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Channing Tatum

The Lost City: Throwback Rom-Com Travels Well with its Charm

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A trip to The Lost City may not be a great adventure, but it is definitely a fun one.

The Lost City tells the story of Loretta Sage (Sandra Bullock), a brilliant novelist who chooses to live much of her life out of the public eye. Setting her adventures in exotic locations, her romance novels are as famous for her handsome cover model Alan (Channing Tatum) as they are for their tawdry tales. When Alan and Loretta engage on a promotional book tour together, Loretta is suddenly kidnapped by young billionaire Abigail Fairfax (Daniel Radcliffe) who forces her to embark on a journey to discover the same ancient city as was mentioned in her latest book. Desperate to prove to Loretta that he is every bit as dashing as her main character, Alan ventures off into the jungle in a daring rescue to bring her home.

Directed by Adam and Aaron Nee, The Lost City is a throwback film to the many of the great romantic adventures of the 1980s. While City may not be the best example of the genre but, frankly, the film works well enough for an enjoyable date night. Part Romancing the Stone, part Indiana Jones and more, City features some fun action set pieces but ultimately anchors itself in the realm of rom-com. (In fact, more than one scene feels heavily influenced by Indiana Jones and the Last Crusade.) 

In a lot of ways, it’s a refreshing revival. 

After all, the adult-skewing romantic comedy has been somewhat of a dying breed in recent years. However, with City and JLo’s recent Marry Me, it’s possible that there’s a slight resurgence of the genre on the horizon. Banking on the charm of its stars, the film is a light-hearted affair that focuses more on the relationship than any particularly urgent ‘stakes’. Thankfully, Tatum and Bullock have some enjoyable chemistry onscreen, especially when they banter. (The argument over motorcycles on a cliffside is especially fun.) Even so, the real stars of the film are Pitt and Radcliffe, who seem to be having the most fun onscreen. 

With grizzled physique and smoldering eyes, Pitt’s Jack Trainer is the epitome of masculine stereotypes but the veteran plays the character with an ironic wink. At the same time, Radcliffe is having an absolute blast as the film’s over-the-top villain, Abigail Fairfax. Throughout his career, Radcliffe has always had a certain boyishness about him that somehow makes him less threatening even in his most villainous moments. While there will be those that feel that this makes his character less intimidating, the truth is that he fits the tone and style of the film so well that one can’t resist watching him indulge himself in the role.

In this way, City seems interested in addressing gender stereotypes but isn’t always entirely sure how it wants to do so. While her character is the most intelligent of the group, Loretta remains the ‘damsel in distress’ for much of the film. At the same time, Alan is held up as a masculine sex symbol who wants to be the one who does the rescuing. By the end, however, these tropes have begun to reverse. Loretta has gained far more confidence in her own abilities and strength while Alan becomes less concerned about ‘being a man’ and more about sensitivity, humility and openness. (At one point, he even questions whether or not he’s really the ‘damsel in distress’.) 

Even so, the heart of the film is the notion that fear can hold us back from writing the next chapter in our story. Paralyzed by grief, Loretta has closed off both her life and soul from experiencing love and hope. Although she writes grand adventures, her life is quite the opposite. Content to sit in the bathtub with a glass of ‘Chardonnay on ice’, she’s disconnected from her heart and fears moving forward into the next leg of her life journey.

At the same time, Alan yearns to live in a story that isn’t his. Wanting desperately to be the hero that Loretta has been writing about, he tries to live up to standards of masculine strength that have been set before him by films and literature. As the two venture into the jungle together, they must grapple with the tension between reality and fiction and hope to find something new on the other side. 

Fueled by a pervasive silliness and some charming characters, Lost City remains an enjoyable night of popcorn-munching. As such, while it may not be the best example of the genre, all is not Lost if you choose to visit this City.

The Lost City is available in theatres on Friday, March 25th, 2022.

GIVEAWAY: Advance Screening of THE LOST CITY!

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Channing Tatum, Sandra Bullock and Brad Pitt are heading (onscreen) to The Lost City… and we want you to join them!

