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Cate Blanchett

SF Radio 8.13 Distracted from Devastation in DON’T LOOK UP

January 28, 2022 by Steve Norton Leave a Comment

It’s the end of the world as we know it… and we feel fine. After all, who needs to worry about global destruction when we’ve got celebrity culture, political division and other things to distract us. This is the premise of Adam McKay’s DON’T LOOK UP which introduces us to two scientists (Leonardo DiCaprio and Jennifer Lawrence) who discover that a massive comet is about to plummet towards the Earth… but no one seems to care. This week, the Dream Team of Jolie Featherstone (@TOFilmFiles) and ScreenFish’r Julie Levac reassembles to talk about the things that distract us, misunderstood evil and what we’d do on our last night on Earth.

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

8.13-Dont-Look-Up

Filed Under: Featured, Film, Podcast Tagged With: Cate Blanchett, Don't Look Up, Jennifer Lawrence, Jonah Hill, Leonardo DiCaprio, Netflix, Tyler Perry

The House With a Clock in Its Walls: The Magic of Healing

December 18, 2018 by Steve Norton Leave a Comment

Ten-year-old Lewis (Owen Vaccaro) goes to live with his oddball uncle in a creaky old house that contains a mysterious `tick tock’ noise. He soon learns that Uncle Jonathan (Jack Black) and his feisty neighbour, Mrs Zimmerman (Cate Blanchett), are formidable magicians. When Lewis accidentally resurrects a deceased enemy, the town’s sleepy facade suddenly springs to life, revealing a secret and dangerous world of witches, warlocks and dark magic.

Designed to emulate the Amblin films of the 80s and early 90s, House balances a tone of youthful playfulness with outright terror throughout. Billed as a vehicle for Jack Black, the true star of the film is Cate Blanchett who sparkles in every scene she is given. Diving into the character of Mrs. Zimmerman, Blanchett is clearly enjoying herself as the quirky and feisty neighbour and her enthusiasm is palpable. Though the film never quite lives up to the standard of the Amblin legacy, director Eli Roth does manage to create a world of wonder, even if he clearly revels in the moments where the horrifying comes to the forefront. (In fact, Roth makes one scene where the cast are surrounded by dolls to be particularly memorable.)

Magic is just a passing fez: Lewis (Owen Vaccaro), Uncle Jonathan (Jack Black) and Mrs. Zimmerman (Cate Blanchett) in The House with a Clock in its Walls.

Thematically, the film speaks into one’s journey of grief and their willingness to let go of the past. Dealing with the death of his parents, Lewis is left shaken. Though he has moved into his uncle’s home, he feels displaced and abandoned. As he discovers the world of magic, his world begins to see colour once again—yet he still remains tied to the death of his mother and father. Echoing the journey of the film’s villain, Lewis is constantly reminded of what he has lost. For him, there is a cost to moving forward and he fears fully embracing his new life. In these moments, the film expresses the damage done when our world is shaken by tragedy. Is it ever truly safe to move on? Does embracing life mean forgetting or owning our past? By asking these questions, the film recognizes that holding onto our past, whether filled with joy or pain, causes us to remain stagnant in our growth and ability to love others. In other words, House understands that healing begins when we release the things that hold us back emotionally and spiritually.

While Roth seems to struggle with the more childlike aspects of the story, The House with a Clock in its Walls is an enjoyable film for older children. (The film’s scarier moments may be too much for younger viewers.) Performances by Black and especially Blanchett create an atmosphere of magical beauty where anything is possible, even if the film’s script remains uneven in places. In the end, House reminds us that, in order to heal one’s heart, they must be willing to let go of the past and embrace life at its fullest.

The House with a Clock in its Walls is available now on Blu-ray, DVD and digital download.

Filed Under: DVD, Film, Reviews, VOD Tagged With: Cate Blanchett, Jack Black, The House With a Clock in its Walls

GIVEAWAY! THE HOUSE WITH A CLOCK IN ITS WALLS in 4K!

December 14, 2018 by Steve Norton 2 Comments

Ten-year-old Lewis goes to live with his oddball uncle in a creaky old house that contains a mysterious `tick tock’ noise. He soon learns that Uncle Jonathan and his feisty neighbour, Mrs Zimmerman, are powerful practitioners of the magic arts. When Lewis accidentally awakens the dead, the town’s sleepy facade suddenly springs to life, revealing a secret and dangerous world of witches, warlocks and deadly curses. 

