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Violent Night: Saving Santa

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Forget John Wick. Enter Saint Nick.

Directed by Tommy Wirkola, Violent Night is the sort of holiday film that stands in the gap for fans who demand that Die Hard is a Christmas movie. Although the film is utterly nonsensical from start to finish, Violent Nightenters the festive season with such aplomb and bombast that one cannot help go for the ride. 

Set on Christmas Eve, Violent Night follows Santa Claus (David Harbour) on his yearly gift delivery. However, after years of disappointment, he has lost all faith in the children of this generation. Drenched in alcohol and barely interested in his job, Santa stumbles through the night, just biding his time. Although, when he reaches the wealthy Lightstone residence, he finds something worse than coal in their stocking. Led by Mr. Scrooge (John Leguizamo), the Lightstones are being held hostage by a group of mercenaries who are looking for their own special Christmas bonus. While Santa isn’t interested in getting involved at first, the pleas of young Trudy Lightstone eventually (Leah Brady) changes his mind. And he’s got a special gift for everyone on his naughty list.

Make no mistake, the film lives up to its name. Violent Night is brutal, gory and fueled by coarse language from start to finish. While not a horror film, the film is relentless with gunfire, blood splatters and vicious kills through much of its runtime. 

But, it also understands the assignment. 

Believe it or not, amidst the candy canes and cut throats, Violent Night wants to be considered a Christmas cult classic. In doing so, it’s satirizes much of the films and music that are generally associated with the holiday season. Featuring a lighthearted pop soundtrack, Violent Night has an absurd playfulness about it, even in the darkest of moments. (It’s also safe to say that you will never hear Bryan Adams’ song Christmas Time the same way again.) References to Home Alone, Die Hard, and other unusual Christmas films remind the viewer that there’s a place for chaos at Christmas. For instance, without giving any spoilers, a young child’s experience watching Kevin McAllister’s exploits in Home Alone inspires her to take matters into her own hands to protect herself… but the results here are far more ruthless.  

In terms of performances, admittedly there are very few standouts amongst the cast. (Even so, everyone is in on the joke and having fun.) However, as Santa himself, Harbour creates a vision of old Saint Nick that we have never seen before. Harbour has a way of creating empathy for even his most unlikable characters, and he brings that to this role as well. Here, Santa isn’t a good guy, but neither is he a bad guy either. Whereas films like Bad Santa have depicted him as cruel in the past, Violent Night shows him as a broken man. Left shattered by the selfishness of today’s generation of youth who care little for his offerings, Santa has simply given up on his own holiday. In fact, he’s even ready to pack it in. (“This may be my last year,” he grumbles into his beer.)

As such, what becomes interesting about Violent Night isn’t its brutality or humour. In a strange way, this is a redemption story for old Saint Nick himself. To a culture that has become obsessed with money, Santa has become an irrelevant relic. After all, who needs to believe in magic when everyone is climbing over themselves for a buck? Even Santa finds himself giving out more gift cards then he does actual toys these days. But this actually leads to the contribution that Violent Night actually makes to the holidays. 

Even though many have landed on the naughty list, Santa‘s journey proves as a reminder anyone can find their way again when given the chance at grace. For example, most characters here approach the holiday season with empty hearts, except young Trudy. Despite the reprehensible members of her family, Trudy refuses to give up on Christmas… and especially Santa. Struggling with addiction and a failing marriage, Santa is burned out and refuses to get involved in people’s lives. But through the eyes of this young woman, we begin to see a twinkle return to his eye. (Even if that twinkle does come accompanied with a sledgehammer.) Trudy’s infallible innocence and faith in the goodness of Santa helps remind him of what matters most. His icy cynicism begins to melt away and optimism is renewed.

Because, in Violent Night, belief still matters. 

It goes without saying that Violent Night will not be for everyone. For those looking for more of a traditional Christmas film, this will undoubtedly feel like a lump of coal in their stocking. But, for those who yearn for John McClain or John Wick to make their Christmas bright, it’s entirely possible that Violent Night will be the type of film that keeps on giving for holidays to come.

Violent Night is available in theatres on Friday, December 2nd, 2022.

The Inspection: Grace Under Fire

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In a space that values power above all else, The Inspection shows that the strongest are the meek.

