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Playmobil the Movie

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Imagine the pitch: Daniel Radcliffe and Jim Gaffigan are going to headline an animated movie (with Kenan Thompson, Meghan Trainor, and Adam Lambert) based on a hit toy series with direction and story by Prep & Landing animator Lino DiSalvo. You’re in, right? It’s going to be a runaway hit!

With Playmobil the Movie, audiences find that the imagination behind the film – and the toys – is a diverse, world-building affair that knows no limits. But it’s so scattered, so imaginative, that it’s like the kid who sets up all of the action figures around the room in different landscapes and then doesn’t know what to do with them. It’s unfortunately a mess of storytelling with random “breaking into song” that ultimately isn’t nearly as funny, poignant, or exciting as the film it clearly draws comparison from: The Lego Movie.

Basically, the plot involves two orphaned kids in the real world who get sucked into the imaginary Playmobil one when a magical lighthouse shines on them. Now, as Playmobil figures, they’ll battle Vikings, pirates, Roman warriors, and ride on a T-Rex on their way back to the real world. It’s really supposed to be about the emotional journey that the siblings take to get back together after growing apart in their grief, but it plays like one big rollercoaster ride of Playmobil backdrops.

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6.19 HUSTLERS, Sexuality and the Super Bowl

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Inspired by a true story, HUSTLERS follows a band of former strip club employees, led by the street-wise Ramona (Jennifer Lopez) and pragmatic Destiny (Constance Wu), who band together in order to take back power and independence against their Wall Street clientele. This week, we welcome actor Audra Choy, producer Diane Johnstone and Dwayne Choy to the show to talk about the power of sexuality, the Super Bowl and who really gets hurt.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

6.19 HustlersDownload

Parasite: Staring From the Outside

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“It’s all so metaphorical.” (Choi Woo Sik, Parasite)

Written and directed by Bong Joon-ho (Snowpiercer), Parasite introduces the viewer to the Kim clan, a destitute Korean family struggling to make ends meet. When a young friend encourages the son, Ki-woo (Choi Woo Sik), to apply as an English tutor to the Parks, a wealthy family who live in an extravagant mansion, he believes that he may have found an answer to their financial problems. As the lies and deceptions increase, the Kims and Parks become intertwined in a symbiotic relationship that will threaten all of their lives. 

With the Oscars fast-approaching, Parasite has slowly crept its way into awards contention, continuously winning audiences over with its unique storytelling and shocking finale. Featuring Joon-ho’s signature brand of humour and horror, Parasite also has a social conscience that also challenges perceptions and stereotypes regarding the boundaries of social status. As a result, the film is truly one of the year’s most engaging and interesting scripts, worthy of all the accolades that have come its way. 

Essential to Parasite is the concept of lines and boundaries. As Mr. Park speaks repeatedly about his demand that his staff do not ‘cross the line’, their luxurious home is designed with clean edges, squares and sections to indicate the proper location for both items and people. Put simply, the Parks live in a world of control and separation. Their highest priority remains maintaining the quality of life that they have achieved. Meanwhile, however, the Kim family live in a world where boundaries are blurred as they constantly reach upwards. Open windows let in everything from water to fumes. They scurry feverishly until they find Wi-Fi signals, often in the strangest of areas of their basement apartment. In fact, even their bathroom appears virtually upside down as the toilet approaches the ceiling. Struggling to pay their bills, they find themselves constrained by the social boundaries that have been laid in place by families such as the Parks. (Incidentally, this notion of exclusion is also beautifully represented by the Park family home’s many walls and windows, suggesting that they both want to be left alone and admired at the same time.)