The winner will receive a copy of the The House With A Clock In Its Walls 4K Ultra HD/Blu-ray Combo Edition and a commemorative book.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: What is your favourite Jack Black film? Why?

For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Monday, December 17th, 2018.

 

A House With A Clock In Its Walls will be released on Blu-Ray on Tuesday, December 18th, 2018

Magic is just a passing fez: Lewis (Owen Vaccaro), Uncle Jonathan (Jack Black) and Mrs. Zimmerman (Cate Blanchett) in The House with a Clock in its Walls.

Filed Under: Giveaways Tagged With: Cate Blanchett, Jack Black, magic, The House With a Clock in its Walls

Ocean’s 8: Win or Washout for Women?

June 20, 2018 by Mark Sommer 1 Comment

In my review of Ocean’s Thirteen, I opined, “The role of women in the Ocean’s movies is, at best, problematic.” I wondered if Ocean’s 8 would “redeem the legacy from its sexist past.” After watching, I’m not sure I know the answer to that.

Unlike the recent remake of Ghostbusters, the all-female-star-cast movie which 8 will always be compared to, this new Ocean’s movie opened June 8 with generally positive reviews and a Want-to-See rating of 80% on Rottentomatoes.com. I have yet to see the 2016 version of Ghostbusters, so I cannot give an opinion on which is better. I am glad we are not seeing the vitriol on the internet the way we did back then.

In the short time the move has been out, ratings are beginning to slip slightly, and the box office numbers seem to be tumbling. There is stiff competition this summer, and none of the heavy hitters are growing legs. It does not help that the audience score has stayed around 50%, about the same as the current score for Ghostbusters 2016.

Even if it’s true Ocean’s 8 is a mediocre movie, is it still a positive milestone for women?  Put another way, is Ocean’s 8 a few small steps in high heels for a small group of women, and a giant leap for womankind? That all depends on who you ask.

Just before the heist, Debbie Ocean (Sandra Bullock) is standing in front of a mirror, either practicing a pep talk for her cohorts, or trying to give one to herself. She rambles on about how prison isn’t so bad, and then gives what is probably the most memorable line in the movie: “Somewhere out there is an eight-year-old girl lying in bed, dreaming of being a criminal. Let’s do this for her.”

Both times I watched the film, the audience (including me) broke out laughing. Is this really the type of thing we want to encourage for young women? Then again, by thinking such a thing, are we accusing Ocean’s 8 while excusing the “boyish pranks” of its predecessors? Pause and think about that a moment.

Anne Hathaway, who plays celebrity Daphne Kluger, must have had the “eight-year-old girl” quote in mind when she responded at a New York Press Conference:

To an 8-year-old girl maybe we’re not saying go have a life a crime, but to go do what you want and there’s space for you. There’s space for you to go do it with your friends, there’s room for all of you. I think that films that have an “everybody in” mentality and message for people who have historically been excluded is a good message for people.

In the same press conference, Bullock added her view that the movie stresses friendships between women.

Also just women taking care of each other. Women being good to each other. Women stepping back and letting the more gifted step forward in the heist and recognizing talent and saying go out and shine, I got your back. I think to me the most important thing was to show I didn’t care about the heist as much as I cared about how they treated each other and how they lifted each other up.

Certainly this is a positive message that can be taken from the movie, but not all critics see it this way. In Britain’s The Spectator, Deborah Ross’ snarky headline makes her opinion obvious: “Women can now make dull formulaic franchise films too! Hurrah!”

Ross simply despises the movie, asserting it has nothing original: “The film is a straight-up-and-down remake, where the gender swap may, in fact, be the best idea, possibly because it’s the only idea… It does not subvert the heist-caper genre in any way but instead follows the formula slavishly.”

