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Murder Amongst the Mormons: Truth, Lies and Videotape

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Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

Set in 1985, Murder Among the Mormons untangles the web of intrigue surrounding a series of shocking events in Salt Lake City, Utah that shook the foundation of the LDS Church. After a series of pipe bombs kill two people and hospitalize another, the Mormon community was left mourning the loss of their own. What’s more, they were also stunned to discover that a number of early Mormon letters were destroyed in the trunk of the third victim, Mark Hofman. As a collector of rare documents, Hofman had long been known for his ability to find antiquities of incredible value. As a result, investigators immediately believe that there may be some link between these newly uncovered letters and the attacks themselves. As Hofman fights for his life in hospital, the police fight for the truth as they relentlessly search for the identity of the killer.

While true crime stories have become particularly popular during this pandemic, this is one that must be seen to be believed. Directed by Jared Hess (Napoleon Dynamite) and Tyler Measom (An Honest Liar), Murder Among the Mormons is a stunning documentary that unravels like the best of mysteries. Though Murder feels like an attack on Mormon beliefs at first, the serie’s exploration of the bomber quickly reveals that these assaults have little to do about systems of faith. As they delve more deeply into the events that took place, Hess and Measom unravel a conspiracy that is utterly unbelievable (yet remains absolutely true).

Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

What’s more, Murder is not a story that leaves any ambiguity as the final credits roll. This is not a series that attempts to uncover an unsolved mystery that leaves the viewer with questions regarding the bomber’s identity. Instead, this series becomes more of an exploration of the psychology of a madman and the circumstances that created him.

Without giving away any potential spoilers, one of the more fascinating aspects about Murder is its conversation about what it means to be true. When finally questioned by his captors about his actions, the bomber blurs the lines between reality and fiction when he states that “It’s not so much what’s genuine and what isn’t, but what people believe to be genuine.” To the bomber, truth gains it power not from fact but from belief. In other words, though their life was an endless stream of lies and deception to the people that they love, he justified his actions simply by the fact that people trusted them. 

Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

To him, lies are as good as truth as long as they’re worth believing in.

In many ways, it’s a fascinating psychological argument. Although the bomber is definitely crazy, the suggestion that people believe whatever they want without really asking the hard questions is difficult to argue. While faith remains an essential component of our lives, it must go hand-in-hand with truth and reality. As such, what the bomber fails to understand is that the value of truth does not lie in belief but rather the opposite. Faith and belief get their power from truth.

Compelling and borderline crazy, Murder Among the Mormons may be one of the most gripping true crime stories on television right now. Though absolutely true, the series has all the elements of the best pulp fiction novels, including tragedy, mystery and a villainous madman. However, the most shocking revelation within Murder may be the lies that we tell ourselves in order to hide from the truth itself.

Murder Among the Mormons, episode 3. c. Courtesy of Netflix © 2021

Murder Among the Mormons is available on Netflix on Wednesday, March 3rd, 2021.

You can see the trailer for Murder Among the Mormons here.

The United States vs. Billie Holiday: Keep Singing a New Song

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Just don’t sing the song.

That’s the advice given to legendary singer Billie Holiday regarding her iconic single, ‘Strange Fruit’. Set against the backdrop of the pre-Civil Rights Movement era, Holiday’s heartfelt song the challenged the practice of lynching African-Americans became a lightning rod of controversy for the federal government out of fear that it could cause civil disturbances. Now, in Lee Daniels’ latest film The United States vs. Billie Holiday, Holiday’s ongoing battle with the FBI is on full display, showcasing the unique courage of an icon and the incredible pressure that she was under to conform.

Beginning in 1940s, the film follows Billie Holiday (Andra Day), the world-class singer of such hits as All of Me and Blue Moon who became the target of the federal government due to her powerful ballad, ‘Strange Fruit’. Although she was arrested as a part of the FBI’s escalating war on drugs, their ultimate goal was to prevent her from performing the controversial song out of fear that it may begin to bring (much-needed) social change.

