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Eddie Redmayne

TIFF ’22: The Good Nurse

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Netflix’s The Good Nurse is based on the popular book by Charles Graeber, which recalls the true events that happened to Amy Loughren (Jessica Chastain) and Charlie Cullen (Eddie Redmayne). Amy is a working, single mother of 2 in an absolutely horrible situation. In need of a heart transplant and working nights in the ICU to support her family, Amy is in a living hell. Everyday inching closer to death, she tries desperately to manage herself until her work gives her healthcare in 4 months. Despite her horrible circumstance, Amy still operates as a good nurse, one that goes above and beyond for her patients and does so regardless of what the hospital administration enforces. The story takes off when Charlie comes to work as a nurse, quickly becoming friends with Amy. However, at the same time, patients are mysteriously dying in similar and unexplained ways.

The Good Nurse follows Amy as she helps to put away a serial killer, one that was only possible due to flawed system of American Healthcare. The bureaucracy and corruption of profit-driven private hospitals are ever so present. Charlie is an individual who has gotten away with killing potentially over 400+ patients over the course of his career. Even though all the hospitals suspected it was him, they all decided to terminate him unrelated issues (such as “the dates on his application being incorrect”) in order to protect the hospital from liability. Had these hospitals not been so profit-driven and informed the police, Charlie would not have gotten away with his decade-long murder spree. For example, held back by bureaucracy, hospitals employee talking to the police without legal counsel would be terminated due to violation of contract. 

Another flawed aspect of the healthcare system that’s highlighted in Nurse was that frustrating way that hospitals treat their workers. Right now, we’re witnessing a massive number of resignations from healthcare workers, specifically nurses. Work is tough, hours are long, and dangerous situations (COVID for example) for little pay by comparison have helped drive this forward. Even so, the main issue is that, as a healthcare worker, you are not entitled to provide healthcare to yourself. For instance, in Amy’s case, she had to provide for her family although every shift literally drained the life out of her. By showing these moments, The Good Nurse highlights the flaws in what is truly a broken system.

The Good Nurse is currently playing at TIFF ’22. For screening information, click here.

teenFish#2 – Counting THE CRIMES OF GRINDELWALD

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Have you ever really wanted to know what goes on in the mind of today’s teens? Not just ‘what are they thinking?’ but how they feel about life’s issues? About truth? About where God is in the world today? At long last, ScreenFish is proud to announce teenFish, a new podcast series that lets teenagers speak about media that matters to them in their own voice. Hosted by Daniel Collins (Infinity Warm-Up), teenFish will be air the first Sunday of every month and invite local youth to engage the truth and lies of the shows and films that excite them.

The Wizarding World expands again with the release of the next chapter in the FANTASTIC BEASTS saga! In an effort to thwart Grindelwald’s plans of raising pure-blood wizards to rule over all non-magical beings, Albus Dumbledore enlists his former student Newt Scamander, who agrees to help, unaware of the dangers that lie ahead. This month, Daniel welcomes Riley and Mackenzie to count THE CRIMES OF GRINDELWALD as they talk about all things from the world of Harry Potter, the lies we tell and what makes the villain evil.

You can stream the episode above, on podomatic or on Spotify! Or, you can download the ep on Apple Podcasts, Google Play or more!

Fantastic Beasts and Where to Find Them: Harry Potter in New York City?

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fbIt’s 1926 in J.K. Rowling’s romp that takes the world of Harry Potter across the pond to New York City. The estimable Eddie Redmayne (The Theory of Everything) plays the eccentric Newt Scamander – a character first mentioned in passing in Harry Potter and the Philosopher’s Stone – fresh off the boat as it were, chasing mystical creatures and dodging the Magical Congress of the United States of America. It’s a new set of adventures, sure to launch its own video games and sequels, but is it on par with what we’ve come to expect from the world of Wizards and Muggles?

