ScreenFish

where faith and film are intertwined

Anya Taylor-Joy

The Super Mario Bros. Movie: Bound to Collect Lots of Coins

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Over the years, Nintendo has defined itself as a brand where adults can feel like kids.

Whereas other consoles have invested time and effort into creating realistic gameplay with mature storylines, Nintendo has always gone the other direction. As a company, their intent has been to chart their own path by making their titles accessible and fun for all ages. In essence, you’ll never find The Last of Us or God of War on a console that emphasizes the blisteringly-fast Sonic the Hedgehog or the delightfully campy Animal Crossing. 

But the brightest star on their roster is undoubtedly the Mario franchise. And now, after decades of waiting, the iconic plumber and his friends finally warp jump onto the big screen.

Directed by Aaron Horvath and Michael Jelenic, The Super Mario Bros. Movie introduces Mario and Luigi (Chris Pratt and Charlie Day), two Brooklyn plumbers who want to leave their mark by ‘saving New York’ from their sanitation problems. However, when the two men stumble into a mysterious underground pipe, they find themselves transported to the Mushroom Kingdom. Ruled by Princess Peach (Anya Taylor-Joy), this world is one of joy and happiness… except that the evil Bowser (Jack Black) lurks on the horizon with a villainous plot to take over their kingdom.

Without question, Mario Bros. is a love letter one of the best-known characters in video game history. Visually stunning, there’s a pop and sizzle to this film that is a treat for the eyes. The film’s bright colours and soundtrack give Mario Bros. the same light-hearted energy that one would find within the game itself. However, for fans of the franchise, the film contains more than enough visual queues that garner laughs. In each scene, it feels as though there are deep cut references to Mario lore from every iteration of the game. (Early on, there’s even a cameo by Mario’s original voice actor, Charles Martinet, that sets the tone.) 

Although the visuals are a treat, the biggest controversy about the film has been the vocal work of Chris Pratt as the red-hatted plumber. It’s always difficult to step into a roll that has been made famous by someone else, but Pratt does his best to make it his own. Admittedly, Pratt’s more ‘Brooklyn’ take on Mario is slightly jarring at first. Even so, he brings enough of the necessary energy and innocence to the character to make it work. (In fact, there’s even a brief joke about whether or not his accent is ‘too much’.) 

While other performances are fine, the true superstar amidst the group is Jack Black as Bowser. Throughout his career, Black has always been able to bring a certain darkness to his comedy and he uses that skill to full effect. With world domination on his agenda, Black’s Bowser is both severe and silly. Easily, Bowser provides the film’s best moments with his brash brutality and penchant for… settling down? (And yes, without giving anything away, the film manages to include another hilarious Jack Black musical number.)

In terms of story, there’s no question that Mario Bros. feels very safe. Ever since the disaster that was the 1980s live-action film, Nintendo has been notoriously careful about how they use their IP. In this regard, Mario Bros. keeps itself unoffensive with a simple script and positive tone. Unlike the biting satire of The Lego Movie or sardonic wit of Despicable Me, Nintendo ensures that the film simply celebrates the world of their beloved characters. In some ways, this is an unusual tone for Illumination, a studio which is usually far more sarcastic in tone with a penchant for bathroom humour. Instead, with an eye on family-friendly fun, these plumbers keep it clean. 

As part of his adventure, Super Mario Bros. becomes a story about proving your worth. Mario is a young man who dreams of making it on his own yet few people believe in him. Ridiculed for his small size, Mario and his brother are looked down upon by most of their peers and family. However, over the course of their time in the Mushroom Kingdom, the strength of Mario’s character shines through. This small plumber is a man with a big heart and a plucky spirit. He’s not looking for a fight, but he is willing to stand up for the little guy when they need it. For Mario, the growth of a hero is less about power-ups and more about personality. (Although, he certainly makes use of those mystery boxes when he gets the chance.) 

While there will be some who wish for more depth in its story, The Super Mario Bros. Movie absolutely wins you over with its nostalgia and vibrancy. Nintendo has always known how to make adults feel like kids and that sense of joy permeates the film. This trip to the Mushroom Kingdom is fueled by charm and will likely earn an extra life by making countless gold coins at the box office.

The Super Mario Bros. Movie is available in theatres on Wednesday, April 5th, 2023.

Amsterdam: History Upended

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Exploring history can be fun, even if it doesn?t always make sense.