Nevertheless, despite the social division between them, there seems to remain a symbiotic dependency between the two families. While the Kims slowly gain access to the Park residence, they could clearly be viewed as the titular ‘parasites’, leaching off of their benefactors’ food and finance. Though, with that in mind, the Parks too find themselves relying on their servants to perform the most menial of tasks, suggesting that they too find themselves in a similar role. In Parasite, there remains an interconnectedness between class cultures that those in the upper class either remain unaware of (or refuse to acknowledge). For example, the film recognizes the self-imposed blindness of the wealthy as they treat the disenfranchised as less than human. Broken and ignored, the Kims represent an entire section of the population that the Park family choose not to see. Blinded by forged documents and business cards, the Parks are only willing to acknowledge the worth of the Kims based upon their credentials, as opposed to their value as human beings. As such, Parasite plays out like a cautionary tale, it also serves as a call for justice for the oppressed as well.

Special features on the Blu-ray disc are sparse, especially when one considers how immensely popular the film has become. However, the sole feature—an interview with director Bong Joon-ho—is especially good and delves into many of the film’s key themes and ideas. (Though, if extras are what you’re looking for, you may want to wait to see if Criterion eventually offers a release in their collection.) 

Sharply-written, visually stunning and shocking at times, Parasite is an experience well worth investing your time into. Through his distinct brand of story-telling, Joon-ho embeds his tale of interconnectedness and social injustice with levity that somehow enhances the moments of surprise when they arrive. 

Parasite has moved in onto Blu-Ray and Digital now.

Abominable: Hustle and Snow

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Abominable tells the story of young Yi (Chloe Bennett) who inadvertently discovers a yeti on her rooftop. Naming him Everest after the famed mountain region that he calls home, Yi and her two friends embark on an epic quest to reunite the magical creature with his family. However, along the course of the perilous journey, the young adventurers must also be on their guard to protect Everest from a wealthy financier and a determined zoologist who will stop at nothing to capture the beast for their own gain.

Written and directed by Jill Culton (Open Season), Abominable’s release came in the midst of an avalanche of animated fare about the yeti. As the third (!) film in the last two years to reacquaint children with the legendary snowbeast, Abominable ran the risk of oversaturating the market and simply blending into the background. Thankfully, the film’s stunning animation and emotional character arc help it to stand out in the crowd in the best of ways. Visually, Abominable is simply stunning, filling the screen with vibrant colours and images that are often a feast for the eyes. Featuring lush backgrounds and bold colours, the landcapes often engulf its characters, especially as the children move closer to their destination. (Ironically, immersive work on natural surroundings is so good that cityscapes sometimes feel jarring in style.) Appropriately, however, some of the best animation is reserved for Everest, the Abominable himself. Even in 2D animation, extensive work on Everest’s wistful fur and lovable facial expressions bring him to life in an almost tactile way. (Honestly, I can’t remember the last time that I felt a character was soft and cuddly enough onscreen to feel warmer just by watching him…) 

Central to the story is the relationship between Everest and Yi as they embark on a journey that will offer far more than adventure. Grieving the loss of her father, Yi is a young woman on the go. She works multiple jobs and only takes cash so that she can keep true knowledge of her profits to herself. Though her mother and grandmother wish that she would slow down, Yi remains determined to raise enough money to finally take an extended trip like she and her father always intended. Of course, when she meets Everest, everything changes and her determination to see him return to his home takes priority. 

Interestingly, both Yi and Everest find themselves on similar journeys in search for a home. While Everest is looking to find his family in his literal home, Yi’s home simply has not felt the same since the loss of her father. Her hustle serves to keep her preoccupied as she struggles to process her feelings. Nevertheless, we soon discover that the true power of Yi’s ‘magic’ lies in its ability to bring life where death has laid waste. This proves to be an appropriate counterbalance to the broken and weary Yi whose soul lies barren due to her grief and pain. Though they come from different worlds, the true beauty of their relationship lies in their ability to provide a safe home for one another that breathes life into their lonely hearts. For both Yi and Everest, they are able to meet the pain and anxiety of the other with grace and safety in a way that also breathes life into their lives. As such, Yi’s initial hustle slowly gives way to a healing of the soul.

In light of this, Abominable proves to have been one of the most unexpected surprises of my year. While the film has all the humour for children that one would expect from modern animated fare, it’s the film’s unique and powerful message of hope in the midst of struggle that helps Abominable become so much more than ‘another yeti movie’. Though the young characters venture deep into the cold, there’s a warmth at the core of the film that offers hope for any weary soul.