Thanks to our friends at TARO PR, we are giving away 3 double passes for an advance screening of The Lost City in Vancouver, Calgary, Toronto or Montreal on Monday, March 21st, 2022 at 7:00pm. Winners* will have the opportunity to join us for a free drink, photo opportunity and prize giveaway before the screening:

DATE
Monday, March 21st

TIME
Doors open: 5:30 PM
Screening starts: 7:00 PM 

LOCATION

Toronto – March 21st, 2022 – Scotiabank Theatre – 7:00PM
Montreal (English) – March 21st, 2022 – Scotiabank Theatre
Montreal (French) – March 21st, 2022 – StarCite Cineplex – 7:00PM
Vancouver – March 21st, 2022 – Scotiabank Theatre
Calgary – March 21st, 2022 – Scotiabank Theatre Chinook – 7:00PM

The Lost City tells the story of reclusive author Loretta Sage (Bullock) writes about exotic places in her popular adventure novels that feature a handsome cover model named Alan (Tatum). While on tour promoting her new book with Alan, Loretta gets kidnapped by an eccentric billionaire who hopes she can lead him to an ancient city’s lost treasure from her latest story. Determined to prove he can be a hero in real life and not just on the pages of her books, Alan sets off to rescue her.

In order to enter, simply tell us your city, like/share this post on Facebook and/or Twitter and tell us your favourite Channing Tatum or Sandra Bullock movie!

Winners will receive a double pass to the pre-screening of The Lost City on Monday, March 21st, 2022.

All entries must be received by 11:59pm on Saturday, March 19th, 2022.

*Snacks, photo ops and prizes may not apply to winners in Calgary, Vancouver, or Montreal

Smallfoot: Truth Can Be Costly

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As a child, I remember reading about the legends of Bigfoot and the Abominable Snowman, also known as the Yeti.  What in the world were these huge hairy creatures, and why were people unable to capture anything other than shadowy pictures of them?Were they simply afraid of people? Did they have something sinister to hide? Or were they allergic to anything relating to humanity?

Past films have done one of three things involving Bigfoot and/or Yetis: (1) identified them as gruesome monsters nobody wants to mess with, (2) portrayed them as creatures worth exploring the woods and mountains for, or (3) simply casting them as misunderstood beings.  Fairly recent examples of this last phenomenon include Harry and the Hendersons and Monsters, Inc.. We can now add to that Smallfoot, a animated feature from Warner Brothers.  Based on a book called Yeti Tracks by Sergio Pablo, Smallfoot offers viewers a story about discovering the truth that’s wrapped in layers of colorful, pastel-tinted computer graphics. There are definitely some things kids (and adults alike) will take away from the film, but I feel like it cobbled too much from past movies, limiting its effectiveness.

In a nutshell, Smallfoot is about a land of Yetis who seem to have the perfect life living on their mountain perch.  Nobody visits their ‘world’ and they don’t visit anyone—mainly because the world ends in a cloudbank of unknown depth (paralleling Storks). Nobody is convicted to go beyond what they already know as safe (paralleling The Giver).  A tight set of rules, drawn on stones in pictorial form and worn by the Stonekeeper (voiced by the rapper Common), governs the Yetis in an attempt to keep them safe and insulated (again, paralleling The Giver).  Questioning is severely frowned upon (paralleling 1984).  When Migo (voiced by Channing Tatum) spots a Smallfoot—err, human, he’s immediately fascinated.  Maybe the stones were incorrect!  But the human suddenly parachutes below the bank of clouds, leaving Migo (and later, a few additional Yeti) curious at what lies below.  When he discovers humans aren’t as bad as one might think, Migo brings his discovery to the attention of the people and the Stonekeeper. At this point, the film spirals into the realm of why humans and Yetis cannot co-exist before a betrayal-redemption sequence (including a chase through the Pac-Man inspired town where the humans live) occurs. In addition, a number of peppy songs contribute to making the film lighthearted, even when the subject matter becomes more serious in nature.

The quality of the animation is quite good, though it’s in more in the vein of Cloudy with a Chance of Meatballs versus anything Pixar-related. As for the characters, Migo is somewhat memorable for a lead, as he discovers himself and what he truly believes in while filling in the blanks about questions he’s always had. The Stonekeeper has a unique outfit along with truths to tell—and hide (although it’s pretty jarring to hear a rapper’s voice leading the group at first). The group that seems to understand Migo are completely serviceable—except for Fleem (Ely Henry), who attempts comic relief but completely falls flat. Percy (James Corden) is a Steve Irwin wannabe who wants to get rich but finds something more when he looks beyond his dreams, plans, and numerous selfies.