Beginning during the First World War, Amsterdam tells the story of Burt Berendson and Harold Woodman (Christian Bale and John David Washington), two veterans who bonded on the field of battle. Their trio become complete when Burt and Harry meet Valerie (Margot Robbie), a striking nurse who immediately takes a liking to them. Escaping to Amsterdam, the three form an impenetrable friendship that brings life to their broken souls. However, when they return to America, the three find themselves embroiled in one of the most unbelieveable (and true) secret plots in American history.

(L-R): Anya Taylor-Joy as Libby, Rami Malek as Tom, Christian Bale as Burt, Robert De Niro as Gil, and Margot Robbie as Valerie in 20th Century Studios’ AMSTERDAM. Photo by Merie Weismiller Wallace; SMPSP. ? 2022 20th Century Studios. All Rights Reserved.

Directed by David O. Russell, Amsterdam is a fun but uneven film that cries out for justice in an imbalanced world. Featuring surprisingly quirky humor, Russell brings a playfulness to this film that feels different from his other works. With the shifting styles, Russell is undoubtedly having a tonne of fun writing the script. Known for his more grounded humor, there is a eccentricity to Amsterdam that makes it unique. Dreamlike sequences about wish fulfillment, conversations about glass eyes and more feel similar to what one might see from a Coen Brothers film as opposed to anything in his previous repertoire. Unfortunately, while the wild change in tone is a joyful experiment for Russell, the script feels disjointed and uneven. (In fact, the first and second half of the film almost feel like separate films.) As a result, despite being a ton of fun to watch, Amsterdam feels less memorable than it could have been.

Having said that though, the film is rescued by the sheer strength of its cast. (And it is a loaded cast…) Featuring performances by Rami Malek, Robert DeNiro, Anya Taylor-Joy, Mike Myers and Michael Shannon in supporting roles, Amsterdam comes out swinging with its talent. Of course, the centre of the film are Bale, Washington and Robbie who spin around onscreen with such glee that one can?t help be dazzled by their performances. Although Bale has always been comfortable immersing himself into his characters, his performance as Burt contains a certain silliness that we don?t always see in his work. Held up against Washington, the two have some good chemistry, even if the writing isn?t always in their favour. Having said this though, the true star who brightens up the screen remains Robbie, who absolutely lights up the screen. With each new project, Robbie continues to show her unbelievably ability to charm and Amsterdam is no different. As Valerie, she once again sparkles with energy, breathing life into the script and keeping things moving. 

(L-R): Christian Bale as Burt Berendsen, Margot Robbie as Valerie Voze, John David Washington as Harold Woodman, Mike Myers as Paul Canterbury, and Michael Shannon as Henry Norcross in 20th Century Studios’ AMSTERDAM. Photo by Merie Weismiller Wallace; SMPSP. ? 2022 20th Century Studios. All Rights Reserved.

What?s interesting about this bizarre little mystery is the fact that it?s rooted in fact. Without giving anything away, Russell?s tale of murder and mayhem leans into the craziness of history. (In fact, Russell even pairs his film with actual footage during the film?s final credits.) To say anything more would do a disservice to the fun but, suffice to say, the fact that Amsterdam is based on even a fraction of reality makes it worth a viewing.

With a heartbeat of justice, Amsterdam reminds the audience of the great divide between social classes, especially in a segregated world. Set at a time where people are struggling with caring for the ?imperfect?, issues of race, antisemitism and military veterans are looked down upon with disdain from those of power. As a result, Burt, Valerie and Harry are treated harshly by those of the upper class, viewed as social pariahs due to their physical flaws, psychological issues and race. (At one point, Burt?s wife even refers to his scars from battle as hideous to look at, as she ponders where the handsome man she once knew has gone.)

(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ AMSTERDAM. Photo courtesy of 20th Century Studios. All Rights Reserved.

In this way, Amsterdam is very much a film about what it means to see value in the broken pieces. This is perhaps best exemplified through Valerie?s artwork as she collects pieces of shrapnel and turns them into pieces of art. Whereas most people refer to her creations as disgusting, she believes them as beautiful depictions of hope. To her, these shards of metal represent the importance of those who exist on the fringes. 

