ScreenFish

where faith and film are intertwined

Christopher Walken

Wild Mountain Thyme: Irish Wonder and Identity

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Set in the foothills of Ireland, Wild Mountain Thyme tells the story of Rosemary Muldoon (Emily Blunt), a strong-willed farmer who yearns to win the heart of her emotionally-stunted neighbour, Anthony Reilly (Jamie Dornan). Struggling to commit to his role in the family farm, Anthony also struggles to take a risk with his feelings for his beautiful neighbour. When his father (Christopher Walken) loses confidence in his son’s ability to take care of their land, he invites his American nephew Adam (Jon Hamm) to purchase their family farm. However, upon meeting Rosemary, Adam realizes that pursuing a romance with her may be an even better reason to take up residence in the Irish countryside. Torn between the love she has in front of her and the one that she wants but can’t have, Rosemary must ask herself what is most important to her and where she sees her future.

Written and directed by John Patrick Shanley (Moonstruck), Wild Mountain Thyme is a sweeping romantic comedy that works well for the most part, even if it falls short near the end. Based on his play Outside Mullingar, Shanley portrays Ireland as a land embedded in rich mythology and charming characters. Bathing the screen with lush, green landscapes, Thyme is a visual treat that leans into the allure of the Irish countryside and its quirky residents. (Fans of other Irish gems such as Waking Ned Devine may appreciate the characters in particular.) Stars Dornan, Blunt and Hamm have wonderful chemistry together, carrying the film on their shoulders much of the time. (In fact, this is especially true of Dornan and Blunt, who simmer together onscreen in several key scenes.)

Admittedly, the film is certainly far from perfect. While Blunt’s Irish accent works, some of the cast sound almost non-sensical (Sorry, Mr. Walken.) and even distract from the film itself. What’s more, many of the relationship questions feel answered so early in the film that there’s very little left to discover by the film’s finale. Even so, these issues are decidedly minor quibbles that do not take away from the film’s sweeping narrative. (Well, maybe Walken’s accent.)

What will likely be discussed at length is the film’s ‘twist ending’ (which won’t be spoiled here.) Bound to be controversial, Anthony’s confession at the end of the film seems so wild that, if true, there’s little question that this particular reveal may be the most bizarre of the year. (In 2020, that’s saying something…) However, what many will forget is the film’s overall emphasis on whimsy and mythological storytelling. While Anthony’s revelations would make no sense in a more grounded reality, Thyme is never meant to be so. In a world where the dead can return and Rosemary considers herself to be a swan, the finale still manages to work within the context of the film and its culture.

In many ways, Thyme is a film about discovering who you are. Although they live in a world that feels settled and comfortable in its ways, these characters are all in periods of transition. Anthony seems unconvinced of his role at the farm once his father passes. Adam is told that he’s not a farmer, even if he wants to own a farm. Even Rosemary, who seems the most self-aware of them all, seems uncertain as to whether or not she should remain on her land or leave for the grand adventure of New York City. Interestingly though, rather than leaning into the more traditional theme of ‘finding one’s self’, Shanley’s script highlights the fact that such self-inquest is often unreliable. (“Everyone thinks they’re something they’re not,” Rosemary cautions.)  In this way, Thyme is unique in its perspective by pointing to our peers and family as the ones who truly know us for who we are. For Shanley, identity is not merely something we ‘know’, it’s something that we earn based on our interactions and relationships with the people in our lives.

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Flawed but sweet, Wild Mountain Thyme has enough charm and wit to validate a trip to the cinematic countryside. Carried by strong performances from its key stars, Shanley writes a love letter to his home country that can charm in its quirkiness. (Just note that you might need some subtitles along the way.

To hear our conversation with director John Patrick Shanley, click here.

Wild Mountain Thyme is available in select theatres and PVOD on Tuesday, December 22nd, 2020.

The War With Grandpa: Battle of the Boys

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You know it’s never wise to engage in a war with your grandfather when your grandfather is Robert DeNiro.

Known for roles like Al Capone (The Untouchables), Travis Bickle (Taxi Driver) and Vito Corleone (The Godfather: Part II), DeNiro has built his career playing violent mobsters who will stop at nothing to crush his enemies. However, roles in Analyze This and Meet the Parents have also proven that he’s more than willing to joke about the characters for which he’s best known when given the chance. With The War with Grandpa, DeNiro again shows a willingness to have fun at his own expense in an unexpectedly charming family film that gets its laughs but never loses its heart.