Passionate and effective, The United States vs. Billie Holiday is a testament to the resilience of a cultural icon at a time of oppression. Though the film is a bit of a slow starter, Daniels’ skill as a storyteller shines as the narrative draws you in along the way. Resisting the chance to portray Holiday solely as an American hero, Daniels gives balance to the starlet by displaying her flaws as well. Plagued by addiction and abusive relationships her entire career, Daniels shows grace to Holiday as a woman who has been taken advantage of since childhood yet never fully justifies her decisions either. Instead, Daniels fully fleshes out the humanity of a woman who struggled with her own personal demons yet also sought to be an example to a people who needed her unique voice.

While the film features solid performances across the board, it’s Day that positively lights up the screen as the titular songstress. Though only her second major acting role (Marshall), the Grammy-nominated singer/songwriter absolutely owns the role of Holiday. Despite being central to almost every scene, Day remains fascinating to watch throughout the film. In many ways, Holiday was a complicated woman who commanded the stage to the public yet carried the burdens of her past in private. With this in mind, Day imbues the character with a complex mix of strength and fragility that somehow makes her feel authentic.

Set a decade before the Civil Rights Movement really began to take shape, the film focuses on the fervour surrounding Holiday’s famed, ‘Strange Fruit’. By calling attention to the horrific practice of lynching through her music, Holiday became viewed by the government as a threat that could upset the [read: their] status quo. To them, Holiday’s music created a conversation that they simply did not want to have for fear of seeing the current power structures change. 

But the film points out that, ultimately, the song was not their problem.

Though other Black artists were deemed ‘acceptable’ due to their willingness to ‘play by the rules’ of the time, Holiday’s self-confidence and courage set her apart. As such, the greatest threat to the powers of the time may not have even been her music but her staunch defiance as a Person of Colour. (“You’re scared of her because she’s strong, stunning and Black,” says FBI informant, Jimmy.) While the song may have been the lightning rod, it was Holiday’s determination to sing it despite their pressure that caused the greatest issue for the FBI. Despite increasing pressure (and numerous set-ups) to simply ‘stop playing the song’, there was a bravery inherent to Holiday’s character that is put on display here. To Holiday, ‘Strange Fruit’ was a cry for justice. She understood that the song was important to the Black community so she remained unwavering in her intent to sing it. 

When the government wanted to force her into their mold, she refused. And they couldn’t handle it.

In this way, The United States vs. Billie Holiday portrays Holiday as a person of passion and self-awareness. Though her personal struggles weighed heavily on her, she understood the power and influence that she carried with those who were willing to listen. At a time when many were being silenced, Daniels shows the starlet as a woman who was unafraid to speak up (or, more specifically, sing a different song) at a time when it was needed most.

The United States vs. Billie Holiday is available on Hulu on Friday, February 26th, 2021.H

Sex, Drugs & Bicycles: Wait, You Can Do THAT?

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Before watching this documentary, the most that I knew about the Netherlands involved tulips and the ceramic clogs that my mother and grandmother collected. It’s only been more recently that I’ve even begun to intentionally learn more about countries and lifestyles beyond American soil, so it made sense to me to take a look into this film and see what it could show me about a country so very different than my own.

And I left enlightened. 

Sex, Drugs & Bicycles from Jonathan Blank takes us through a comedic and visually engaging journey in and around the most common (and some of the more obscure) highlights of Dutch infrastructure and lifestyles. From their healthcare, family lives, and work-life balance to the political scene, climate responsibility, and even bike riding, Blank makes sure we see all the color and drama that life in the Netherlands has to offer.

For starters, the filmography matches the vibrant content. In a style I can only describe as “paper-animation-puppet show meets no-holds-barred video,” this documentary is a fun mix of satire and insight presented in a way that kept me completely engaged. It was immediately evident that the Dutch know exactly who they are and why they do what they do. This acceptance of acting as “a salad bowl,” as opposed to “a melting pot,” seems to me to be the primary reason that they are regularly ranked in the top 5 of nations in the areas of healthcare (#3), education (#3), freedom of the press (#3), productivity (#4), and number 1 in happiest children and work-life balance.