Redmayne takes to the character in the same way he’s taken to everything else – splendidly. Joining Redmayne’s exploits are Dan Fogler as the would-be baker Jacob Kowalski, genuinely kind and devoid of magic, and Katherine Waterston as Tina Goldstein, an ex-Auror under Seraphina Piquery (Carmen Ejogo), President of the MCUSA. Both Kowalski (also the name of one of Madagascar’s penguins) and Goldstein make for reliable sidekicks-in-training, also balancing the social commentary Rowling’s script takes aim at making. [For instance, there’s a comment early on in the film where Scamander remarks on the U.S.’ backward decision to outlaw Muggle/wizard marriages.]

fb2Across the hero/villain aisle, there are hints of a terrible terrorist named Gellert Grindelwald hanging in the shadows, and the ripped from Massachusetts Mary Lou Barebone (Samantha Morton), who heads the magic-less society New Salem Philanthropic Society, along with her son, Creedence (Ezra Miller). If the ‘Salem’ and Creedence references weren’t enough to make you think of burning stakes and dunking witches, Creedence’s little sister is named Chastity. The dangers of the Protestant settlers in America are fully tagged here.

And yet, in between the good and the bad, there lurks the captivating person of Auror Percival Graves (Colin Farrell), who seems determined to protect New York from Scamander’s creatures but takes on too much of an interest in Creedence, predatorily even. Farrell’s personality fits this casting well – and his “is he good or is he bad?” moments keep some of the mystery tugging us further through the film.

fb3Still, the film seems mostly engaged at visually stunning our eyeballs, with the exotic creatures referenced by the likes of Hagrid but rarely spotted and other such sights. There’s a troublesome Niffler and the Ron Perlman-voiced Goblin underworld boss. There are battles between wizards that dazzle, and special effects that destroy and rebuild New York of the 1920s. And there’s a particularly vicious ‘bath’ that steals one scene.

But that simply isn’t enough.

Rowling and director David Yates (the final four Harry Potter films) have elevated us to such heights that Beasts simply doesn’t reach. Maybe it’s not their fault – maybe it’s because we had four Harry Potter novels to build up what we thought of the characters before the launch of the first film; or maybe it’s because we saw the troubles that Daniel Radcliffe’s Harry faced long before we ever saw his first magical moment. Whatever the reason is, Beasts suffers from failing to make an emotional connection with us. Yes, the second half is much stronger – but one wonders if it would be in the 70th percentile on Rotten Tomatoes if it didn’t inhabit the world we already loved.

fbcoverIs there magic? Is it powerful? Does love overcome evil? Yes, yes, and yes.

And yet, I hope the next Newt Scamander movie may turn his insides out, and let us see who he is as a person – before he ever recognized that he was a wizard. Because for some of us, the heart of the person (and the story) still trumps fantastic visions of mythical beasts.

Warner Bros.’ special features on the Blu-ray include a “Before H: A New Era of Magic Begins!” look that is sure to delight fans of J.K. Rowling’s ‘other’ works. 

3.6 Where to Find FANTASTIC BEASTS

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ScreenFish’s ‘month of magic’ concludes with a look at J.K. Rowling’s FANTASTIC BEASTS AND WHERE TO FIND THEM! This week, Steve is joined by returnee Allen Forrest to talk about magic, truth and fear of the unknown.

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.

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A very special thanks to Allen Forrest for joining us this week!

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Fantastic Beasts, Fantastic Giveaway!

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Are you excited about Warner Bros. magical movie, Fantastic Beasts (and Where to Find Them)?  So are we!

To help get you ready to journey with Newt Scamander and friends, we have a great giveaway opportunity for you!  (And YES, this one is open to BOTH residents of Canada and the US…)  This prize pack includes a t-shirt, posters, stickers and a bookmark.

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To enter, like or share this contest and then comment on this Facebook post, answering the following two questions:

  1. If you could have any magic power, what would it be?
  2. What would you do with it?

Comments MUST be received by 11:59pm on Saturday, November 19th, 2016 EST.  The winner will be announced via. ScreenFish’s Facebook page and contacted via messenger for delivery details.

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And The Winner Is…or Should Be (Oscar Spotlight)

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revenant2The Oscar races this year are absolutely clear cut… in my mind. Having seen fourteen of the nominated films (out of approximately sixteen films in the major categories), these are my favorites to win.