While the disc may appear to lack special features (stating “and many more” on the cover rarely means it), the Blu-ray release has a surprising amount of extras for those who dig around. Deleted scenes and shorts are fairly typical for this sort of thing but feature commentaries are always welcome. Some of the standouts on the disc include “Courage to Dream”, a look at challenging cultural and gender biases within the film, and Cooking with NaiNai, featuring Tsai Chin and Chef Shirley as they walk through their recipe for pork buns. There are also features on voicing the characters and, if your inner child wishes to speak Yeti, there is also a short that teaches you the various grunts and groans Everest uses to communicate.

Abominable storms onto 4K and Blu-ray on December 17th, 2019 and is now available on VOD.

The First King: Built on Blood and Brotherhood

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The First King brings to life the timeless tale of Romulus and Remus, two shepherds and loyal brothers, who escape capture and begin a journey that will lead one of them to become the founder of the Roman Empire, the most dominant nation history has ever seen. Searching for freedom in the midst of the unforgiving wild, Romulus and Remus both desire a new beginning… but the path to the throne lies in one’s ability to kill their own brother.

Few stories are as classic as the brother-against-brother epic of Romulus and Remus. Written and directed by Matteo Rovere, The First King brings the story to classic story to life in a way that somehow still feels fresh. Visually, the film does not shy away from the brutality of the time, depicting a world of gore and violence that remains lost and in search of leadership. However, despite its blood and gore, First King ultimately focuses its lens on the relationship of the two brothers in a way that maintains the intimacy of the conflict as opposed to the potential for mere spectacle. As a result, the film manages to keep the narrative emphasis smaller and more poignant, despite the limitless implications of its eventual outcome. In this way, The First King is not the next Braveheart but neither does it need to be. (Incidentally, the film’s more intimate focus also serves to maximize the film’s smaller budget as well.)

While at its heart, the film focuses on the relationship between Romulus and Remus, it is also a fascinating look at the war between love and power. For example, having claimed his role as king through a murderous rampage and believing himself to be at one with the gods, Remus seeks to conquer all of those in his path. Even so, the one obstacle standing between himself and total power is his relationship with his brother, Remus, to whom he has pledged to care for in all circumstances. For Romulus, Remus reminds him of his humanity, calling him to lead with authority as opposed to fear. Initially, there is a conflict with Romulus due to his love of his brother that brings out the best in him. 

Nevertheless, rather than succumb to love and humility, Romulus becomes consumed by the desire to rule, despite his brother’s pleas. Growing in rage and power, Romulus becomes determined to become king, even at the expense of ‘killing the gods’ along the way. Refusing to seek spiritual counsel, Romulus proclaims himself lord over others and ignores any proposed ‘will of the gods’. 

Interestingly, though Romulus eventually takes the form of villain, it is power that is held in the highest of regards in this film. In The First King, power is a drug that leads to success, as opposed to one’s downfall. (Incidentally, given that the legend describes the birth of Rome and, subsequently, the powerful Roman Empire, this seems like an inevitable outcome.) Although, with its emphasis on power and domination, the film feels somehow outdated, despite its well-executed story. Even though there remains a humanity in Remus throughout much of the film, even he invariably gives way to the desire to dominate others. (More than this, the film also suggests that this is the way that the gods demand that true leadership is to be maintained.) As a result, in a world where authority figures remain constantly under scrutiny, a story that emphasizes the effectiveness of power without question seems highly suspect. Despite its historical root in the establishment of Rome, this tale of the two brothers warring for leadership unfortunately lacks criticism or self-awareness. 

Well-executed and thrilling to watch, The First King is a solid re-telling of a classic fable. Rather than being distracted by the potential for epic scale battle scenes, director Matteo Rovere wisely keeps the focus on the story of the brothers and the intimacy of their conflict. Even so, however, the film’s emphasis on power over love shows the outdated nature of the narrative for a world looking for a new kind of leadership.

The First King begins its reign on BluRay and VOD on September 24th, 2019.