But how does all of this actually happen? As an American, most of my education in those areas has told me: “universal healthcare doesn’t work, people take advantage of vacation time, success is dependent on how hard you work, and if people don’t earn it, they don’t deserve it, etc.” (I could go on and on). But the numbers tell a different story. And while I acknowledge that life in the U.S. is vastly different than in the Netherlands, I can’t help but wonder what we are missing out on.

The Netherlands takes the health of their citizens seriously. No one is making money off of the health care system and people have equal access to the services they need including transgender support and sexual health care. With required vacation pay AND vacation time, Dutch citizens are still some of the most productive (and prosperous) people in the world even though they are paid for 13 months and only work 11. This means families actually spend time together, with regular lines of communication between parents and children that last well beyond their challenging teenage years – which is a huge component of why those same kids are ranked as the happiest in the world. And by biking everywhere, the country as a whole seems to have a communal pace that ebbs and flows with the times.

Now this does not mean everything is perfect there, or even feasible everywhere. Racial tension is climbing as more Dutch citizens acknowledge a problematic history regarding the Dutch slave trade. While LGBTQIA rights are taken very seriously and publicly supported, the discrimination is still there. And after previously leading the way in climate change, the Netherlands is now playing catch up after years of laxed policy. Some of those interviewed in the documentary are even concerned that perhaps Dutch leadership is taking the country in the wrong direction. 

Do the Dutch do things that I don’t agree with? Absolutely. I’m not comfortable with their acceptance and promotion of sex work, nor how they approach drug education and experimentation. But I maintained an open mind so that I could at least understand their why, even if I still didn’t agree with their how. To ignore the systems and structures of other countries is to actually do a disservice to my own. There is always something to learn. And Sex, Drugs & Bicycles showed me I have much learning still to do.

Sex, Drugs & Bicycles is available on Friday, February 26th, 2021.

Minari: What is This Place?

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“What is this place?  Our new home.”

Set in rural America in the 1980’s, Minari tells the story of a young Korean couple forging a new life in a new place.  A new home.  Produced by American companies A24 and Plan B Entertainment, the film reflects award winning director and writer Isaac Chung’s childhood on a small farm in Arkansas. Minari invites us to accompany the film’s protagonists and their children as they move from urban California to a totally new landscape. The new life they encounter is sometimes unsettling, sometimes hilarious, and always bone-tiring. It paints a picture of the life of so many of our fellow travellers as they leave less than perfect situations for what they hope will be life changing situations.  

The journey from urban to rural is often a difficult transition. “What is this place” is a real question and provides the movie with a potent motif.  Will this be a place to provide a living and happiness?  Will it be a place of beauty and grace, or only a temporary stop to an even better living?  Will our children be at home and accepted here?  How will Grandma survive, newly arrived from Korea? Will the farm be close enough to the hospital if young David need surgery?  Jacob and Monica come to different conclusions on many of these questions and their divergent views put a strain on their tiny family.

The divide is not simply between rural and urban, however.  The jobs that were so taxing in the city (chicken sexing) follow them to the country.  The divide between traditional and new also colours their decisions and discussions.  Jacob and Monica had vowed in Korea that they would come to America “and save each other”.  But has this happened?  The gap between aspiration and reality seems only to widen as the movie progresses.  

There is usually a crisis point in most lives, and in most movies too. When this happens in Minari, loyalties must be selected and decisions made.  The choice of family or farm – running or walking – grandma staying or going -must finally be made from the heart.

This film would be simply a sweet and time honoured immigrant story if it were not for the bright humour as well as the genuineness of the script.  In the hands of such skilled actors the words come alive and stay with us.  Kudos too to the exquisite musical score.  At times haunting, at times disjionted, at times lilting; it too reflects the immigrants’ experience.  Minari is visually appealing as well. The countryside is filled with lush beauty.  It acts as a compelling character in the story.  And in the final analysis it provides the ground in which the non-native plant – the Minari – can thrive and grow and bring sustenance to all.