At Best Actor, the portrayal of screenwriter and Communist Dalton Trumbo by Bryan Cranston put him in rare air, not that of the illicit drugs he manufactured as Breaking Bad’s Walter White. I was immensely moved by Cranston’s depiction of this flawed-yet-heroic man, and the way Jay Roach framed all of the movable parts around Cranston. Sadly, he’ll be runner up to Michael Fassbender, whose turn as Steve Jobs delivers something that Noah Wyle and Ashton Kutcher couldn’t: a performance that gets to the soul of the man. (Film I missed: The Danish Girl -my apologies to Eddie Redmayne.) Here’s a mad genius who lacks the emotional power to connect with others – until those who care about him the most challenge him spiritually.

stevejobs2I’ll openly admit that I’ve only seen a few of the five films in the Best Actress category but I have a hard time believing anyone could surpass Brie Larson’s portrayal of the kidnapped and raped young woman who raises her son in a garden shed in Room. While another year might produce more wins, this will be Room’s lone trophy. It’s harrowing and powerful, both in captivity and in the world outside, but all of it is made human by the quiet power of Larson’s delivery.

room1While this is a “makeup call” (a term ripped from other contact sports), I’ll predict that the Academy awards a lifetime achievement award to Sylvester Stallone for his Best Supporting Actor turn in Creed. Simply put, there are too few scenes in The Big Short, The Revenant, Spotlight, or Bridge of Spies for the other nominees to salt away a win. It’s Stallone by default, even if Michael B. Jordan deserves much of the credit for making Stallone look good (and recovering from the insufferable Fantastic Four).

Consider this your commercial break before we reach my big two awards for the year – consider it burying the lede.

creed-movieBest Original Screenplay: Straight Outta Compton delivers the time, the music, and the mythos of NWA. Were these guys prophets? Exploiters? Exploited? This complex story spins a tale that entertains, reminisces, and challenges us to think about how we define our worldview.

Adapted Screenplay: Michael Lewis’ The Big Short over Emma Donaghue’s Room robs the latter of a double win. Three times nominated, this one has to finally pull off the win. Greed sucks the life out of you in the long run – and proves there are no victimless crimes. It’s not the best film I saw this year, but it serves as a morality tale for all of us to consider in our day-to-day spending and relationships.

Cinematography: Director Alexandro Inarritu can do amazing things with film (think last year’s Birdman). This year, The Revenant dukes it out with The Hateful Eight (only win: Best Original Score). Both films are beautiful in their brutality, with the elements and humanity playing against each other for spellbinding cinematic moments.

straightouttaAnd now… Best Director goes to … Mad Max: Fury Road’s George Miller. Having established a dystopian world decades ago, he returns to the world that Hardy said was in Miller’s head and delivered it in a sprawling, dialogue-short film that visually does everything. No stone was left out of place, and every moment mattered to the overall picture. [Unfortunately, Inarritu will probably win… There, I said it.]

So, does that make Mad Max: Fury Road my Best Picture? Not exactly. While it (and Creed) was my favorite film of the year, it doesn’t qualify as the most important film of 2015. [It also came too early in the year, and surprised everyone with its depth.] A story about working within society to change it (versus running from the world we live in and hitting a restart) makes for a powerful testament of humanity in the midst of an apocalypse. It should be a challenge to us all – global warming, AIDs, violence, racism, whatever – be the change you want to be.

Mad Max Fury Road MainIs it The Revenant? No. Leonardo DiCaprio’s ability to grunt, Inarritu’s ability to shoot enigmatic scenes, and the makeup crew’s ability to generate the ferocious aftermath of a bear mauling do not make a complete picture. If you push me, I’ll admit this film looked cool but I thought the storytelling was shallow. (It’s why I preferred Mad Max: Fury Road.)

bridge3How about Bridge of Spies? Nope. While Tom Hanks delivers a tour de force performance, the film is almost entirely on his shoulders. Yes, it speaks to the way we are divided and guarded in society today, but it’s not enough to just have a strong lead. The film itself was good but not great; without Hanks, it’s a dud.