The Inspection tells the story of Ellis French (Jeremy Pope), a young gay Black man who has been rejected by his mother (Gabrielle Union) due to his sexuality. With few options, French joins the Marine Corp in an attempt to lay the groundwork for his future. However, as he enters into boot camp, he discovers a system that is rooted in toxicity and prepared to discard him.

Written and directed by Elegance Bratton, The Inspection is the type of film that feels as though it was cathartic for the creator. Setting the tone is a solid performance by Pope that speaks to the emotional challenges of his situation. As Private French, Pope infuses his character with a compelling mix of humility and strength. However, the strongest work by far comes from Union. As French’s unrelenting mother, Union is a harsh and bitter soul who struggles to acknowledge her son’s sexuality. In a performance unlike any we’ve seen from her before, her character is one that the viewer always hopes for yet is constantly disappointed by. While her screen time may be limited, it’s also undoubtedly some of the best work of her career.

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On the surface, the film feels like an exploration of the struggles of the LGBTQ+ community during the years of ‘Don’t ask, Don’t tell’. As French strives to prove his worth, he is constantly met with opposition by the hyper masculine who feel threatened by his sexuality. Slurs and beat downs become common place in  aworld that demands all men fit into the same mold. Similar to Oscar-darling Moonlight, Inspection wrestles with the challenges of living into one sexuality in a world that prevents them to do so.

However, in a deeper way, inspection is an exploration of toxicity, as these characters try to figure out what it means to be a man. Set in post-9/11 America, The Inspection delves into the brutality and shame that can exist within the American military. In this world, masculinity is synonymous with being a marine. (Note that this is not to say ‘male’, per se as the film does include female recruits as well.) Tasked with creating the next, elite-level of Marines, their commanding officer is vicious and unrelenting. To him, his responsibility is not to make them stronger, but to make them invincible. (“If [French] passes, he won’t be a man. He’ll be a monster, just like me,” he snarls.) Anything that strays away from the typical “Ooh-rah” brand of male energy is considered a threat to the military, and, by extension, American safety. 

THE INSPECTION. Credit : Josiah Rundles/A24 Films

However, what sets French’s character apart is not only his sexuality. Instead, it is his compassionate heart which affects his every choice and action. For him, grace is always the order of the day, whether it is extended towards another hurting brother-in-arms or to his own estranged mother. While it may not change the system, his heart and soul shine brightly in the shadows of rage and toxicity. 

Unlike other films designed to ‘pull the curtain back’ on the brutality of the military, Inspection fights for the souls of its marines. Though their superiors want to shape them into monsters, one cannot help but hope that they do not lose themselves in the process. This is a story that yearns for balance between military might and a compassionate heart. In this way, although Inspection may not challenge the military system itself, it still manages to call out those within it to redefine what it means to stand as the nation’s suit of armor.


For that reason, this is one Inspection that passes with full marks.

The Inspection is available in theatres on Friday, December 2nd, 2022.

Cup of Cheer: Glass Half Full–or Half Empty?

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Please don’t be a Grinch about this, but I’ve always been a fan of the Hallmark Christmas film. 

There’s no question that the style of film is repetitive, tepid and entirely predictable. From the opening credits, each entry follows the cookie-cutter mold. Still, I can’t help it. Like millions of others, there’s something about them that I enjoy. (And, despite popular opinion, some of these films are absolutely better than others.)

But one of the other interesting facts about fans of these types of films is that most of them have a sense of humour about them. Every fan understands the rules of the genre and enters into their binge-watching with a winking eye. In essence, one can love the films but also have the ability to laugh at them as well. And that laughter is not done out of cruelty, but out of a certain affection. 

We’re all in on the holiday joke, and we are happy to watch with a mug of hot cocoa in hand. 

It’s that sort of attitude that sparks Cup of Cheer, a satire of the Hallmark Christmas films but with an R-rated edge. Written and directed by Jake Horowitz, Cheer tells the story of Mary (Storm Stevenson), a journalist who returns to her hometown of Snowy Heights with the intent of writing a story about Christmas cheer. When she encounters Chris (Alexander Oliver), the owner of a hot chocolate shop, there is an instant attraction between them. But Chris has his own issues as his shop is in danger of failing due to the opening of a corporate competitor nearby.