Minari is now available on VOD.

Crisis – Trying to Take on Opioids

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The opioid epidemic is the setting for Nicholas Jarecki’s Crisis. The film looks at the issue from different angles by using three storylines (two of which converge) that allow the film to explore the pain caused by this problem as well as ethical and law enforcement issues that complicate the issue in many ways. The film rapidly flips from one story to another.

Jake Kelly (Armie Hammer) is an undercover DEA agent who is working to bring together a sting that will break up an international fentanyl smuggling operation. Kelly has a sister who is struggling with addiction. His operation has him serving as a middle man between Detroit drug dealers and a supplier in Montreal. As he tries to negotiate the dangerous landscape of such an operation, he is also brought back to the consequences of addiction as he tries to deal with his sister.

The emotional side of the story focuses on Claire Reimann (Evangeline Lilly), a woman with a past of opioid problems whose son goes missing. When he is found dead, he seems to have overdosed. But it becomes evident that this was not an accident, but a murder to deal with loose ends of a smuggling operation that her son unwittingly was part of. As she seeks to find out more, it will lead her to Montreal as well.

The more complex storyline focuses on ethical and business aspects of the opioid issue. Dr. Tyrone Brower (Gary Oldman) is an academic who does research for at a university. In doing tests on a prospective non-addictive painkiller about to be approved, he discovers some disturbing information. But he faces several dilemmas, including being offered a huge amount of money to underwrite his lab (if he’s willing to sign a non-disclosure agreement), and threats to his reputation and job. Should he blow the whistle and risk everything he has? What is his responsibility to the university? What is his responsibility to society as a whole?

This storyline also takes us into the Big Pharma business world where companies are looking for profits, but at what cost to society? Is their product a blessing or a curse? Will the profits from the new drug make it possible to develop even better ones?

The storylines focusing on Jake Kelly and Claire Reimann create a crime/thriller kind of film. The tension builds throughout the film to lead to a showdown that will end up with gunfire and death. But this is a storyline that grows out of anger and pain. It looks for revenge and making someone pay. There really isn’t anything new in this part of the film.

I found the Dr. Brower narrative much more interesting. It asks questions that are important to consider, both on about academia and the business world and their responsibilities to society. The question is brought up in various ways concerning doing what is practical, what is profitable, and what is right. I thought this plotline could have easily been expanded to be a complete film in itself by delving a bit deeper into the business and governmental aspects that are only briefly touched on.

Crisis is available in theaters (where open) and coming soon to VOD.

Photos by Philippe Bosse, courtesy of Quiver Distribution.

The Croods: A New Age – Stone Age Meets the Modern Age

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If you want to look at the present, sometimes we need to start with the past.

Following the events of 2013’s The Croods, The Croods: A New Age follows the ‘first family’ as wander through the wilderness. Their simple lives are turned upside down though when they stumble upon the Bettermans, a family that has built a life of privilege through their innovative technology and their high value on self-protection. When the Bettermans decide that the Croods are a threat to their life of luxury, they attempt to rid themselves of their visitors but, in the process, unleash the danger that lurks on the other side of their incredibly high walls.

Directed by Joel Crawford, Croods: A New Age was not a sequel that seemed necessary yet proves to be most welcome. Whereas the first film focused entirely on the Crood clan, New Age opens up the world considerably (and creatively) with the addition of the Bettermans and their utopian realm. While the first film was fairly well-received, the world in which they lived had a relatively limited colour palette as the Croods trudged through their largely dusty terrain. However, with a new environment comes new opportunities for innovation and Crawford and his team let their imaginative juices fly.

Featuring wild creatures and dazzling bursts of colour, there’s an energy within New Age that was missing from its predecessor which also gives the franchise new life. (Personally, I believe that anyone who came up with the idea of ‘wolf-spiders’ really needs to seek some professional help, regardless of how adorable they look.) Filled with modern references like ‘window addiction’ and enough technological wonders to make The Flintstones jealous, Croods: A New Age feels relevant to the modern family and keeps the laughs going along the way.