While I would agree Ocean’s 8 is not the most brilliant movie ever, I certainly would not go so far as to say it was merely a gender-swap remake with no ideas. One of the best ideas, I thought, was that they made this caper much less complicated than those in the Steven Soderbergh trilogy. There is a reason this is Ocean’s 8 instead of Ocean’s 14. (Debbie’s scratchpad, with the 14 steps of her plan, is a clever bit of trivia in itself.) It doesn’t take 20 women to pull this off, as Lou (Debbie’s partner in crime, played by Cate Blanchett) was thinking it would. They only need 7. Half as many as it would have taken for the men to make Ocean’s 14. (I won’t give away where #8 comes in. You should be able to figure that out pretty quickly.)

At least one reviewer thought the heist was too easy. In a piece for Vanity Fair, Richard Lawson indicated he likes the movie, but that it made things too simple, “paring down the mechanics of its heist and fixing problems quickly and easily.” Some, like 361’s Joe Fiar, added they felt the movie lacked a sense of danger needed in a heist film.

However, in William Bibbiani’s piece for IGN, he argues all the “Ocean’s movies aren’t so much about the heists as they are about making the impossible look easy.” Bibbiani argues that while the Steven Soderbergh films were merely “light escapism,” Gary Ross uses the same easy confidence to transform his movie “into something inspirational.”

Taking the franchise away from the original proprietors who treated it like a lark, and giving it, instead, to female actors who don’t typically get these types of roles has undeniable significance that the characters themselves acknowledge.

Perhaps the fact this movie is so significant to us – whether in a positive or negative way – is an indication we still have far to go in how women are seen in our society. You can’t just say this was a good movie, or a bad movie, without bringing up its significance for women’s causes. Maybe it’s important to do so.

Hopefully someday it won’t be.

Filed Under: Editorial, Film, Reviews Tagged With: Anne Hathaway, Cate Blanchett, Ocean's 8, Oceans, Sandra Bullock

4.05 Tackling THOR: RAGNAROK

November 12, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/11/4.06-Thor-Ragnarok.mp3

This week, while Steve is away, the Levac’s will play! ScreenFish’r Julie Levac and her husband, Paul step into the arena to battle over Marvel’s latest entry, THOR: RAGNAROK! With the end of the world fast approaching, the God of Thunder turns to… comedy? While it’s getting great reviews across the board, this is certainly a different feel for the Thor franchise… but is there more behind the laughs?

A special thanks to Julie and Paul for taking the reigns!

Filed Under: Film, Podcast Tagged With: Cate Blanchett, Chris Hemsworth, Thor, Thor: Ragnarok, Tom Hiddleston

tiff16: VOYAGE OF TIME: LIFE’S JOURNEY

September 18, 2016 by Steve Norton Leave a Comment

voyage-of-time

Terrence Malick is an acquired taste.

The mysterious director has built a prolific career, to be sure, but his style of filmmaking can be polarizing, with it’s emphasis on visual narratives and fractured style.  Some have written him off as self-indulgent while others have looked upon him as a prophetic and profound.

Personally, I fall somewhere in the middle.  While some of his films have left me awestruck (TREE OF LIFE), I have found others to be less focused and, ultimately, missed opportunities (TO THE WONDER).

Thankfully, VOYAGE OF TIME: LIFE’S JOURNEY lands in the former category.

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There is little to tell in terms of a ‘story’, per se.  But that’s not really how Malick works anyways.  Essentially chronicling the creation of the Earth, VOYAGE OF TIME wants you to experience its narrative, rather than explain it.  By revealing the evolution of the planet with blistering colour and elegant music, Malick wants us to witness the terrifying beauty of nature in all its glory.  A burst of colour explodes into the darkened sky.  Volcanoes erupt to form land.  Lightning strikes the earth and life begins in the seas.  Through this style of storytelling, the result is both violent and graceful as we bear witness to Malick’s depiction of the evolutionary process.

voyage-of-time-trailer

Narrated by Cate Blanchett*, Malick also poses some fascinating spiritual questions by asking “Where did I come from?” and even, “Do you love me?”  While there will be some who object to the fact that Malick takes an evolutionary approach in his film, they would be missing out on his larger argument that all creation has purpose.  By the end of the film, as Blanchett claims that “we are bound with You in love”, Malick has deftly demonstrated that the beauty and violence associated with nature is in fact evidence of a Divine interaction with humanity.  Yes, we are broken but there is something larger going on around us.  In this way, Malick plays the role of psalmist, speaking truth and life into visual wonder.

