ScreenFish

where faith and film are intertwined

You are here: Home / Online

Online

Paranormal Solutions, Inc: Believing in Everything (and Nothing)

by Leave a Comment

Flooded with calls from all sorts of ‘paranormal’ occurrences, the crew at Paranormal Solutions Inc. have decided to broaden their horizons. Starting fresh with a new slogan that says, ‘We believe in EVERYTHING!’, a team of six semi-successful ghost hunters decide to increase business by informing the public that their willing to help with any supernatural problem they may have. (Literally, any problem.) As they step into a larger world, their own skepticism gives way in the face of every conceivable being, from demons to leprachauns.

From the mind of Nicholas Carella and David Milchard, Paranormal Solutions Inc. (PSI) is a ridiculous and fun spoof on a number of popular genres, ranging from alien abduction stories to The Exorcist. By keeping things open to ‘everything’, Carella and Milchard have limitless possibilities in front of them without being bound by any particular ‘rules’ of their world and they make good use of the opportunity. More silly than scary, PSI has some genuine pop in its comedy and even uses their bizarre circumstances to attempt to explore larger cultural conversations. (For instance, the fifth episode explores the topic of political correctness through its attempt to properly support and celebrate a ghost in a wheelchair.)

While the special effects are mostly credible, the real reason that the indie series works is due to its cast. Vibing with the energy of an improv comedy troupe, the relationships between cast members is visible onscreen. In many ways, PSI operates in the same manner as a work-place comedy but with heightened circumstances. (To my knowledge, there haven’t been too many werewolf attacks on Brooklyn 99…) Though set in a world of paranormal madness, conversations between characters instead seem to focus on relationships and everyday occurrences. In doing so, this sense of normalcy actually adds to the absurdity of the moment and translates into some genuinely funny banter between characters.

In many ways, what’s most interesting about the series though is the way that it tackles the subject of belief. As the series begins, Jared acknowledges the fact that their small business needs to ‘rebrand’ in order to boost business. Instead of simply focusing on ghosts, they will now say that they believe in ‘everything’. When he’s pushed further on the ethics of taking advantage of people who believe in things that don’t exist, he simply responds that, “I’m willing to believe in anything as long as someone’s paying me to.” By focusing on the financial benefits of broadening their horizons, Jared shows that he and his team care little about whether or not these things are real and more about whether or not they can pay their bills.

But things start to change when they finally start to encounter them.

From the moment they first lay eyes on a werewolf, the crew at PSI are changed forever. Their skepticism is rocked by the reality of more… well… everything. Demons. Zombies. Sasquatch. (Even more leprechauns!) All of a sudden, they begin to realize that their limited worldview needs to be expanded because there are forces outside their understanding that they simply couldn’t believe. (Though, admittedly, financial gain still remains the primary motivator…) While the series clearly has no specific ambitions regarding the topic of belief, there’s a charming sense of hopefulness embedded within it as post-modern skepticism gives way to a broader openness towards the unknown.

Free from any particular boundaries, Carella and Milchard have an opportunity on their hands. By kicking open the doors of what qualifies as ‘paranormal’, Paranormal Solutions, Inc. has a potentially long runway ahead as a series, should they decide to do so. Though the series may not have the polish of a network show, the goofy and irreverent romp makes you care about its characters and, most importantly, the show is genuinely funny.

And that’s something worth believing.

The first six episodes of Paranormal Solutions Inc. are now available on YouTube with the final two episodes to air on Friday, February 26th, 2021.

The Mystery of D.B. Cooper: Mythologizing Our Villains

by Leave a Comment

There really is something fascinating about true crime stories. W

From Unsolved Mysteries to Tiger King, there is something truly engaging about listening to stories that seem too wild to be true. However, in the history of mysteries, one man stands out as the biggest question mark of all. Known for his daring robbery from 10 000 feet, D.B. Cooper remains the only unsolved airplane hijacking in FBI history. 

