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Stanleyville: Exposing our Killer Instinct

May 20, 2022 by Steve Norton Leave a Comment

If I were to describe a film as “a group of volunteers who are promised a rich prize if they willingly participate in multiple children’s games with deadly ferocity”, you likely expected that I’d be talking about Squid Game. 

After all, Netflix’s killer Korean series took over the world earlier this year. While the concept is far from new (see Hunger Games or Battle Royale), something about Squid struck a chord with the world and helped it become a global phenomenon.

Even so, with that show firmly in the rearview window, here comes Stanleyville.

Stanleyville tells the story of Maria (Susanne Wuest), a frustrated woman who is at an emotional crossroads in her life. When she’s approached by a mysterious older gentleman (Julian Richings), he informs her that she’s been specifically chosen for a game that could win her a habanero-orange compact SUV. Bored with her office job and her complacent family life, she accepts the challenge, believing that she may learn something about herself in the process. When she arrives, she discovers that she’s one of 5 contestants who must participate in various games to determine who will win the keys to the vehicle. However, as the games begin to become more brutal in nature, Maria and her competitors must look deeply inside themselves to determine who they really are and what they want out of life.

Although comparisons will undoubtedly be made to the recent success of Netflix’s Squid Game, Stanleyvilledoes manage to stand on its own as unique. Although the six contestants may find themselves trapped in an various games of increasing madness, Stanleyville plays different mind tricks than its Korean counterpart. For example, whereas Squid Game relied heavily on taking another’s life, Stanleyville never quite makes though necessity. Instead, these games are designed to slowly strip away the emotional walls of its contestants to see to what lengths people will go to survive

In many ways, Stanleyville is surprisingly funny. Directed by Maxwell McCabe-Lokos, there’s a level of humour within this battle royale which is missing from Squid. Anchored by an entertaining performance by Julian Richings as the quirky host Homunculus, the film balances the more horrific moments with an edgy humour that keeps the film from completely devolving into darkness. While we know that the shadows within its characters will eventually emerge, Richings keeps things moving with hilarious punctuation. (After all, the host isn’t even entirely sure how many games they’re even supposed to play!)

Interestingly, with only five contestants, there is far less carnage than Netflix’s Squid. Though, having said this, the relationships that we develop with those characters means that that any violence becomes seemingly more brutal. 

What really sets the film apart though is the fact that prize is not necessarily the point. Playing for the ridiculously low stakes of a compact vehicle, Stanleyville very much wants to touch on the nature of human evolution. As Homunculus claims, this is a journey which will invite them to ‘reach the highest plain of human existence’. However, in order to do so, the game will require them to reach into the deepest parts of themselves to see what lies beneath. 

As the games evolve, so too must the players. Whereas the games began with simple motivation ranging from prizes to the thrill of competition, suddenly they are asking questions about the deepest parts of themselves. (It’s also worth noting that the conch shell seems like a reference to Lord of the Flies. But are they hearing a voice from beyond or merely telling themselves what they want to hear?) As they move further down the path to darkness, the game exposes their deepest frailties and weaknesses. Left to grapple with their inner demons, each player looks for answers as to what matters most. Was the lack of compassion towards one another they exhibited worth a mere car? In this world, evolution is necessary to survive… but, with where it leads, is it worth it? Somewhat ironically, the film itself isn’t entirely sure if it’s worth playing. To paraphrase a famed Scripture, the players soon must decide whether it’s worth gaining [a moderately-priced compact SUV] if it involves losing your soul.

Although the film often keeps its sense of humour, Stanleyville exposes the darkness of ambition and selfishness. As the winners begin to mount and the bodies begin to drop, the film wrestles with some highly philosophical questions about the nature of human existence that keep the film engaging. Though you could also be forgiven if, like the would-be contestants, you begin to doubt your decision to get into the game.

Stanleyville is now available in theatres.