Even the cast seems slightly more… well… animated in the sequel now that they some new blood to play with. Given the opportunity to work alongside Dinklage’s sophisticated but slimy Phil Betterman, Nicolas Cage’s Grug seems much more likable and endearing. At the same time, with their relationship now firmly established, both Emma Stone and Ryan Reynolds are much more comfortable with one another as their characters move towards their ‘forever’. Stealing the show, however, are the aforementioned Bettermans, played by veterans Peter Dinklage and Leslie Mann. Stepping into the role of antagonists to the Croods, Dinklage and Mann are a joy to watch as the obnoxiously wealthy Bettermans. (‘Emphasis on the better,’ they remind.) Though detestable for their celebration of privilege, Dinklage and Mann embed their performances with a nervous desire to protect their family that somehow makes them seem more sympathetic. 

Similar to the first film, A New Age also wants to explore what it means to be both an individual and valued part of the pack. As they settle into the Betterman’s luxurious villas, the Croods finally have the opportunity to have some privacy… but is that something that they really want? As they adjust to living in a technological paradise that allows for them to finally have some space between them, the Croods also find themselves more divided.

Having built a bond between them by always sticking together (primarily out of fear), their new environment provides a certain sense of ease to it that gives them freedom. While this can be life-giving to some, innovations like the ‘man-cave’ and Thunk’s obsession with the window also create roadblocks within their family. In this way, the film recognizes the modern challenges of relationships as we continue to find new ways to create space between us and struggle to maintain open communication in the family unit.

What may be most surprisingly, however, is that A New Age is also unafraid to venture into a new age of ideas by adding the numerous layers of cultural subtext to the family-friendly adventure. From the female empowerment of the Thunder Sisters to the abuse of the environment, the film explores a broad range of culturally relevant issues that help elevate the film’s story. (In fact, through Betterman’s control of the bananas and water supply, the film even suggests the socio-economic ramifications of creating a caste system where the divide between rich and poor continues to grow.) In doing so, there’s a certain level of bravery to A New Age as it intelligently explores some of the deeper issues of our current culture while never becoming overburdened by the conversations or losing the fun.

Despite having little that’s new to the standard animated release, the disc Little Red Bronana Bread and Dear Diary: World’s First Pranks are not spectacular but are effective and entertaining. What’s more, director’s commentaries are always welcome as well. Still, the simplest shorts may be the most helpful. For parents looking for something to do with their kids during a lockdown, shorts that offer creative options like ‘FamiLeaf Album’, ‘How to Draw: Caveman Style’ and ‘Stone Age Snack Attack’ may help bring some activities into your home. It’s also worth noting that the colours really pop onscreen with the home release, especially on the 4K disc.

Filled with humour and heart, The Croods: A New Age is a worthwhile venture. Once again, Grug, Eep and the rest of the family prove that the value of knowing your place in the pack and the importance of supporting one another in the most difficult of circumstances. 

Without question, they have peaked my interest to see what happens in the next age.

Croods: The New Age is available on VOD, 4K, Blu-Ray and DVD on February 23rd, 2021.

The House that Rob Built: Leaving a Legacy

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Anyone can build a house. But it takes someone of true character to build a home.

The House the Rob Built tells the story of University of Montana’s legendary basketball coach, Rob Selvig. Coming to the school at a time when women’s sports were not taken seriously, Selvig’s time as head coach of the Lady Griz created a legacy of winning that brought the support of the entire community. More importantly though, Selvig inspired his players to greatness, encouraging and empowering young women for almost four decades.

Directed by Megan Harrington and Jonathan Cipiti, The House that Rob Built is a poignant doc that shows the power that one life can have when they remain committed to serving others. As a former player of Selvig’s herself, Harrington has a great deal of affection towards her former coach and the film reflects that love and respect. Through personal testimonies and old footage, Harrington and Cipiti do a good job showing the incredible respect and admiration that Selvig carries with his players, even to this day. Thankfully though, neither does the film entirely deify Selvig either. By allowing the women to share their stories of Selvig’s temper during games, The House shows Selvig as an imperfect man, even if his coaching legacy supersedes him. (This may sound like a strange thing to highlight but, in actuality, it shows some maturity on behalf of the filmmakers to show some of the blind spots of their subject, even if its someone they admire.)