In The War with Grandpa, DeNiro plays Ed, an aging widower who can no longer take care of himself. When his daughter Sally (Uma Thurman) invites him to live with her family, he resists, believing that he can continue on his own. When Ed finally relents and moves in with their family, Sally’s son Peter is forced to give up his room to his grandfather. Relegated to the attic, Peter vows revenge on the perceived intruder and schemes with his friends to get his grandfather to give up his room once more. After Ed refuses to give in, the two begin an all-out war for the space.

Directed by Tim Hill (Hop), The War with Grandpa is a surprisingly likeable film that will entertain children with its wild antics but should still manage to charm the adults in the room as well. Despite the fact that the film is ultimately forgettable, there really is a lot to like about it. In many ways, Grandpa feels like a throwback to some of the classic John Hughes films of the 90’s such as Home Alone or Dennis the Menace. Like Kevin Malone or Dennis Mitchell, Peter’s ‘declaration of war’ invariably leads to playful pranks to prove his worth in an attempt to be heard or valued by the adults in his life. However, unlike Hughes, War with Grandpa doesn’t demonize the adults by portraying them as unsympathetic monsters. In fact, for the most part, Ed is a caring, supportive grandfather who loves his family and genuinely wants to make things work, despite his flaws. As the grieving grandpa, DeNiro brings a compassion to his character that humanizes him, despite the chaotic circumstances.

Much will be made by reviewers who feel it’s strange (or even sad) to see icons like DeNiro, Thurman, and Christopher Walken pander to slapstick humour in this type of film. Personally, I don’t see the issue. All of these stars have poked fun at their violent roles in the past, with mixed results. (Let’s not forget that DeNiro starred in The Adventures of Rocky and Bullwinkle, even if he’d for like us to do so.) More importantly, The War with Grandpa often makes use of their talent and, to their credit, most of the cast are unexpectedly engaged with the material. 

What’s most interesting about Grandpa though is the fact that it tries not to glorify the war itself. While Ed and Peter compete in escalating pranks that are played up for laughs, the effects of the pranks are not always funny. On several occasions, Ed and Peter discuss the fact that ‘no one wins in a war’ and ‘everyone gets hurt in the end’. Although nobody gets physically hurt in Grandpa, the emotional consequences and frustration leave marks on the family. In this way, it’s an interesting balance between slapstick humour and social commentary for a kid’s film, especially compared to those same John Hughes movies of the 90s that played up the violence as harmless in the end (or even glorified the child in doing so). In Grandpa, the ultimate goal is peace within the home and the film recognizes that no amount of pranks will achieve that.

Wild and ridiculous, The War with Grandpa is admittedly not going to be the film that people point to when they look over the highlights of DeNiro’s career. Even so, Grandpa is much more fun than expected and DeNiro ensures that the film has genuine heart in the right moments. With that in mind, this may be one War you want to get into.

The War with Grandpa is now available on VOD.

Eddie the Eagle: Everyone Dreams

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eddietheeagleEddie Edwards (Taron Egerton) dreams of the Olympics as a ten-year-old. Unfortunately, he’s terrible at everything. His mother is incredibly supportive; his father is… not. But when Eddie discovers ski jumping, he realizes that he could be the first British Olympian in the sport (since 1929). Against all odds, he pursues his dream.

Hugh Jackman and Christopher Walken show up as one-time Olympian Bronson Peary and his former mentor Warren Sharp. These two have their own issues, but they are ultimately pulled into the vortex that is Eddie’s undying enthusiasm to be an Olympian. From the narrative perspective, Edwards’ unwillingness to give up and his powerful joy stand up in amazing ways.

eddietheeagle2Behind the story, Egerton’s transformation from Eggsy in Kingsman to Edwards is nothing short of amazing. If I hadn’t previously read about Egerton’s involvement, I never would have believed this was the same guy. His delivery and mannerisms are so remarkably different that they match the changes (prosthetics) made to Egerton’s appearance as well.

While the film is about Edwards pursuing his dream, it’s also about reconciliation. Can Peary and Sharp get over their old wounds? Will Edwards ever receive the approval of his father that he longs for? What will it take to get the people in Edwards’ life to see what they have and appreciate it, rather than constantly beating on each other’s dreams?