Now, almost 50 years later, Emmy-nominated filmmaker John Dower (Thrilla in Manilla, My Scientology Movie) revives the epic enigma in his latest documentary, The Mystery of D.B. Cooper. Focusing on four primary suspects, Dower gives voice to family and friends who believe passionately that their friend or relative is the same man who hijacked a 727 flying out of Portland, OR, stole $200, 000 and four parachutes, daringly jumped out of the plan and disappeared forever.

Wisely, Dower steps back and allows the stories of his witnesses to take centre stage. With each parallel revelation and conflicting confession, the mystery grows as each testimony claims to know the truth behind the FBI’s most famous wanted man. Rather than attempt to conjure up some conclusion or lean towards any one particular voice, Dower allows each potential suspect the possibility that they are (or were) the infamous Cooper. Like the most captivating mystery stories, this one intentionally leaves more questions than answers as it leans into the many unknowns about this particular case. In D.B. Cooper, truth is relative and highly subjective to the point that it’s impossible to separate fact from fiction.

Though, perhaps the most fascinating aspect of the documentary does not even stem from the testimonials themselves but from the fact that every one of them (and many others) want to be known as the escaped criminal. Like Robin Hood or Butch and Sundance, Dower points out that the legend of DB Cooper has been mythologized within our culture as some form of folk hero. Despite the fact that he  broke the law and terrified his victims, Cooper has become celebrated for his ability to get away with his crime. (Interestingly, Dower likens this alternate view to the fact that so many struggle financially and therefore view him as one who broke free from ‘the Man’.)

In many ways, it also seems strange. After all, let’s not forget that people were actually in danger during the heist. Yet, at the same time, there seems to be something culturally cathartic about pulling off ‘the big heist’ which creates a sense of wonder around their wrongdoings. As the legend of these ‘heroes’ continues to grow, it’s fascinating to watch public opinion surrounding men like Cooper shift from angst to awe and villainy becomes heroism.

In the end, like the shadowy man himself, there’s something enthralling about The Mystery of DB Cooper. While the film offers no answers regarding his identity, those unanswered questions are entirely the point of the film. Though the crime may have taken place almost 50 years ago, John Dower prudently allows the conflicting voices that claim to know the whole story to take centre stage and, in doing so, gives even greater weight to the enigma that is D.B. Cooper.

The Mystery of DB Cooper is now playing on HBO Max. 

Strange But True: Life, Death and Nothing in Between

by Leave a Comment

When Phillip (Nick Robinson) receives a visit from Melissa (Margaret Qualley), the former girlfriend of his late-brother Ronnie, old wounds are re-opened when she claims that his brother is also the father of her unborn child. Since Ronnie’s death was over five years ago, Phillip and his mother, Charlene (Amy Ryan) are rightly enfuriated and hurt by the seemingly ridiculous scenario. Even so, Melissa’s earnestness causes Phillip to begin to question the truth of her claim and sets out on a quest to unravel the truth about her child and, potentially, spiritual realities as well.

Directed by Rowan Athale (The Revolt), Strange But True has a stellar cast and high concept that unfortunately never really settles on what type of film it wants to be. Despite featuring such incredible talents as Blythe Danner, Greg Kinnear, Amy Ryan and more, the film simply doesn’t come together. Opening with an engaging premise that the unborn child may be that of the long-deceased Ronnie, the film sets itself up as an exploration humanity’s relationship with the unknown. However, as the film progresses, Strange gradually moves away from its more complex themes and settles in as yet another generic thriller. 

Without question, the strongest aspect of the film is its interest in grappling with the nature of belief. Guilt-ridden by the death of her lost love, Melissa’s decision to approach Charlene about the child’s potential parentage seems reckless and even unkind. Nevertheless, her claims have a ripple affect within the family, especially within Phillip’s heart. A skeptic himself, the potential of supernatural birth seems absurd to Phillip yet her steadfast belief causes him to question his own understanding of the universe. As he steps out on a journey to understand the spiritual realm, Phillip recognizes that his own personal blinders may be keeping him from understanding something more. In moments such as these, Strange seems to be opening the door for deeper conversations about the space between life and death.