There are a number of themes kids and adults alike will be able to take from a viewing of Smallfoot, especially in the area of telling the truth. Migo sees the Smallfoot (i.e., Percy) and, when he tells the community, he is banished because it goes against the stones and causes the other Yetis to start questioning. At this point, he could’ve simply accepted the ruling of the Stonekeeper and moved on, but he held fast to what he believed, found Percy, and proved they exist.  Later, he suppresses this truth in the name of keeping the Yetis safe.  However, Migo learns that telling the truth can be costly. In a similar vein, we can consider the apostles who were commissioned by Jesus in Matthew 28 to tell the world about him.  They knew what the truth was, but not everyone wanted to hear and/or believe it.  As a result, persecution followed (and, in some cases, death).  We need to understand that it’s always better to tell the truth about what we believe rather than give in and confuse and/or deny our beliefs.

Kids are going to find Smallfoot to be an entertaining, joyous romp peppered with lessons they’ll be talking about on the way home from the theater. Adults may also find this to be the case.

Smallfoot is in theatres now.

For audio of our interview with Smallfoot writer/director Karey Kirkpatrick, click here.

The special features on the Blu-ray include the Yeti Set Go Sing-Along, the “Super Soozie” Mini Movie featuring Soozie, the featurette on “The Secret of the Yeti Stones,” “Yeti or Not, Here They Come!”, and the music videos for Nial Horran’s “Finally Free,” Cyn’s “Moment of Truth,” and “Wonderful Life.”  

Hail Caesar!: Hello, Hollywood

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We are all looking for something until we find it. With their typical humor and wit, the Coen Brothers have delivered a film about the quest for that thing (whatever it may be) for a cast of characters ripped out of 1951 Hollywood, with its Communists, Cold War, and economics. And, as can’t be ignored, it sports a long line of A-list and B-list actors to poke fun at itself all while romping around California.

Michael Gambon narrates, but Josh Brolin’s fixer Eddie Mannix is the story’s glue. He’s supposed to solve studio problems when stars get into trouble, whether it’s taking inappropriate pictures in studio costume, drinking too much and skipping shots, or, in the case of Baird Whitlock, getting kidnapped by Communists. But while Mannix is our viewpoint, he’s not really in control, because, well, no one is.

hailcaesar4Hobbie Doyle (Aiden Ehrenreich, who is about to be Han Solo the younger) is a singing cowboy who wants to be taken seriously. Laurence Laurentz (Ralph Fiennes) is a big time director who can’t get the actors he wants, but settles for training those he has. DeeAnna Moran (Scarlett Johansson) is the bombshell who is pregnant but who can’t give up the baby and won’t get married at Mannix’s assistance. Burt Gurney (Channing Tatum) is… more than meets the eye.

It’s all a bit much. But the Coen Brothers delivered Raising Arizona, Fargo, The Big Lebowski, O Brother, Where Art Thou?, and Burn After Reading, so it’s not just the over-the-top violence they know how to wrangle. This is period-piece work, and clever, but it’s the kind of funny that doesn’t generate many laugh out loud moments, just shakes of the head. (One of the many ironies is seeing the way that Hollywood is being critiqued by some of its biggest stars who play its biggest games…)

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In one early scene, Mannix tries to run the script of a film by a rabbi, a Protestant minister, and a Catholic priest. He wants to know if the portrayal of Jesus is offensive, but the men are more inclined to tell him that they think the chariot chase is ridiculous. Mannix wants to know that the film will not be offensive to “any American regardless of creed,” which in itself is ironic and ridiculous: Jesus was and still is offensive to people because of what he taught, but to Hollywood, there’s an expectation that Jesus can be watered down until everyone who accept that version of Jesus. Unfortunately, many churches do that, too, right?

Special features on the Blu-ray include a look at the Coens’ intentions in “Directing Hollywood,” the cast’s response in “The Stars Align,” and the setup to the glamour and glitz in “An Era of Glamour” and “Magic of a Bygone Era,” with cast, crew, costumes, and set.

An Ant-Man Preview, Or “How Marvel Really Owns Everything”

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Marvel's Ant-Man..Scott Lang/Ant-Man (Paul Rudd)..Photo Credit: Zade Rosenthal..? Marvel 2014
Marvel’s Ant-Man..Scott Lang/Ant-Man (Paul Rudd)..Photo Credit: Zade Rosenthal..? Marvel 2014

This weekend, Ant-Man hits theaters, setting a new high for the impressive power of Marvel’s ability to take even the smallest (no pun intended), least well known, and mostly inconsequential superhero title and make it into a blockbuster.

Yes, I said it, Paul Rudd will probably be the latest face of Marvel’s greatness as the proverbial Ant-Man. (For the record, the actual film contains two, er, Ant-men. Michael Douglas plays Hank Pym, and Rudd plays Scott Lang, both technically bearers of the Ant-Man name in the Marvel universe.) At this point, it doesn’t seem to matter that the Marvel universe has more famous members who haven’t been fleshed out fully yet; Marvel can throw anyone out there and it sticks.