Left to right: Steve Carell plays Mark Baum and Ryan Gosling plays Jared Vennett in The Big Short from Paramount Pictures and Regency Enterprises

Does The Big Short…? An ensemble cast with solid performances couldn’t save a primarily financial film (here’s looking at you, Margin Call and Moneyball). Brooklyn? Didn’t see it. (Gulp). Room? Too claustrophobic.

And suddenly, we’re down to two.

martian-gallery3-gallery-imageWith the look on Matt Damon’s face as he accepted his award at the Golden Globes, I can tell there were fewer people laughing at the “comedy” that was The Martian. With the ridiculous categorization of the film, The Martian was condemned to be remembered not for Andy Weir’s story but the ridiculous politicization of the awards. And this isn’t even the best film where a dedicated group of brave people willingly sacrifice their lives to bring Matt Damon home or the best film where someone is castaway without human companionship…

spotlight3So, Spotlight it is. While Birdman and The Artist (2015 and 2012, respectively) proved that the Academy sometimes falls in love with the visuals, the track record of 12 Years a Slave, Argo, The King’s Speech, and The Hurt Locker show a trend toward based-on-a-true-story moments that highlight something about our society. With Spotlight, there’s an effort to show the power of the press (ding!), expose a hidden darkness (ding! ding!), and confront a powerful force in the world, the Catholic church (ding! ding! ding!)

Let’s hear the counter arguments. I know Chris Utley will be sharpening his knives… This should be fun.

The Danish Girl: Finding One’s True Self

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“It doesn’t matter what I wear. It’s what I dream. They’re Lili’s dreams.”

The Danish Girl opens in Copenhagen in 1926. Einar and Gerda Wegener (Eddie Redmayne and Alicia Vikander) are artists who are very happily married. Einar is a successful landscape painter, while Gerda struggles as a portrait artist. One day, with a deadline looming, Gerda asks Einar to model a dress and shoe. The experience triggers a gender confusion in Einar. When, as a lark, Gerda dresses Einar as a woman to go to a party, the back and forth between male and female identity escalates. Soon Einar is going out surreptitiously as Lili and begins to view his true identity as a woman. Soon two personae emerge. Einar and Lili have two very different lives.

There is a minor trend in media of stories of transgendered persons—people who identify as a gender other than is manifested in their physical body. Now there are procedures and surgeries that allow people to become who they see as their true selves. We have rules for how to treat transgendered people in school. But when Einar/Lili had to deal with that struggle, the word “transgender” did not even exist. The only explanations most people had were either moral outrage or psychological pathology. Lili eventually became the first person to undergo sexual reassignment surgery—risking her life to live the life she believed was hers.

The Danish Girl is at its heart a love story. Einar and Gerda are very much in love. As Einar transitions to Lili, that love is often tested, but it overcomes those difficulties as Gerda serves as Lili’s key support in the very difficult situation. Watching Lili kiss a man is a very challenging event for Gerda. She simultaneously sees her husband and his alter ego. Within that love story there is also a story of grief, because as Lili becomes the dominant manifestation, Einar is in effect dying. Lili, as much as Gerda loves her, is not her husband whom she has loved for many years. Einar and Gerda had a very collaborative life as artists, but when Lili emerges, she is not an artist. She does however serve as a muse for Gerda.

I think one of the difficulties in watching a film about someone who is transgendered is that it is very difficult for those of us who have an internal gender that matches our assigned gender to truly understand what that is like and the pain associated with the conflict within. When Lili and Gerda meet with the doctor who will perform surgery on her, she tells him, “This is not my body, Professor. Please take it away.” Because all this can seem so strange to viewers, I think it makes Gerda the more sympathetic character. We may feel Einar/Lili’s suffering, but we can much more identify with the pain that Gerda must deal with.

Compassion is the key quality that this film seeks to instill in viewers. By having compassion for Lili, we learn to have compassion for other transgendered persons. By watching Gerda’s compassion for Einar and Lili we understand that compassion is not an easy task. Sometimes the act of being compassionate is not superficial, but rather must be pulled up from the depths of our souls if it is to find expression.

Photos courtesy Focus Features

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.