Nevertheless, without offering spoilers, the film is quick to shut the doors on these potentially powerful conversations, opting for the more standard approach that the ‘truth brings pain’. In doing so, Strange tries to balance two conflicting arguments. On the one hand, the film points out that holding belief is an acceptable way of life that can provide hope. However, it also argues that hope in the beyond often serves as a way to merely distract us from the horrors of reality. As a result, Strange attempts to walk the line between hope and horror but struggles to maintain its stability in the process.

Without question, the most frustrating aspect of Strange But True is that it simply feels like a wasted opportunity. Filled with a quality cast of Oscar notables and young talent, Strange has the potential to be something truly special. However, with a meandering script that settles for less, Strange misses the mark and leaves its audience with answers that leave them in the dark.

Strange But True is available on VOD now.

The Grown-Up World of the Not-so-Teen Titans

by Leave a Comment

This is not Teen Titans Go! or Young Justice, and certainly not Superfriends. This is the DC Universe if it mashed up the origin stories of the Titans were thrown into the world of Watchmen or Kickass, a world where the actual evil that created Raven or Robin or Beast Boy was played out in darker hues than the saccharine explanations offered up in animated versions. This is the new DC, a brand new issue of the DC family that proposes big questions for first and second generation superheroes alongside explosive action and theater-worthy special effects.

Before they’re an official team, the Titans are introduced slowly over several episodes, first with Rachel Roth AKA Raven (Teagan Croft) finding out that she’s more powerful than she knows and that a mysterious organization wants her, alive or dead. Her story collides with Dick Grayson AKA Robin (Brenton Thwaites), ex-sidekick to Batman-turned-Detroit police officer, and Kory Anders AKA Starfire (Anna Diop), a powerful being with serious amnesia. Pursued by the mysterious organization’s “Nuclear Family,” the three of them run into Hawk and Dove (Minka Kelly and Alan Ritchson) and Jason Todd AKA New Robin (Curran Walters), who Dick has a troubled past with, before they “rescue” Gar from the Doom Patrol, headed by Niles Caulder (Bruno Bichir). [The visual representation of the Negative Man, Elasti-Woman, and, especially, Robotman, are spectacular, putting even the likes of Gotham or Smallville to shame. No wonder, Doom Patrol already been ordered for its own spinoff season.]

There are several threads throughout the episodes that raise questions about what it means to be heroic and, on a broader scale, to determine one’s way in the world. Rachel wants to know her mother, and to understand her powers, but her origins are a blend of the innocent (her mother) and the evil (her father, Trigon). Dick wants to figure out how far a hero can go in pursuit of justice before he/she becomes a villain, and who he is apart from being Batman’s sidekick. Kory wants to know who she is and Gar wants to know … what beer tastes like. While the additional DC characters add some flavor (especially interesting are Jason Todd and Donna Troy/Wonder Girl (Conor Leslie)), the majority of development is about Rachel’s search for her mother and Dick’s search for his post-Robin career meaning.

Bombastically, even profanely, these young heroes punch, kick, stab, and throttle opponents, with the violence of a more mature show. Fans of superheroes who also dig Game of Thrones will find the balance of the pre-existing legends created by Bob Haney and Bruno Premiani, nurtured by George Perez and Marv Wolfman, and picked up by Scott Lobdell, mixed with F-bombs and blood spatter. [Hmm, maybe this is the material Zack Snyder has been looking for!] This is the world that minds like Geoff Johns and Greg Berlanti could create without the issues tied to MPAA or television ratings, unafraid to tackle tough issues like child abuse, violence, and spiritual warfare.

The beauty of the show, beyond the acting, plot, cinematography, and action (isn’t that enough?) is that violence is discussed in superhero ways unlike anything we’ve seen (with the exception of Netflix’s The Punisher or Daredevil.) Here, our heroes see a cost for what they’re choosing to do with their powers, the friction internally they feel when they put on masks. Having already chosen to use their powers for the collective good, it becomes less about “if” and more about “how,” providing more nuanced discussions than a teenage Spider-Man. They find themselves asking questions like, “Am I doing the right thing? How much force is justifiable? What is the best use of my gifts and talents?”

