanity.

As for the disc, No Time to Die looks spectacular in 4K. With its sweeping landscapes and massive set pieces, the film was definitely designed for the big screen but it still looks particularly good on your television as well. In ‘Anatomy of a Scene’ and ‘Keeping it Real’, the disc contains two fascinating featurettes that show off Fukanaga’s desire for practical stunts. In addition, a 45-minute retrospective gives Craig the chance to reflect on his time in the role. While one wishes that a film such as this would include a director’s commentary to really expound upon the film’s secrets, these features are interesting enough to satisfy those who want to get behind the camera.

Although the Craig era is now over, one cannot say that this Bond didn’t go out with a bang. Anchored by wild action scenes and impressive gadgets, No Time to Die is a fabulous finale for his legacy. However, the best part about No Time isn’t the stunt work. As he moves into a new world of gender equality and racial responsibility, Bond admittedly was beginning to feel like an unacceptable relic. Even so, Craig and Fukanaga have managed to bring the outdated world of Bond into our modern era in a way that makes it still feel relevant.

So, despite what people say, maybe you can teach an old Bond new tricks.

No Time to Die is available on 4K and Blu-Ray on Tuesday, December 21st, 2021.

Christmas on Cattle Hill: I’ll Be Gnome for Christmas

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Like many of us, I am a sucker for a good Christmas animated movie. From classics like Rudolph and Frostyto more recent shows like Olive the Other Reindeer and Klaus, there are an abundance of stories that have become a gift to our family during the holiday season.

But Christmas on Cattle Hill may not be your favourite animated gift this year.

Developed in Norway, Christmas on Cattle Hill tells the story of Klara, a young calf who finally gets to spend Christmas with her father, Biff. After her parents’ divorce, she has never spent the holidays with him and can’t wait to celebrate the season up on Cattle Hill. However, when she arrives, she is disappointed that he hasn’t decorated at all. When Biff is called away by what appears to be a work emergency, Klara takes it upon herself to make Christmas come alive once again. Partnering with a Christmas gnome, Klara wants to turn Cattle Hill into a holiday paradise yet, as the gnome begins to act unpredictably, things begin to get out of hand.

Christmas on Cattle Hill is one of these films that wants to give you the warm ‘holiday fuzzies’ with your family and, in some ways, they’re quite successful. While it may be far from a ‘Christmas classic’, Cattle Hill is a charming film that should entertain families, especially those with younger kids. While the animation is relatively simple, its main story featuring Klara’s attempt to make Christmas special for her father is particularly adorable and serves as the anchor for the film. What’s more, things really pick up when the Christmas gnome gets involved. Starved for oatmeal and filled with Christmas fun and fury, the gnome is a joy to watch as it bounds around and should delight audiences. 

Having said this though, Cattle Hill’s interest in telling several stories also makes it a bit confusing and, frankly, that holds it back from becoming something special. The side adventure of intrusive chicken, Chickolina and fussy sheep, Baart simply doesn’t work. Meanwhile, while Klara’s best friend serves as some comic relief, his story with his father never really comes together. In essence, while these stories are fun, they often confuse and distract from Cattle Hill’s most endearing tale of a father and daughter reuniting.

Without question, the best part about Cattle Hill is its story about bringing people together at a time when loneliness is a serious issue. For many years, Cattle Hill was a place enlivened by a spirit of community, especially at Christmas time. Centred around a massive decorated tree in the main square, Cattle Hill was a place of celebration over the holiday season. However, after Biff’s divorce, the area has become far less jolly.

As a result, the Christmas holidays are no longer the most wonderful time of the year but the loneliest. This is best exemplified through Pauline, a pig who lives by herself at the base of a mountain. For her, being isolated from family and friends is the most difficult time of the holidays. As a result, she lies to Biff in order to bring him to her home simply because she does not want to be alone. While her ruse admittedly seems fairly creepy at first, we soon recognize her need to be in a community. For Pauline, the most important thing is to be around others who care for her at Christmas time.

As Klara becomes committed to seeing Christmas come alive once again, so too does it affect all of those around her. Her desire to believe and celebrate once again lights the fires of community and brings hope to the people of the neighbourhood. In this way, Cattle Hill does a good job reminding us how much we need one another, especially at the holiday season. In doing so, everyone feels valuable.