With this in mind, Amsterdam wants to explore what it means to ?follow the right God home? as multiple characters use their spiritual beliefs to justify their worldviews. Here, Russell highlights the danger of claiming God?s support of one?s own interests, especially if it means that they maintain power. Do they follow a God who justifies their actions or one who points to justice? Is this a God of military might or a God of compassion for the poor? By adapting their vision of God to suit their own interests, these characters justify their actions through spiritual lenses, no matter how toxic they may be.

(L-R): John David Washington as Harold, Christian Bale as Burt, and JMargot Robbie as Valerie in 20th Century Studios’ AMSTERDAM. Photo by Merie Weismiller. ? 2022 20th Century Studios. All Rights Reserved.

With a fun and fury, Amsterdam manages to overcome its shortcomings for a night of murderous mayhem. While the script doesn?t always match the talent, Russell?s film is undoubtedly entertaining. But it?s also not necessarily a trip that you may want to make a second time.

Amsterdam?is available now On Demand and Blu-ray.

The Menu: Eat the Rich

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Caution: Some potential spoilers

In The Menu, Hawthrone is one of the world?s most prestigious high-class ?fou-fou? restaurants on the planet, run by a world-class chef that demands perfection of his staff to an extreme as well as doing whatever he can to please the customers appetite. Margot and her boyfriend as well as many other customers from interesting backgrounds are heading to the remote island of Hawthrones for The Menu of the night, run by Julian Slowik. Quickly descending into madness, what?s on the menu tonight? The customer. Trapped on an island with seemingly nowhere to go, the customers break out as they are hunted by chefs to the death for the menu.

Starring Anya Taylor-Joy as Margot, and Ralph Fiennes as head chef Julian Slowik, The Menu is a commentary on food culture as a whole as well as the experience of both the customer and the chef over the course of a meal. Very early in the film, we see the horrible treatment that people in the food industry experience from different types of customer. Beginning with the critics, the foodies, the rich saps who don?t care about your actual food, the investors who believe that they ?own you,? until it culminates with Margot, an average consumer that just wants ?food to be food.? In every scenario, the abuse of power that the customer has over the restaurant is apparent, showcasing the effort that these chefs go through to cater to their clientele and prepare a culinary experience. (In fact, Menu even reminds the viewer that chefs must constantly change their menu so that they don?t become irrelevant, though they still draw criticism and complaints.) In this world, food is an art, and Julian and his staff are finally fed up with their work. Their goal were simply to make good food that they thought others would enjoy. Unfortunately though, the better that they become at their jobs, the worst their lives are. As he prepares his final Menu, Julien invites a carefully catered group of customers that he?s always hated in order to exact his revenge.

The actual food on the menu is incredibly satirical. Like real life, high class food, every single course tells a ridiculous story and is made to be something a typical eater would find weird. Representing the average consumer, Margot is not familiar with this rich lifestyle of ?culinary prestige? and speaks for the average viewer. To her, this food isn?t really food. One of the dishes is completely foam, and one dish is ?breadless bread.? However, the critics eat this up as innovative and begin to use long, complicated words to make their review sound more sophisticated.

The Menu was an incredibly dark comedy, horror(ish) film with great insight into the perspective of a chef and career and gave light to what the career of one starting from the bottom to what is considered the highest echelon of food service. Despite being the antagonist, Julien really is the star of the film. As the embodiment of all passionate chefs who want nothing more than to serve good food. The life that he?s built up to achieve the money and prestige is incredible to all around him, but the levels that he’s dedicated to achieve has made his life horrid. (Even his own chefs under him admit they would rather die than become him.) In the end of the day, what all passionate chefs want is to be able to satisfy their customers. His days flipping burgers were the days that he was at his happiest. Food industry workers have it rough, and the sacrifices they make to achieve their dreams is torture. Feeding strangers who are looking for a good meal, the majority of their lives is out of their control. Critics shut restaurants down, investors hang their over your head and, once you become a ?high-end? chef, the majority of your customers become only rich snobs (since they?re the only clientele that can afford it). In this way, The Menu becomes a euphoric experience for chefs that have lost control in their lives and want seize it back from their customers.

In this world, one can’t help but want to ?eat the rich.?

The Menu is now available in theatres.

SF Radio 8.08 Toxic Nostalgia in LAST NIGHT IN SOHO

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Edgar Wright has always been willing to push the boundaries of his storytelling. With LAST NIGHT IN SOHO though, the famed director has created something truly amazing by fusing the psychedelic style of the 60s with murder mystery horror. This week, Victor Stiff (VictorStiff.com, Dope Black Movies) and Catherine Erskine join Steve to talk about SOHO’s complex messages and the toxic nature of nostalgia.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Rad 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.