Filed Under: Film, Reviews Tagged With: Julian Richings, Maxwell McCabe-Lokos, Squid Game, Stanleyville, Susanne Wuest

SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE

May 20, 2022 by Steve Norton Leave a Comment

Truly anything goes in the multiverse. Whether it’s empowering chapstick, googly-eyed boulders and hot dog fingers, EVERYTHING EVERYWHERE ALL AT ONCE unleashes the potential of the concept in its fullest sense, bringing every conceivable universe to life with boundless imagination. However, at the same time, to gaze into infinity is also an overwhelming prospect. This week, Victor Stiff and Victoria McCartney join Steve to talk about dealing with mental health, the healing power of compassion and staring into the Everything Bagel.

You can stream on podomatic, Alexa (via Stitcher), Google Play, Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

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.

8.25-Everything-Everywhere-All-at-Once

Filed Under: Featured, Film, Podcast Tagged With: A24, Everything Bagel, Everything Everywhere All at Once, Mental Health, Michelle Yeoh, Multiverse, The Daniels

Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes

May 20, 2022 by Steve Norton Leave a Comment

When Chip ‘N Dale: Rescue Rangers was named as Disney’s next reboot for streaming, the decision simply made sense. 

After all, Disney+ has provided the House of Mouse with an entirely new way to bring their content to the next generation with very little risk. From DuckTales to Darkwing Duck, their investment in bringing back popular franchises for the kids of the modern era have been fairly successful thus far. (I’m still waiting for the return of The Adventures of the Gummi Bears but I digress…)

But things began to take a turn for the strange when it was announced that the franchise would be passed to director Akiva Schaffer, who intended on taking a more meta-approach to the material. Usually, that’s often a bad sign. After all, every reboot (especially a beloved one like Rescue Rangers) comes with certain expectations in tone, humour and style. When you mess with the formula entirely, it can alienate the audience. (See Ferrell and Kidman’s Bewitched)

Amazingly though, Schaffer has come through.

In Disney+’s Chip ‘N Dale: Rescue Rangers, Chip and Dale have seen better days. After the cancellation of their fame animated series over 30 years ago, the characters have both moved on. With Chip (John Mulaney) now living in obscurity as an insurance salesman, Dale (Andy Samberg) spends his days attending fan conventions with the hope of garnering enough interest to resurrect their franchise. However, when one of their beloved former co-stars is kidnapped, the two estranged rangers reluctantly come together to solve a real crime in the face of overwhelming odds. 

Using his signature sarcasm, Schaffer infuses Rescue Rangers with a winking eye and sardonic edge that still feels like a love letter to the property. By blending multiple animation styles ranging from claymation to puppeteering but still grounding the project in the human world, the film feels very much like a spiritual sequel to Disney’s Who Framed Roger Rabbit?. (In fact, any comparisons to the classic 80s animated classic are absolutely deliberate as Schaffer includes numerous references to it.) Sharply written and executed, Rescue Rangers is absolutely eye-candy across the (story)board that features a never-ending stream of pop culture references that should make the film enjoyable on rewatch. (The billboards and advertising that adorn the film’s streets are worth the watch alone.)

And no franchise is sacred. 

Somewhat surprisingly, Rescue Rangers is more than willing to break out of the Disney canon and satirize other studio properties as well. (Again, another key ingredient for Roger Rabbit.) Whether it’s poorly rebooted animation like ‘Ugly Sonic’, or beloved franchises like My Little Pony, Looney Tunes, Pokemon or even ET: The Extra Terrestrial, there’s a surprising amount of support from other studios to let Disney lampoon their products. 

As such, Rescue Rangers feels more like a meta-take on the challenges of rebooting old properties than it does trying to feed you the same Disney product again. In essence, rather than offering a strict reboot of Rangers, the film leans into the difficulties of doing so. Characters who were once beloved by fans have now been relegated to the convention circuit, with the hopes that enough interest will bring them back into pop culture relevance. 

At the same time though, there is no doubt that this film is made with love. Schaffer does not use the film to mock the franchise but rather to somehow reinvigorate it with the understanding of an adult. Jokes referencing CGI surgery, cheese addiction and even references to a strip club and [cartoon] trafficking are made with an adult audience in mind. 