A second Fantastic Four film update?

The launch of a Guardians of the Galaxy series with a former fatboy as the leading man?

Why not make a film about a superhero whose greatest power is shrinking to the side of an ant? (Don’t get me started on the fact that in some incarnations, Ant-Man can grow to the size of Giant-Man. Seriously, the Avengers wiki says, “When he shrinks and uses his insect-controlling helmet, he is called Ant-Man. When he grows, he is called Giant-Man. And when he shrinks and grows, he’s Yellowjacket.” Um, yeah.)

Is there anything Marvel can’t do?

One has to wonder if there’s anything we can expect Marvel not to make a movie about in their repertoire. It’ll probably end up developed into a Netflix show if it doesn’t make the cut, but even there, Marvel is cleaning house. Daredevil rocked and there’s more coming.

But what would happen if we actually saw the biggest bully on the block (Marvel/Disney, that is) get serious about its characters and their backstory?

ironmanCould we actually see real-life rehabilitated alcoholic Robert Downey Jr. wrestle with Tony Stark’s alcoholism?

Would there be a world where we could deal with the spousal abuse between Ant-Man and The Wasp?

Would Gambit (Channing Tatum, for those who haven’t heard…) deal with the racism and socialism that he wrestles with as a New Orleans native and a mutant?

Seriously, I’d like to see them get a little bit deeper. But I might have to settle for the soul-searching ways of Netflix’s Daredevil (a Catholic with guilt issues) and the tortured relationship of FOX’s Magneto and Xavier. Marvel just doesn’t have to try too hard to please us.

As co-editor of ScreenFish, Steve Norton, says, “Marvel could sell a movie about a purple gum drop and still make $65M opening weekend.”

Now, there’s an idea.

Jupiter Ascending: Open Up Your Eyes

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jupiterascendingJupiter Ascending is either as awesome–or as terrible–as you’ve heard. It’s not the kind of movie that can be seen as middle-of-the-road, given its Wachowski Brothers spin that sees The Matrix mashed up with Star Wars in a way that only the guys behind The Matrix Trilogy, V For Vendetta, and Speed Racer could create. It’s over-the-top, CGI, and galactic, with a cynical female lead (Mila Kunis) who draws the powers of the universe into an epic collision while spouting lines (“I love dogs”) in the most ridiculous settings. Love it or hate it, you’re all in either way.

Jupiter (Kunis) grows up with a deep-rooted desire to see the stars. What she doesn’t know is that she’s part of a semi-eternal clan of aliens who rule the galaxy, of which Earth is just a small part. (I told you, it’s galactic.) Jupiter cleans toilets, deals with her extremely lame family (one of them suggests she have her eggs harvested to help him get a bigger TV), and wishes she was anywhere else.  However, all hell breaks loose on Earth when one of her alien siblings discovers she exists and wants to kill her to get her inheritance.

Thankfully, Jupiter isn’t alone: she’s got Channing Tatum, er, Caine Wise, part-dog, part-human soldier on her side. And Stringer (Sean Bean) jumps in out of loyalty, too. So, it’s Jupiter, Caine, and Stringer against the galactic forces of the Empire, er, House of Abrasax, headed up by Eddie Redmayne’s Balem. [Ironically, Balaam is the name of the prophet in Numbers 22:1-39 whose donkey speaks to him. Does that have anything to do with the film? Probably not, but with this melting pot of a flick, it’s always possible. Seriously, Redmayne’s character is an ass.]

jupiterascending2Balem thinks that Earth should be his, mostly because his an insufferable bad guy who drips evil and refuses grace to his reptilian sidekicks. It’s all uphill battle for the final fight between Balem and Jupiter, but we know that nearly from the moment it’s all laid out by the beginning. The film itself doesn’t care how direct or obvious it is: it’s busy taking shots at immigration, diplomacy, the DMV, and how much it stinks to be a house cleaning maid. There’s plenty of sociological exploration of entitlement and classicism, too, that reads like a much more on-the-nose examination than Neil Blomkamp’s District 9. The Abrasax definitely think they’re due, and everyone else owes them. Because Jupiter didn’t believe in all of this from the get go, she’s more of a commoner-turned-queen (think Pierce Brown’s Red Rising trilogy).