8.08 Last Night in SohoDownload

Last Night in Soho: Only Murder in the Building

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The scariest thing about the present is that it may not be that different from the past.

Last Night in Soho tells the story of Eloise (Thomasin McKenzie), a young woman who moves from the English countryside to study fashion in London. Struggling to adjust to life in the big city, Eloise feels ostracized by the school elite and its hierarchy of cliques so she decides to rent a flat in Soho. Here, her life is changed forever when she becomes psychologically linked with Sandy (Anya Taylor-Joy), a vibrant and energetic singer who lives in 1966. Passionate about the era?s music and flair, the 60s have always inspired Eloise and the experience invigorates her work in the present. However, as Sandy?s dreamy lifestyle is revealed to be a nightmare, the present and past collide into a vivid swirl of horror. 

Directed by Edgar Wright, Last Night in Soho is both visual treat and terrifying trauma at the same time. In Soho, he has created a story that is entirely unique and speaks to the power of the ghosts that haunts us. Visually and sonically, Soho is an absolute delight. Edgar Wright has always had a way of creating pop fizz with style and substance and this is no exception. Though the past is viewed at first with a lens of affection, Wright never allows the viewer to get too comfortable there. An ode to psychedelic filmmaking of a bygone era, Wright strips the style down into its horror elements as reality and the dream world blur together and unravel. Whereas the 60s are first shown with bright colours that carry a certain swing and panache, Wright gradually allows those shades to gradually bleed out into oversaturated madness.

One of the staples of 60s nostalgia is the sound track and here he has created something truly special. Similar to his previous effort in Baby Driver, music sets the tone for the film and even becomes a character within it. However, rather than simply offer the more well-known version of the era?s pop hits, Wright instead substitutes lesser known versions such as Sandie Shaw?s ?(There?s) Always Something There To Remind Me? or Jamie Ray?s ?Got My Mind Set On You?. In doing so, Wright builds a bridge between eras by offering you what you think you knew but then spinning it into the unfamiliar.

For Wright, carrying nostalgia for the past becomes both enthralling and disturbing. For instance, Eloise is a young woman who is never truly comfortable in the big city of the modern era. In short, she simply doesn?t fit. Yet, when she steps into the 60s, the experience invigorates her. Stepping into the life of Sandy, Eloise feels confident, beautiful and powerful. Increasingly, Eloise becomes a woman who yearns for the simplicity and style that the 60s represent to her. Burdened by the pain in the present, she is invigorated by the pop styles from the past. 

However, the true horror of Soho is that all of the joys and fun that she imagined that era to exemplify are stripped away when she discovers the seedy underbelly that lies beneath. Suddenly, the 1960s are no longer her safe haven but a place of terror and pain, especially for women. This is an era of toxic masculinity at its worst, especially for aspiring young women who want to leave their mark. (Incidentally, Matt Smith excels in this type of role where he?s allowed to exhibit his charm with an edge of vicious madness underneath.) Muted by the endless parade of men in her life, the struggles of young Sandy have been silenced for over 50 years and Eloise is determined to let her speak.

As such, Last Night in Soho is very much a film that wants to elevate the stories of women of the past, especially those who have experienced trauma in a male dominated society. Co-written by Kristy Wilson-Cairns, Soho seeks justice for those who had their voices stolen from them at the hands of others. (However, without spoilers, it is also worth noting that the film?s finale almost calls this clarity of direction into question.) As Eloise ventures more deeply into the story of Sandy, her heart breaks for the sparkling young vision of a woman who lost her innocence. For Eloise, uncovering the story of Sandy becomes a mission of mercy. Although no one knows who she is today, her story still matters. 

No matter how much time has passed, Sandy still matters.

As a result, Last Night in Soho manages to both celebrate and confront an era which holds a unique place in pop culture history. Known as the era of the Beatles, Woodstock and social change, the 1960s carry an energy that charms youth to this day. However, if we are truly honest, revisiting that time also reveals a darker side to history. Despite the romantic charm of the era, Soho serves as a reminder of the poison that bubbled underneath the pop nostalgia and that that same toxicity still exists to this day.

Last Night in Soho is be available in theatres on Friday, October 29nd, 2021.