In this way, while the film’s primary story may focus on the missing characters, the true antagonist of the film is getting older. From Lumiere to Tigra the forgotten Avenger, none of these animated characters are ready to settle into the dustbin just yet. (“It’s gotten tough out there for us old timers”, Monteray Jack groans.) Emotionally tied to their faded fame, each one wants to prove that they’re still worth something. This desire to hang onto the glory days is especially true of Chip who yearns to be remembered as more than a ‘2nd banana’. From begging for attention on social media to having CGI surgery, Chip is left scratching and clawing at the elusive celebrity status that he once enjoyed. Though the rest of the world has moved on, he simply wants them to know that he still has value. In a world where no one cares to know your name, how do you know you matter? What does hope look like when your best days seem behind you?

Middle-age is tough, even for animated chipmunks.

But that leads to the film’s biggest question: who is the target audience? Unlike other kids fare that includes the adults, Rangers does the opposite by targeting adults first. Ultimately, this approach works fine, except for the fact that Rangers comes with the baggage of a being known property. For example, in the case of Roger Rabbit, Disney had a blank canvas upon which to create their adult-targeted story. Not so for Rescue Rangers, a series which is known for targeting little ones. (It’s also worth mentioning that, as recently as last year, Disney rebooted Chip ‘N Dale as an animated series that targeted kids). So, with this in mind, parents of young ones may need to exercise caution before hitting play.

Nevertheless, there’s little doubt that Chip ‘N Dale: Rescue Rangers is a reboot win. Fast and furry-ous with its humour, Schaffer manages to walk the line between parody and preposterous in ways that revive an old property without feeling stale. So, even if it does seem odd to target the parents over the kids, it’s absolutely worth dusting off these two gumshoes for old time’s sake.

Chip ‘N Dale’s Rescue Rangers streams on Disney+ on Friday, May 20th, 2022.

Filed Under: Disney+, Featured, Film, Reviews Tagged With: 90s, Andy Samberg, Chip 'N Dale Rescue Rangers, Disney, Disney+, Eric Bana, JK Simmons, John Mulaney, Kiki Layne, reboot, Seth Rogan

GIVEAWAY! Advance Screening of TOP GUN: MAVERICK!

May 19, 2022 by Steve Norton Leave a Comment

We’re feeling the need… to give tickets away!

Top Gun: Maverick will take your breath away… and we want to send you and a guest to see it before it’s released in theatres! Thanks to our friends at TARO PR, we’re giving away double passes to see Top Gun: Maverick in Toronto, Montreal (French and English), Edmonton, and Vancouver on Tuesday, May 24th, 2022!

DATE
Saturday, May 24th, 2022

LOCATION
Toronto – 7:00pm @ Cineplex Cinemas Yonge & Dundas
Vancouver – 7:00pm @ Scotiabank Theatre Vancouver
Montreal ENG – 7:00pm @ Cineplex Cinemas Forum IMAX
Montreal FRE – 7:00pm @ Cinémas Guzzo Méga-Plex Marché Central IMAX
Edmonton – 7:00pm @ Scotiabank Theatre Edmonton

Top Gun: Maverick takes place more than thirty years after the original film. Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of TOP GUN graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose.”

In order to enter, simply tell us your city, like/share this post on Facebook, Twitter and/or Instagram and tell us the name of Tom Cruise’s character!

Winners will receive a double pass to the pre-screening of Top Gun: Maverick on Tuesday, May 24th, 2022

All entries must be received by 11:59pm on Sunday, May 22nd, 2022.

Twitter: @ParamountCanada @topgunmovie

Instagram: @paramountpics @topgunmovie

Filed Under: Featured, Film, Giveaways Tagged With: Jennifer Connolly, Miles Teller, Tom Cruise, Top Gun, Top Gun Maverick

Men: Trapped in Man’s World

May 19, 2022 by Steve Norton Leave a Comment

Men may begin as a quiet trip to the country… but it is no vacation.