Without question, there will be many who dismiss this film for its very slow pacing and accuse it of over-indulgence.

Still, I found this to be one VOYAGE that was worth the trip.

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*(A shorter version of the film, entitled VOYAGE OF TIME: THE IMAX EXPERIENCE will be released exclusively in IMAX with Brad Pitt’s narration instead.)

 

Filed Under: Film, Reviews, TIFF Tagged With: Brad Pitt, Cate Blanchett, documentary, evolution, Faith, nature, scienc, Terrance Malick, Voyage of Time

Knight of Cups: Finding the Pearl

March 4, 2016 by Darrel Manson Leave a Comment

“The Pilgrim’s Progress from This World to That Which Is to Come; Delivered under the Similitude of a Dream”

Those words open Terrence Malick’s Knight of Cups. They are the full title of John Bunyan’s seventeenth century allegory of Christian life. The film itself is not really allegory, but it does take the form of a journey in search of . . . .

First, it must be noted that Malick’s films, especially his last few, have a very esoteric quality. They are visually stunning, but many may find them difficult to understand because they are so different from most other films. This comes from being highly visual and often dreamlike films that care more about evoking emotional response than they care about storytelling per se. That is not to say that there is no plot to his films. However for Knight of Cups the story itself is of minor importance. The story actually exists as implied plots—we see bits of stories play out, but we may not be sure just what story we are seeing. Even within those stories, some of the dialogue really isn’t meant for us. It may be covered up by voice over that may seem like a distraction, but in fact brings new understanding to the experience Malick is creating.

KoC_14913_R_CROP

The film focuses on Rick (Christian Bale), a screenwriter working in Hollywood. It feels to him that he is “living a life of someone I didn’t ever know.” Throughout the film he wanders through the affluent lifestyle and we see encounters with a variety of people. The supporting cast includes Cate Blanchett, Natalie Portman, Brian Dennehy, Isabel Lucas, Imogen Poots, Freida Pinto, Wes Bentley, Antonio Banderas, and Cherry Jones. In press notes I’ve read who all these characters are, but the film never explicitly identifies them. Rather we just get these glimpses into Rick’s past and current life.

Early in the film we hear the tale of a prince sent to search for a valuable pearl. But when he gets to the city, he is given a drink that makes him forget who he is and what he is to do. That tale becomes the metaphor of Rick’s life—and perhaps of modern life in general. The opulence of Los Angeles and Las Vegas is not portrayed as empty, but neither is it fulfilling in itself. That life style is just where Rick has found himself, but is there something more to life than what he has found? The various encounters he has along the way are all bits that may show him a way forward–“from darkness to life”—from forgetfulness to remembering who he is and why he is here.

KoC_03840_R

Rick’s wandering is essentially a spiritual search. He is directionless, without an idea where he is going. In that sense, he is lost, although he doesn’t seem to recognize that. This is a journey that includes pain and joy, hope and despair, dreamlike beauty and harsh realities. Malick peripherally brings in various spiritual traditions (Christian, Jewish, Buddhist, Hindu) as a part of this “pilgrim’s progress.” All the experiences, the people, the concepts Rick encounters all serve as reference points for this existential journey. Rick’s journey is really a metaphor for our own lives. Perhaps we don’t have quite as many decadent trappings, but we do live in a world of wealth. And, like Rick (and the prince searching for the pearl), we also may be lost—having forgotten what the meaning of our sojourn here is really about.

As is often the case with Malick’s films, Knight of Cups is an immersive experience. It is best approached not with logic or by seeking symbols to interpret (at least not at first viewing). Rather viewers need to let go of the more cerebral parts of ourselves and just let the film surround us and overwhelm us. I believe those who are able to see the film in this way may find great meaning, but perhaps not meaning that can be put into words. It is the kind of meaning that may dwell deep within us and allow us to discover that we are all on the same kind of pilgrimage that Rick experiences.

Filed Under: Film, Reviews Tagged With: Antonio Banderas, Brian Dennehy, Cate Blanchett, Cherry Jones. esoteric, Christian Bale, Frieda Pinto, Imogen Poots, Isabel Lucas, Natalie Portman, Pilgrim's Progress, Terrence Malick

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