As a fan of these films myself, I could tell that Horowitz really understood the genre he was mocking and does so with that same level of affection. Like other classic parody films of the 80s and 90s like Airplane, Hot Shots and Scary Movie, Cup of Cheer has a certain love for the genre that it is cutting to ribbons. Appearances by characters who believe that they are either Santa Claus or time travellers, meet cutes over a cup of hot cocoa, and an endless supply of romance are all baked together with holiday love. As such, one cannot help but be impressed at Horowitz’s rapid wit and subversive humor. 

And Cup of Cheer unleashes its jokes at a dizzying pace. Filled with banter and visual gags, the film fires its humour so quickly that, if one is not doesn’t find one joke, funny, the next will come seconds later. This type of film has been missing from pop-culture for some time and, in some ways, it’s refreshing to see it make a comeback. 

However, therein lies the challenge as well. 

While its satirical look at Christmas films is spot on, the nature of the humour is entirely subjective. Similar to the icon Leslie Nielsen, jokes are played with a straight face, so it requires a certain sense of humour in order to fully enjoy the film. Personally, I found that the writing was uneven and performances were lacking in spaces. However, that is not to say that others will not find it particularly hilarious either. 

So, it’s fair to say that this style of film may or may not be your cup of cocoa. While there’s no arguing that Horowitz understands and appreciates his subject matter, it’s truly up to the audience to determine whether or not, they’ll be laughing all the way.

Cup of Cheer is now streaming on CBC Gem.

Tantura – Uncovering a buried truth

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“The truth has its own power. . . . The power of the truth cannot be hidden, and when it’s hot, it surfaces and more people ask questions.”

In 1948, Israel became a nation. Immediately, they were at war with the Arab world. Among Israelis this is known as the War of Independence. The Palestinians call it “Al Nakba” (the catastrophe). Tantura, from Israeli documentarian Alon Schwarz, looks at one small part of that history, and how an ugly truth has been denied, covered up, and nearly forgotten.

Tantura was a village of Palestinians. When the Israeli army pushed through the area, the village was captured and destroyed. The surviving people were moved to another village, which wasn’t prepared for all the people. A kibbutz was established at the site that had been Tantura. Such things were a part of the Israeli establishment of a homeland. But also at Tantura, there were rumors of a massacre of Palestinians.

In the late 1990, Teddy Katz, for a thesis at university, researched the possible massacre. He taped Jewish and Arabs involved. Several of the Jewish interviews confirmed the massacre. His thesis was accepted and acclaimed. But soon a backlash started. Katz was sued and discredited. Aron Schwarz took those tapes and has made this film to shed light on the truth that has officially been buried. He also takes us to the mindset that would want the truth to stay buried.

Teddy Katz, as seen in Tantura, directed by Alon Schwarz. Photo credit: Yonathan Weitzman. Courtesy of Reel Peak Films.

In press notes, Schwarz spoke of being brought up with the understanding that Israel was “a pure nation; our people were righteous then, as we are today. We have the most moral army in the world.” Certainly, the stories of a massacre would tarnish such an understanding. For many of those who spoke to Katz, and later to Schwarz, these memories need to be kept hidden. It would cut to the very center of Israel’s understanding of itself if such stories were brought to light. One of the four remaining original kibbutz settlers declares, “I only have good memories, because I’m fed up remembering bad things.”

The epigraph that Schwarz opens the film with states, “A nation that doesn’t know its past, has a dull present and a future shrouded in fog” [Yidal Alon]. Schwarz offers this documentary so that his nation can have a better understanding of who they are as a nation and a people. He wants their history to reflect truth, not just be a shining myth. Such an understanding could create new ways of dealing with the ongoing struggle of Israel and the Palestinians.

June 13, 1948: The expulsion of Tantura women, children and elderly from Furaydis to Jordan. The Red Cross is supervising. Photo credit: Beno Rothenberg collection. Courtesy of the Israel State Archives. All rights reserved.

Recognizing truth in history is not just an issue for Israel. Americans continue to fight over what versions of the truth should be taught in schools. There are many who would like to hide our racist and even genocidal past. Should we glorify the “captains of industry” who became wealthy by manipulation and exploitation?

Myths are important. They help us to understand who we are and who we want to be. But the truth is even more important. Often it takes courage to tell and to hear those truths.

Tantura is in select theaters on Friday, December 2nd, 2022..