Directed by Alex Garland, Men tells the story of Harper (Jessie Buckley), a young women left grief-stricken after the sudden and shocking death of her husband. In an attempt to heal, Harper retreats alone to the English countryside, renting a small estate where she can be alone. After meeting the quirky groundskeeper (Rory Kinnear), she settles in for some peace and quiet. Although, when someone follows her home after a morning walk, her time of solitude begins to unravel as she looks to escape her mysterious stalker (or, potentially, stalkers) before its too late.

As is often the case with Garland’s work, the film is visually stunning from start to finish. By taking painstaking detail in his cinematography, Garland ensure that every shot is rife with metaphorical significance. Anchored by slow camera pans, Garland wants the viewer to sit within his imagery with a reflective glare. Bold red colours that bleed across the screen augment the pervasive darkness within its characters. The harsh lines of the estate contain Harper in a prison of tradition and the ‘old ways’. Frankly, there’s very few frames that are visually wasted in this storytelling.

Infusing her performance with an inner strength, star Jessie Buckley does an excellent job portraying the combination of grief and courage necessary for her character’s evolution. However, despite some solid work from Buckley, it’s Kinnear’s wild performance(s) that may be most notable within the film. Playing almost every male role, Kinnear brings life to his villainous men, disappearing into each persona. From the toxic shame of a priest to the ignorance of the police, each character he creates is fueled by their own quirks and characteristics that makes them entirely unique.

Admittedly, it’s worth noting that Men is not for the squeamish. Known for films like Ex Machina and Annihilation, Garland has made a name for himself with his visual creativity. In Men, however, he truly unleashes his inner brutality, especially in the film’s final sequence. Beginning as fairly standard (but well-executed) terror, the film gradually devolves into the madness of body horror that would make Cronenberg proud. However, despite featuring arguably some of the more graphic images we’ve seen onscreen in recent years, Men never loses sight of its metaphor. As a result, even the most disturbing sights feel earned as the film leans into its conversations about the poisonous nature of masculinity.

Much like Eve’s bite of the proverbial fruit in the Garden of Eden, so too does the film emphasize the shame placed upon women in order to preserve the male ego. At every turn, the film looks to find a reason to share the blame as opposed to admitting any form of guilt. Whether it is the accusations of her husband or the absurd counsel of a broken priest, Harper is constantly blamed for the problems of men. Though Harper’s grief weighs heavily upon her soul, her suffering is not heard. Instead, at every turn, her feelings are belittled by men who consistently look for ways to explain away their own transgressions by placing responsibility on others (or, more specifically, women). 

Though she bears no guilt, she is made to believe that she does.

As Men unravels further, it becomes clear that it’s not about one or two problematic men but rather the toxicity of an entirely male culture. By using Kinnear in multiple roles, Garland highlights the fact that all men suffer from the same flaws. From laying on shame to outright abusiveness, these characters have created a culture of brutality, male power and arrogance that is passed down from generation to generation. (Incidentally, it’s possible that this is why the film is titled Men. Written by a man, this is an as much an exploration of what is wrong with the male gender as it is about women’s responsiveness into it.)

As is often the case within Garland’s work, the film’s finale remains open for interpretation. Without giving any spoilers, this seems like a genuine inquiry as to what it is going to take to end the cycle of masculine toxicity. Although the film lands on a moment of optimism, Men is unafraid to sit in the darkness. But what does hope look like when the surrounding culture seems unaware of the depth of its issues? While Garland gives no clear response, Men demands that the viewer look for answers.

Men is available in theatres on Friday, May 20th, 2022.

Filed Under: Featured, Film, Reviews Tagged With: Alex Garland, feminism, Gayle Rankin, Jessie Buckley, Men, Paapa Essiedu, Rory Kinnear, toxic masculinity

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  • Stanleyville: Exposing our Killer Instinct
  • SF Radio 8.25: Mental Health and the Multiverse in EVERYTHING, EVERYWHERE ALL AT ONCE
  • Chip ‘N Dale: Rescue Rangers – Dusting Off these Two Gumshoes
  • GIVEAWAY! Advance Screening of TOP GUN: MAVERICK!
  • Men: Trapped in Man’s World
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