So many figures from the Old and New Testament receive messages from God in their dreams; of course, Edwards’ dream is different but no less powerful. In the end, he recognizes who he is and what he’s called to do, regardless of the odds. It’s uplifting, powerful, and family-oriented in a way that rises to just the perfect height.

The Jungle Book – Updating a Classic of a Classic

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“Now this is the Law of the Jungle — as old and as true as the sky;
And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk the Law runneth forward and back —
For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

The Jungle Book is Disney’s new high-tech, live-action (sort of) remake of their 1967 animated film based on Rudyard Kipling’s 1894 book. The new version tries to find a middle path between the more light-hearted earlier film, and the darker, more mythic Kipling story. Director Jon Favreau purposely wanted to keep some of the elements of the earlier film that he loved as a child. But rather than produce a straight remake, he has created something much more enticing with much greater depth.

Because the film is mostly CG animation (assisted at various points of production with puppetry and motion capture), it has an amazingly realistic look to it. These are not cartoon tigers, wolves, and bears. They look real, even though they talk. That in itself makes the film a bit darker and scarier (especially for younger children). The action/adventure element can be intense at times, but that just adds to the enjoyment of the film.

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The film is part coming of age story and part hero’s journey. This is the story of Mowgli (Neel Sethi, the only actual onscreen performer), a man-cub discovered alone in the jungle as an infant by the panther Bagheera (voiced by Ben Kingsley). Knowing that Mowgli would need “a people” to raise him, he was left with the wolf pack lead by Akela and Raksha (Giancarlo Esposito and Lupita Nyong’o). This is the only home and family that Mowgli has known. When the tiger Shere Khan (Idris Elba) discovers there is a man-cub in the jungle, he vows to kill it and anyone who stands in his way.

It is decided that Mowgli must leave the jungle for the realm of men. He and Bagheera start off on a journey to the human village. Along the way there are adventures—some fun, others quite dangerous—in which Mowgli must learn to make wise choices. He also must use his resourcefulness (a part of his human nature) as he makes his way. Among those he meets on the way are Kaa (Scarlett Johansson) a massive and seductive python, Baloo (Bill Murray) a slothful but lovable bear, and King Louie (Christopher Walken), a huge Gigantopithicus (a cross between an orangutan and a yeti) who wants Mowgli to give him the secret of man’s red flower (fire) so he can rule the jungle.

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There are several themes in the story worth exploring. The first is what it means to be human and what it means that humans are animals. Mowgli, having been raised by the jungle animals, really thinks like them. He has had no contact with humans so he doesn’t know what they are like. Yet, he is also different from the animals. He has “tricks”. He creates and uses tools. He makes complicated plans to achieve an end. But Mowgli, even though he has certain skills as a part of his nature, is never seen as above the other animals. He feels he belongs to the jungle, and most of the animals accept him as he is.

Mowgli also must choose between two approaches to life. Bagheera, his primary mentor, and the wolf pack live by order and rules. The pack regularly recites the Law of the Jungle (taken from a Kipling poem). Bagheera (as played by Kingsley) has a military swagger. But when Mowgli meets Baloo, he is exposed to a much different understanding. Baloo lives for ease and pleasure. At first look, this may come across as the kind of difference between wisdom and folly found in the biblical book of Proverbs. But Mowgli learns that each way of living has its own rewards. It is not so much that he must choose between them as he must learn to balance them. Bagheera and Baloo also learn of the need to balance.

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But the key value that The Jungle Book puts forward is that of community. Mowgli alone may be resourceful and creative, but he is no match for the dangers in the jungle. That is why Bagheera gave him to the wolf pack to raise. Much of the film is built around the idea of community: Mowgli and the Pack, Mowgli and Bagheera’s relationship, and Mowgli’s working and playing with Baloo are all about the importance of being tied to one another. And when Mowgli and Shere Kahn must settle scores, as we know they must, it is the Law of the Jungle—“For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack”—that sets the stage for the outcome. In Ecclesiastes it says,

“Two are better than one, because they have a good reward for their toil. For if they fall, one will lift up the other; but woe to one who is alone and falls and does not have another to help. Again, if two lie together, they keep warm; but how can one keep warm alone? And though one might prevail against another, two will withstand one. A threefold cord is not quickly broken.”

The importance of helping each other and living in peace with others is at the core of The Jungle Book.

Photos courtesy of Walt Disney Studios