While the film shows the team’s incredible success and how it caught fire in its community, what shines through most within The House is the commitment that Selvig has to his team. Offered several ‘higher profile’ jobs in the NCAA over the course of his career, Selvig stayed in Montana because he simply felt that his work was far from finished. Though moving may have meant a higher salary or more notoriety, his heart for those youth and the joy that he experienced in their growth gave him such satisfaction that he felt no reason to leave. 

In doing so, however, Selvig brought stability to not only a fledgling program but also to the lives of these young women. Story after story within The House reflect the important role that Selvig played in the lives of his players. At a time when women’s sports was viewed as somehow lesser than men’s, Selvig never saw his players (or the sport) in that way. To him, these young women were easily as good as (or maybe even better than) any men’s team and deserved the same respect. As a result, Selvig created opportunities to empower his players, regardless of gender or race. His encouragement, stability and instruction created an atmosphere that both challenged and supported several generations of young women.

He gave them an equal chance to succeed and it left an impact on them.

Admittedly however, the doc would benefit from a little more information regarding what Selvig learned himself from the experience of coaching these young women. While we hear numerous testimonials about what the girls took away from their time with Selvig, we do not hear as much regarding what he took away from his experience with them. Though The House does address some of his personal issues, it could benefit from some conversations surrounding how his understanding of gender has changed by working with these young women over the course of his career. In other words, though we see that he impacted them, it would benefit the doc if we knew a little more about how they impacted him.

Even so, despite these concerns, The House that Rob Built is a testament to the amazing influence that one person can have when they care for others. Though Selvig had every right to look for greater fame, his love for the team and desire to see them grow and mature speaks of the quality of his character. Without question, Selvig made his House into a home.

The House that Rob Built is available on VOD on Tuesday, February 23, 2021 

Saint Maud: For the Right Reasons

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All Hail, Saint Maud! 

With an emphasis on psychological horror, Saint Maud makes you question whether or not what you’re seeing is reality or merely taking place in the mind of the protagonist. Is Maud trying to do all things through God, or is that just a way to hide the struggles that are really going on deep inside? Let’s take an in-depth look at Saint Maud.

Written and directed by Rose Glass, Saint Maud begins with Maud (Morfydd Clark), a very religious nurse who lost her job at the hospital where she was previously employed. (While it’s not really fully explained why she resigned, we are given hints in flashbacks and mentions throughout the film.) Maud looks to be forgiven and shown a second chance as she takes up a private nursing assignment. This assignment lands her at the home and care of Amanda Kohl (Jennifer Ehle), a former dancer with a terminal illness that put an end to her career and fame.

Amanda is determined to continue living out her Hollywood lifestyle and not let the illness stop her. As the two opposite forces come together, they begin to clash with their differences. Maud is focused on cutting out Amanda’s unhealthy lifestyle (smoking, drinking and sex) and save her soul. Amanda, on the other hand, is more focused on mocking Maud’s beliefs and calling her “My Saviour, Maud”. These clashes lead to some serious friction between the two and pushes Maud to take some disturbing actions.

Usually in horror movie these days, the focus is on the jump scares. If this is what you’re looking for, then this is not the movie for you. However, if you’re more interested on the plot twists backed up by great acting, Saint Maud may be just what you’re looking for. From her body movements to her interactions with all characters within the film, Morfydd Clark does an amazing job playing Maud. In addition, Jennifer Ehle also does an exceptional job portraying Amanda’s Hollywood-addicted lifestyle. 

Admittedly, there are several questions that do not get answered within the film. For example, Maud’s past is never fully explored, nor is the nature of the God’s presence she experiences. When she connects with God, Maud falls into a seizure-like state which leads her to blackout and wake up somewhere else. 