Hunt: Spies Divided

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Hunt is the directorial debut of actor Lee Jung-jae, the star of Netflix’s #1 show Squid Game. The film sees Lee take a stab at being a jack of all trades as the star, director, writer, and producer of this spy-action-thriller. Set in early 1980s Korea, the film reveals a country that is locked into conflict on all sides. The presidential government is trying to repress the student protesters and people’s groups trying take it down from within its own borders while also dealing with impending threats of assassination and attack North Korean forces across the border. The people under the most pressure in the constantly lapsing conflict? The KCIA who employ of our two main characters Park Pyung-ho (Lee Jung-jae) Kim Jung-do (Jung Woo-sung). The opening scene introduces us to them as the KCIA foils shooters attempting an assassination of the Korean president on American soil. This is where we see the KCIA also has conflict in its ranks as the operation to take out the shooters reveals the starting tensions between the KCIA’s foreign and domestic units which are led by our two leads Pyung-ho and Jung-do. As the films goes on, Pyung-ho and Jung-do keep folding each other into a labyrinth of mistrust. A mistrust planted from the looming threat of a North Korean mole in their ranks. A mole who the director of the KCIA sees fit that the foreign and domestic units find by interrogating their peers, leading to an inevitable vendetta.

Hunt isn’t satisfied in simply pitting two colleagues against one another as Lee along with his co-writer Jo Seung-hee elevate the action-thriller by layering the secrets and lies. This allows Lee to explore multiple facets of the complicated South Korean government and its internal conflict. A division that may have presented the North’s chance to take more power over the weakened southern democracy. Lee is one of many Korean directors who’ve taken the conflicts of Korean past and coated it in genre to entertain audience while educating them about Korean conflict. In this case, he uses the twists and turns of a mystery spy thriller to keep the audience confused and guessing about where the films going by disguising his characters motivations to orchestrate how convoluted a domestic espionage situation like this really becomes. To add an emotional layer to his leads he weaves more characters and background information into the spy story and tries to reveal the moral complications of domestic security. Pyung-ho took on the responsibility to take care of the daughter of his late KCIA partner, a responsibility that becomes evermore complicated with her involvement in student protests the government he works for and mysterious past. Jung-do made connections in the military with characters who are revealed to be involved in the expanding the web of deceit Lee weaves in his ambitious screenplay.

Lee has clearly studied his filmmaking influences well. He can bring inspiration to the standard professional action flick with the help of his veteran Korean craftsmen. His use of long takes and swinging camera movement becomes invocative of Children of Men, a film Lee surely studied before heading to production on his filmmaking debut. The film’s editing done by Korean veteran Kim Sang-bum whose edited notable films from Park Chan-wook like Oldboy and The Handmaiden is purposefully crafted to the story and action. At 131 minutes though, the film can only create so much feeling out of its thrilling actions sequences and the story isn’t enough to carry the emotional weight Lee seems to be going for. He shows he can bring inspiration to his material an get the best out of his actors including himself. The first scene alone showcases the direction and action at its heights with well coordinated gun play, editing and intense emotions from Lee and Jung create an effective hook. But with how much maneuvering and set up the story does with its ensemble of characters it can be hard to follow the emotional throughline especially when we’re following two leads. There is an intelligent attempt to set up Pyung-ho’s emotional world with the inclusion of a sudo daughter character who is slotted into the story well but the connection between these two isn’t given enough screentime because of the impending need to inform the audience about the evolving spy plot. Lee shows he has room to grow as a director as some of the choices will come off as unfitting at some points in the film. Some of the visual effects are very transparent and the use of music in some parts seems to not fit the tone of the scene.

Hunt knows its strengths lie in the intrigue of political espionage and the violence that erupts because of it. However, in the maze of guns and deception, the hearts of the characters are lost. For the most part, this isn’t a big deal but Lee commits a fair amount of runtime to try to get us to feel something. This film doesn’t commit to the simplicity action films like The Raid: Redemption havetaken where they don’t even try to characterize the people in their dangerous scenario, nor does it use the emotions to motivate its action like in this year’s Top Gun Maverick. The result is a film that tries to balance both and doesn’t really succeed. Lee admirably takes time to focus in on how the struggle to find the truth takes a heavy toll on the emotional core of its leading men but ends up loosing it in the process. In other words, Hunt needed less lies and more love but I appreciate that Lee tried to include both in the first place.

Hunt is now playing in theatres.