Everyone feels like they’re a part of something bigger than themselves.

Sweet and often silly, there’s a lot to like about Christmas on Cattle Hill. Serving as a reminder that everyone matters and deserves a chance to celebrate, the film has a positive message that manages to shine through. However, one can’t help but wish that the film had been a little more focused so that it could create a little bit more Christmas magic.

Christmas on Cattle Hill is available on VOD for $.99 now.

Mr. Birthday: Everybody Matters

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Everyone has a birthday… but not everyone is able to celebrate it the way they want.

Mr. Birthday tells the story of Barry (Jason London), a single father who works maintenance in an upscale hotel. Though he’s under constant pressure from his boss and works with a number of uncaring residents, Barry remains a positive soul and works hard to take care of his daughter. However, all of that changes when he encounters the mysterious Mr. Jay (Fred Sullivan). Mr. Jay runs the International Birthday Network, a non-profit agency that offers children around the globe personalized birthday experiences when their special day is lacking. When Mr. Jay offers Barry a job to help bring these birthdays to life, he can’t resist the chance to make other people’s lives better… but balancing his two jobs will definitely be a challenge.

Directed by Dan Hunter, Mr. Birthday is a cute independent family film that wants to remind us all of the importance of the individual. Lighthearted and silly, there’s a lot that works within this little romp. With an adorable script and fun execution, Mr. Birthday is an engaging and sweet film that stems from an entirely unique premise. (Seriously, when was the last time you saw a ‘holiday film’ about birthdays?). In many ways, the film almost feels like a Christmas film where the proverbial Santa Claus hires a new trainee in order to take over his mantle. Although London’s Barry is a man who is beaten down by his boss, he still tries to see the bright side of life and never forgets to put others first. Star Jason London has a delightful energy that keeps the film moving, enthusiastically leaning into the fun. 

In fact, the entire team seems to be enjoying themselves on this project. Sullivan is clearly having fun hamming it up as the benevolent Mr. Jay. Meanwhile, as Rick, the film’s moustache-twirling villain, veteran actor Eric Roberts is clearly having a blast as his character plots and schemes to interfere with Barry’s plans. There’s simply a joy amongst the cast that is palpable onscreen and reveals that this is clearly a labour of love for all involved.

At its heart, Mr. Birthday wants to remind us that everybody is important. Although major holidays remain times of celebration for the many, birthdays remain somewhat of an individual experience. Because of this emphasis on one person, Mr. Birthday recognizes that it can also be a really lonely experience for those who aren’t popular or don’t ‘fit into a box’. However, Mr. Birthday isn’t about to let that stand and fully leans into the belief that everybody should be celebrated. Everybody deserves to be remembered and honored, especially on their special day. (It’s also somewhat interesting that the film is that the birthday Institute is seem to be a nonprofit organization. There’s a definite emphasis on helping those who cannot do for themselves.) With each party, Barry and Emily offer an act of grace to those who need care. While the action of spending time with people on their birthday may seem fairly simple, so too does it show them that they matter.

It’s worth noting that Mr. Birthday is also interested about bullying. As Emily attempts to make friends in her school, she comes under fire for being the ‘new kid’. By mocking her for bringing cupcakes and ignoring her party invitations, Emily is left feeling unwanted by those around her. While Barry does his best to cheer her up, this sort of emotional hurt takes its toll. At the same time though, her father also has to deal with bullies at his work. Whether it’s his brutal boss or Rick’s snarky comments, Barry finds himself under constant pressure to meet the unreasonable expectations of others. Even so, this is a film that chooses kindness. Barry’s unflappable optimism frustrates his bullies and encourages his daughter. What’s more, their decision to help others who have been feeling left out gives them an even greater lift. There is a joy embedded in their care for others that enlivens their soul

By helping others, they also help themselves.

Sweet and silly, Mr. Birthday is a fun party that the whole family can attend. Backed by a unique premise, the film is goofy and charming with a cast that clearly cares about what they’re making together. Most importantly though, the film is an opportunity to remind the audience that everyone deserves to be celebrated on their birthday. After all, for Mr. Birthday, every child matters.

To hear our conversation with star Jason London, click here (YouTube) and here (audio).

To hear our conversation with star Eric Roberts, click here (YouTube) and here (audio).

Mr. Birthday is available on VOD on Friday, December 17th, 2021.