As someone that has grown up within the Christian faith, I see that Saint Maud relate to struggles that most followers face at some time. For instance, because everything that she did was for God, Maud questions and loses her faith, leading her to doing some sinful things. This is a great example of what can happen when we reject God because we’re depressed or things don’t go our way. Instead, we should look to do things for the glory of God, and not our own personal needs. Our obsession with our own desires or doing work to be praised or rewarded is usually what leads us away from God. In this film, Maud really cares about Amanda and the unnamed patient of her past, though her focus is on the obsession of being praised or rewarded by God. As a result, her motivation is not based on the unconditional love within her heart, but for the praises at the attention of saving the soul.

Though it may not be a typical example of the genre when held up against Paranormal Activity and The Conjuring franchises, Saint Maud offers a different type of terror. Well-written and performed, the film shows what can happen when we focus on doing things for our own glory and the damage that can follow.

Saint Maud is now available on VOD.

I Care a Lot: Two Wrongs Make it Right?

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Vicious and brutal, I Care a Lot is a relentless exploration of what happens when greed is allowed to run rampant at the expense of the vulnerable sector.

It’s also a tonne of fun.

I Care a Lot follows Marla Grayson (Rosamund Pike), a highly successful legal guardian who takes responsibility for the elderly and then exploits them for their vast fortunes. Sensing a huge potential windfall, she takes on a seemingly innocent new client named Jennifer Peterson (Dianne Wiest), immediately placing her in a nursing facility and strips her of her financial assets. However, when Jennifer’s ruthless benefactor Roman (Peter Dinklage) hears of her plight, Marla and her partner (Eiza Gonzalez) must go to war to protect their investments and potentially, save their lives.

Written and directed by J Blakeson (The Disappearance of Alice Creed), I Care a Lot is an energetic dark comedy that commits to its wicked machinations and never looks back. Bursting with fire and entertaining from start to finish, Blakeson’s script pops with devilish glee as it highlights the malicious nature of corporate greed at the expense of the poor and oppressed. Though we have seen Dinklage in villainous roles before, he is in top form here as Wiest’s mysterious and vicious backer, Roman. Even so, the greatest surprise here is Pike who positively relishes her role as the morally bankrupt Marla. Bouncing with energy onscreen, Pike wheels and deals with a maniacal grin that is both enticing and intense. (In fact, even the usually docile Wiest underscores her performance with a sinister darkness.)

With that in mind, one of the more fascinating aspects of I Care is that it really has no hero (or heroine). Whereas most films would emphasize the honourable lawyer fighting to protect their client or the unjust system that takes advantage of the underserved, I Care has no such interests. In this world, corruption is rampant on both sides of the battle and victory seems to stem from the person who ‘wants it more’. By unleashing its inner darkness, I Care allows greed to become the soul of Darwinian business practices. Ferociously attacking each other’s livelihood, both Marla and Roman exemplify the very nature of ‘survival of the fittest’. While Marla views her elderly clients merely as numbers within her check book, Roman is equally merciless, refusing to lose what he feels belongs to him out of sheer tenacity and pride. (For this reason, the title I Care a Lot carries a sense of irony as ‘caring’ takes on an entirely different meaning in this world.)

Having said this, it goes without saying that the characters of I Care seems to care little about what is ‘right’ objectively within this world. At a time when large corporations continue to value profit margins ahead of people lives, I Care becomes a cautionary parable to the all-consuming nature of greed. As the two titans collide in a battle for dominance, both Roman and Marla seem blissfully unaware of the lives who are impacted by their recklessness. For both characters, acquiring wealth and power are the greatest good, regardless of who stands in their way. (Wall Street’s Gordon Gecko would be pleased.) Though families are torn apart and destruction rampant, they continue to remain focused on themselves. While the film eventually does acknowledge the suffering that their actions cause, Marla and Roman seem largely content to create chaos for their own sake.

Though the heart of I Care a Lot may sound bleak, the film’s style and enthusiasm are hard to resist. Featuring solid performances across the board and a brutally fun script, Blakeson’s film breathes satirical fire that demands attention. As the stakes continue to rise and the inner darkness of his characters is unleashed in all its fury, Blakeson never loses sight of the damages caused by their carelessness.