In a strange, Teen Titans-esque way, the show becomes a buddy road trip of sorts, where the characters must figure out who they are and how they fit, and how they might become a team. The acting complements the plot in a way that makes us care for these characters as they grow and learn to be family, even while we’re stunned by Starfire’s fire or Dick’s fighting or Raven’s… horrific spirit powers. But instead of silly campiness, this show actually tackles the real world evil of people’s greed and power-mongering, and shows us that the world will be alright because this world has … Titans.

In the Blu-ray combo pack includes all eleven episodes of the first season of DC Universe’s series plus thirteen featurettes. There’s a look at the journey of “Raven and Robin: Dark Rebirth,” the origin story of Hawk and Dove, the background of Starfire, Beast Boy, and Donna Troy, and a look at the Doom Patrol. Geoff Johns discusses Robin in “The New Robin,” while Johns and Greg Walker look at their adaptation of the comic stories to the small screen in “From Page to Screen.” And there’s an interesting view of the final episode in “Team Titan.”

Doom Patrol: Putting the Anti in Anti-Hero

by Leave a Comment

Warner Bros.’ Doom Patrol serves up strange, mangled delights that put the “anti” in anti-hero. The group was teased out of Titans, a clearly adult take on a group that’s no longer teen-affiliated, and just enough of their banter was shown to make me re-up for some more viewing.Where can you see an angry teenager with sixty-four completely different personalities, a half-robot, half-human cyborg with anger issues, a Tin Man-like former NASCAR driver with a sailor’s mouth, a woman who can’t control when she expands or shrinks, and a man who is haunted by an extraterrestrial power deep dive “down” into a donkey to save their not-so-beloved leader from the legacy of the Nazis? Why, the DC Universe of course!

“Are you the best people for the job? Hell, no! But we’re all he’s got.” — Cyborg

Niles Caulder AKA The Chief (Timothy Dalton) has “rescued” a collection of oddities, freaks, like Robotman (Brendan Fraser), Elasti-Woman (April Bowby), Crazy Jane (Diane Guerroro), and Negative Man (Matt Bomer), as well as Cyborg (Joivan Wade). They hang out together in Doom Mansion, kept alive but not really living, tortured souls isolated from the world. But when his archenemy Mr. Nobody (Alan Tudyk) causes Caulder to vanish, the not-a-team rolls into action at Cyborg’s assistance, unsure of what to do and unready to be heroic.

While Watchmen comes to mind for the violence and profanity, or the weirdness of The Umbrella Academy, Doom Patrol does super powers in a way that defies comparison. It helps that this is a hilarious show, one full of DC-inflected self-references and side barbs, of ridiculous mishaps (remember the donkey?) and witty banter. It’s narrated by the villain, nostalgically shot, and constantly poking our expectations for how heroes could and should behave. It’s developed by Supernatural, Being Human, and Frequency creator Jeremy Carver, and it’s clear that there’s a mashup of genres that defy categorization.

But don’t believe for a minute that this is simply silly or throwaway entertainment. There’s something deeper hinted at in the back stories of several of the characters, mentioned in flashbacks and in passing that builds what these characters are and can be because each of the Doom Patrol’s “gifts” actually feels like a curse, somehow tied to the issues that they experienced before receiving their powers. Robotman was a pleasure-seeking Neanderthal who now can’t feel anything physically; Elasti-Woman was an appearance-based actress who now can’t hold it all together; Negative Man was a married father engaged in a homosexual affair who now can’t get close to anyone. But can they all find “space” together? Can they create something new and powerful beyond their disparate individualism?

Several episodes into the show, I can’t wait to see what happens next. There is something universally dynamic about battling Nazis – think Captain America or Indiana Jones – mashing up the old and the new in a creative blend of awesome. The show just keeps ratcheting up what it’s meta-story will be, beyond individual episodes that entertain and amaze, drawing the audience into the an emotional desire to find resolution. I still doubt that we’ll see anything cut and dry here because what would be the fun in that? But there is sure to be an emotional payoff. Maybe in the end, we’ll see that our gifts aren’t what we choose, but we’re still responsible for using them wisely.