Overall, I found Jupiter Ascending to be entertaining in a campy sort of way. It’s derivative but it knows it. And it plays Kunis and Tatum off of each other, quite well. It wants us to be entertained, but it also asks us how much we accept about the world because someone else says so. What do you believe? Who tells you what your reality is? How do you determine what’s right and what’s wrong? From a pastor’s perspective, there are plenty of voices (like the different Abrasax siblings) who want to tell each of us what to believe [Editor’s note: consider what news station you watch, and which one you believe is ‘right’.] How we determine truth, and what we believe to be undeniably, unalterably, absolutely true shapes the way we live.

jupiterascending3I believe undoubtably that Jesus Christ was God’s one and only Son, who died on the cross for everyone’s sins and rose again (Romans 1:16!) I’ve studied and seen it worked out, I’ve experienced God’s grace. I’m still learning and I’m sure the ways I understand God’s grace will grow. But this is truth – and not just because someone told me. I learned it but I had to unlearn some things, and I had to grow.

Just like Jupiter. She starts out naive and blind to the way the world works. Sean Bean’s Striker tells her, “I don’t believe that most people want to know the truth.” Jupiter says, “I want to know.” The truth about the galaxy follows, and her eyes are opened: she sees, and seeing changes everything.

Foxcatcher: Wrestling with God

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Foxcatcher is as difficult to write about as it was to watch. I have seen it three or four times now, and it does not lessen the difficulty of watching such a tense and dramatic film. Despite that, it is a great film, deserving every nomination for every film award it got! There is no other film like it. Steve Carell, Channing Tatum, and Mark Ruffalo all gave outstanding performances.

The difficulty of watching this film is that it is true.

Foxcatcher is the story of John du Pont (Steve Carell) whose desire to achieve something on his own draws him to sponsoring the US Olympic wrestling team in the 1980s. Du Pont knows nothing about wrestling, but it does not stop him. From the moment we meet du Pont, though we barely recognize Carell, we know that there is something not right.

The same could be said about Channing Tatum’s Mark Schultz. The trophies and metals in his apartment seem to stand as a memorial to what was in Mark’s life. Mark goes from making a speech to elementary school students about the Olympics to making a speech (prepared by du Pont’s people) about the father-figure that John du Pont has become in his life. These speeches stand in contrast to where Mark’s life has taken him.

John du Pont seeks out Mark to achieve his vision of being a part of a winning team. There are hints that he goes to Mark to get to his brother Dave (Mark Ruffalo), an experienced coach. In this attempt, John befriends Mark, making promises and sharing intimate stories. John sets himself up to be the father-figure that is missing in Mark’s life. Mark does not seek him out as a mentor; John positions himself to be such. On the way to the event where Mark is give a speech that John’s staffers wrote, John shares cocaine with Mark and teaches him how to use it. From there we see a decline in Mark.

There is something not right here.

Between the two of them, John and Mark fill the screen with emotional damage. This damage is so settled within their very core, that is difficult to see, yet it explains everything. After participating in drug use with John, Mark begins to change, which is depicted by his appearance. He dyes his hair and he dresses differently. He spirals into self-destruction.

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After he loses a match that he should have won, Mark returns to his hotel room to grieve. What follows is one of the most intense scenes in the whole film. Without any words, the real wrestling in Mark’s soul is revealed.

Filled with anguish, Mark sends his head into a mirror, glass breaking. He orders carts full of food and stuffs his face. His nameless internal wrestling bursts forth. The fighting ends with Mark collapsing to the floor. This is how David finds him. Bloodied. Defeated. Full of carbs. The wounds can be bandaged. The carbs can be handled. David puts his attention on Mark’s battered soul.

In the shadows of the hotel room, Mark is curled up on the bed, with David bent over him. As they do when they wrestle, they become one lump. David says to his younger brother, “You’re not in this alone.”

When you are in your darkest moment, dwelling in the shadows of life, there is nothing more meaningful than someone whispering, “You’re not in this alone.”

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In the Hebrew Bible, Jacob wrestled with an angel (Genesis 32) all through the night. Some have suggested that the angel represented God and the wrestling was over whom God was calling Jacob to be: Israel – the father of a nation. In Romans 7, Paul describes a fight with himself – “I do the things I know I shouldn’t do and I don’t do the things I know I should do.” In Ephesians 6, Paul says that the struggle we go through is not one of flesh and blood, but one with the spiritual forces of wickedness.

We wrestle with God, with ourselves, and with forces of injustice. 

The beauty of the film is that it does not state the obvious. We do not know for certain why Mark is emotionally damaged. Nor do we know why John is, though the film leaves clues as to why they may be. So often that is the case. We see others wrestling with their inner selves, not knowing why. We can, however, say to them, “You’re not in this alone.”