Even if they seem completely unaware.

I Care a Lot is currently streaming on Amazon Prime in Canada.

Synchronic: Time Is On My Side

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It never feels like we have enough time.

Set in the shadows of New Orleans, the new action-drama Synchronic follows paramedics and long-time friends Steve Denube (Anthony Mackie) and Dennis Dannelly (Jamie Dornan). Though both men seem to have their lives together, they soon find themselves in over their heads when they are called to a number of increasingly strange and grisly deaths which appear to be linked to a new drug called ‘Synchronic’. If that weren’t enough to deal with, Denube is soon after diagnosed with brain cancer, causing him to fall into a deep depression that opens the door for him to use the drug himself. However, in doing so, he soon discovers an unexpected side effect of Synchronic that seems to provide hope for the future, even if it lies in the past.

Written and directed by Justin Benson, Synchronic is a surprisingly engaging film that brings a new twist to the time-travel genre. Less Back to the Future and more The Butterfly Effect in its tone, Synchronic is a darker entry into the genre that leans more heavily into the trauma of loss than it does the fun of quantum leaping. Despite the fact that there are some items that move between eras, Benson opts to ignore most of the potential ramifications of time travel. (There’s no ‘Grey’s Sports Almanac’ or ‘Infinity Stone’ ripple effects in this film.) In doing so, Synchronic gives itself the freedom to use the device to reinforce the overall story’s themes and ideas without being bogged down by silliness that often comes with these stories. Instead, Benson uses the premise to focus on the present, as opposed to the past. 

As the film’s heart, Mackie’s charm and charisma give an affability to Denube that comes through despite the pain that his character is experiencing. At the same time, Dornan excels in roles that have an aura of inner darkness and Dannelly’s heavy emotional burden provides ample opportunity for him to show his talent.

Somewhat surprisingly, Benson makes an interesting choice by linking time travel with drug use. Similar to the way in which addicts will use their respective vices to escape from the pain of reality, so too does Synchronic give users the option to return to a ‘simpler time’. 

The problem is that the past offers no comfort either.

Though they may wish to flee their problems, Synchronic users usually find themselves in the most difficult eras of the past. Whether its fighting conquistadors, evading alligators or running from the KKK, those that take the drug seem to discover that the struggles of the past are no less traumatic than the present. In this way, the drug offers no solace for those who are running from the pain of their lives as it transports them to places in time that are no safer than what they were enduring already.

And that’s entirely the point.

By choosing to use time travel in this way, Syncronic is well aware of the fact that we can often become so wrapped up in the troubles of today that we think we are living in the worst period of human history. Instead, the film reminds us that each day has  troubles of its own. This is probably best exemplified through the journey of Denube who becomes more aware of his relationship to the present the more he learns about how Synchronic works. Told that his brain cancer is likely terminal, Denube suffers from depression and an increasing inner rage. Crushed under the ticking clock of his condition, Denube realizes that time is not on his side.

However, as he spends more time in the past, he recognizes the importance of living for today. Though he understands that his life is coming to an end, he also comes to realize the value of the moments that he has right now, whether it’s celebrating the people that he loves or simply being grateful for his time on Earth. While the film fully acknowledges the pain of the present, Synchronic actually finds joy in the midst of trauma that many other films fail to recognize. 

In other words, although the times we live in are not easy, there still remains things worth celebrating in the darkest of moments.

While the film is a bit of a slow starter, there’s a lot to like about Synchronic. Bolstered by engaging performances from its cast, the film’s creativity and commitment to the premise work well to be worth your time. Though the use of time travel is hardly original, Benson uses it in such a unique manner that it feels fresh in a lot of ways. Ultimately however, the most noteworthy aspect of the film lies is not just its ability to explore the past. It’s that it reminds us to find things worth rejoicing in the present.

When we can find a way to do that, time is always on our side.

Synchronic is now available on VOD, DVD and Blu-Ray.