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Jake Gyllenhaal

Strange World: Leaving a Legacy that Matters

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Featuring the voice talent of Jake Gyllenhaal, Dennis Quaid, Jaboukie Young-White, Gabrielle Union and Lucy Liu, Strange World follows three generations of an explorer family, the Clades, as they try to improve, and then save, their land of Avalonia.

Jaeger Clade (Quaid) is the brawny, always-looking-for-an-adventure, OG Clade explorer who has made it his sole mission to discover what exists on the other side of the mountain that cover Avalonia. He has spent years on this mission, eventually bringing along his son, Searcher (Gyllenhaal), who plods along on his father’s escapades until he is old enough to discover his real interests. However, when he finally does, he and his father part ways. Years go by and we are introduced to his son, Ethan (Young-White), the third generation Clade, who Searcher is trying to keep from becoming like his grandfather. Eventually, they need to set out on an adventure to save Avalonia and we see on this journey that all three Clade men might be more similar than they think, even as they carve out their own individuality.

In a lot of ways, the film feels like a mish-mash of Treasure Planet and Atlantis in its “group of explorers visit a strange world”-ness, and Troy Bolton in all the High School Musical films, with his “that was your dream, Dad, not mine”-esque speeches. (Side note: I was sure that he said those exact words at some point in the franchise, but I just scrubbed through HSM 1,2 and 3 and can’t find that quote anywhere. I’ve put together in my digging that this is a common theme in Disney movies though, so if you can find a movie with that exact quote, I would love to know)

Each Clade son comes to realize that he does not want to do what his father has trained him his whole life to, and each Clade father must come to terms with the fact that his son will not be his replica. The film brings up the question of legacy and asks what it truly means to leave a great one behind. Does it mean creating something that your offspring will carry it on for generations? Or does legacy mean raising said offspring to contribute positively to society–however that may look–enough? I’m not a parent, so I can only imagine that it takes a lot of strength to release your child from your expectations of them and allow them to form their own.

Something that I found interesting about Ethan is that he was constantly asking how everything on the earth can peacefully and efficiently co-exist, a question that he embodies. For example, while his father and grandfather seemed to be extreme opposites of each other, Ethan possessed traits from both of them and used that combination of strengths to figure out a way to save their land.

Ethan’s question makes more sense when you reach the end of the film where Strange World hints that we need to reflect on our relationship with other people and our planet.

Strange World is available in theatres on Wednesday, November 23rd, 2022.

Ambulance: Sound the Alarm. Bay-hem has Returned!

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Like the siren announcing the arrival of an Ambulance, Michael Bay likes to make some noise.

Ambulance tells the story of brothers Will (Yahya Abdul-Mateen II) and Danny Sharp (Jake Gyllenhaal), two sons of an infamous bank robber. Following in his father’s legacy, Danny has become an expert in bank heists. At the same time, former Marine Will is a family man who loves his wife but struggles to find a job. When his wife falls ill, Will finds himself in desperate need of $200K in order to pay for the surgery. With no other options, Will begrudgingly decides to join Danny in his most ambitious bank heist yet. With the potential of a $32 million dollars haul, this duo’s robbery unexpectedly goes haywire and their plot becomes entangled with a dying cop and LA’s best paramedic as they plow through the streets in an ambulance.

Directed by Michael Bay, Ambulance is a fun ride (pun intended) around LA, spanning multiple areas and highways throughout the vast city. Without question, it’s Michael Bay at his most Michael Bay-ish. Featuring huge gun fights, cars rolling off of cliffs, loud explosions and rapid banter between characters, it’s got everything that you would want or expect from the director. (After all, there’s a reason they refer to his films as ‘Bay-hem’.) The implications of Will’s journey throughout the film also provide some commentary on how American soldiers risk their lives for a country that seemingly abandons them. With little support from healthcare and insurance companies, veterans continue to struggle yet no one seems to notice (or care). 

Danny and Will are complete contrasts to each other. Danny is rich, smug and egotistical while Will is a caring, selfless man. Although both men embark on this robbery together, they also participate in the heist for wildly different reasons that reveal their character in the process. Fueled by his desire to add even more luxury to add to his already massive fortune, Danny takes on the job by pure choice. Will, however, has to do so because of his circumstances, as he is unable to pay for his wife’s surgery or take care of his child. What’s more, throughout their high-speed pursuit through LA, Will actively attempts to mitigate Danny’s actions and reduce any causalities. For example, Will even gives blood to aid an injured cop and helps the paramedic perform surgery. (To be fair, there’s a surprising complexity to Danny’s character. Although he appears to be only an entitled rich person, he genuinely cares for his brother and actively tries to set himself apart from the violence of his father.)

By the end of Ambulance, the film suggests that “good karma” helps offset our actions. Similar to the age-old ethical question about whether stealing bread is justified to feed your family, Ambulance asks if you steal with good intentions, are you still considered a thief? Yes, you are still responsible for your actions. However, Ambulance also hopes that the quality of your heart will be a factor in determining your outcome. 

Overall, Ambulance offers all the action and insanity that you’d expect from a Michael Bay film. However, it also has some unexpected moral lessons and ethical questions through characters worth exploring. For that reason, it may be worth listening to the call of this Ambulance’s siren, especially for fans of pure Bay-hem.

Ambulance is available in theatres on Friday, April 8th, 2022.

The Guilty: Blurring the Lines of Justice

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Everyone wants to catch the guilty but not everyone recognizes that same guilt within themselves.

Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. With few officers available due to the fires (not to mention the time of night), Joe feverishly works towards rescuing her. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Reteaming with his Southpaw star Gyllenhaal, Fuqua has never taken the easy approach with his filmmaking and Guilty is yet another example of his ability to tell stories that others simply cannot. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone). From Phone Booth to Netflix’s Oxygen, many other films have attempted to make this format engaging but most of these examples begin to falter as the film drags on. (Ryan Reynold’s Buried may be one of the few exceptions.) Quite simply, the viewer expects (and usually requires) some sort of visual change in order to keep them focused for an extended runtime. Nevertheless, The Guilty somehow makes it work. 

Much of this can be credited to the commitment of its star. Jake Gyllenhaal has always done intensity very, very well. With few exceptions, Gyllenhaal has always sought characters that he could sink his teeth into and, as a police officer about to stand trial, he fully dives into his performance. Let off the leash by Fuqua, this becomes yet another example of his incredible talent. As a result, anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. The Guilty tells a story of a police officer who is about to face trial for an undisclosed crime and he does not want to be held accountable. At the same time though, so too does he also refuse to acknowledge his own mental instability. As he fights to save the life of a young woman, he also exposes his own flaws and brokenness. Joe is a man who is determined to save those who he feels deserve it yet is also willing to unleash hell on those that don’t. The pressures of the job have clearly broken his spirit and his judgement is compromised. (“Broken people save broken people,“ he is told by a coworker.) Although we never fully fully discover what his crimes may be, we certainly understand that he made the wrong decision when he caused them. His desire to do right has been overcome by his pension to do wrong.

As such, there’s a complexity to Joe that keeps the viewer at a distance. We believe that he is someone who wants to defend the innocent. He is passionate about bringing down ‘the bad guys’ and wants to be one of the ‘good guys’. His love for his estranged family is genuine.

However, Joe also proves that he’s not currently suited to wear the badge. Bored and frustrated by the average person, he has little interest in the everyday problems of everyday people. Then, when really difficult situations arise, he is far too willing to take matters into his own hands. While this sort of rogue cop has been celebrated on film for decades (ie. 24‘s Jack Bauer), The Guilty understands that this sort of rage-filled avenger simply has no place in real life. There’s an inner rage and hatred against ‘scumbags’ that fuels Joe’s actions, making him a toxic presence in the community. In other words, his ‘justice’ can just as easily become an outlet for his own mental health issues. In this way, The Guilty acknowledges the importance of the police yet also calls for accountability and health of those who don the uniform.

Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent.

The Guilty is available on Netflix on October 1st, 2021

TIFF ’21: The Guilty

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Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone. Nevertheless, The Guilty somehow makes it work. Anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent as well.

The Guilty premiered at TIFF ’21 on Friday, September 10th, 2021. 

Spirit Untamed: Free and Fearless

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After she moves to a small town in the American Mid-West, Lucky Prescott (Isabela Merced) is looking for a fresh start. Though she lives with her aunt (Julianne Moore) and her estranged father (Jake Gyllenhaal), Lucky doesn’t know anyone else in the town and is anxious to make friends. Though she befriends locals Pru (Marsai Martin) and Abigail (Mckenna Grace), Lucky is most taken by a wild mustang named Spirit, who shares her adventurous heart. However, when a wrangler (Walton Goggins) attempts to round up all the local horses for profit, Lucky and her friends must team up to help free Spirit and his herd.

Directed by Elaine Bogan, Spirit: Untamed has a lot of charm that should provide some quality entertainment for the whole family. Based on Netflix’s Spirit: Riding Free, it’s worth noting though that the film is somewhat of a refresh from the beloved series. Though the characters may be the same, the film provides some new backstories for them that provides as a soft reboot. While admittedly the story doesn’t necessarily break any new ground, it does have the right spirit (pun intended) of adventure to keep children entertained. Leads Merced, Martin and Grace a good job providing the necessary pluck and determination that their characters need to bring them to life. Though the target audience for the film is clearly young girls, the film translates well for the whole family. 

What is most noteworthy about Untamed is its style. What’s clear from the outset is Bogan’s deep love of horses and she gives these creatures a majestic feel. While Spirit remains the film’s focus, every effort was put in to give the animals their own individual identities. What’s more, with bright colours and unique design, Bogan’s team has crafted something that looks great, especially in its landscapes. Rather than make any attempt at realism, this is a film that wants to give the mid-west an almost mythological look to its animation. This approach serves the film well as even the most treacherous areas feel approachable and inviting, as opposed to terrifying or daunting. 

At its heart, Untamed is really about what it means to be fearless. Though she has been relocated to a new town, there’s a precociousness to Lucky that keeps her looking for new challenges. Despite the fact that there are people in her life (mostly men) who attempt to tell her who she should be, Lucky wants to be free. This, of course, leads to her immediate connection with Spirit as the two have strong, courageous personalities. 

While there are some who would refer to her as ‘rebellious’, that term sounds far more negative than reality. Her desire is not to ‘break the rules’ but rather one of self-discovery and curiosity. In other words, Lucky simply wants to discern who she is on her own, whether its learning the story of her mother or doing what she thinks is right. In light of this, those who attempt to keep her in a box generally do so out of fear. Rightly or wrongly, these other voices are afraid that Lucky will take after her mother and potentially put herself in danger. 

Even so, like the horse she loves so dearly, Lucky cannot be corralled.

Within Lucky lies a fearlessness that drives her.  With her friends by her side, she believes that she can do anything. Filled with strength of will and determination, Lucky is willing to take risks if it means doing what’s right. As she discovers who she has been created to be, Lucky’s strong character sends a strong and empowering message to young girls who are looking for heroes. 

Light-hearted and fun, Spirit: Untamed has some kick to it. Led by some endearing work by its lead trio and some beautiful animation, the film is a welcome return to the big screen for the franchise. More importantly though, Untamed helps young girls understand that they don’t need to be afraid when they lean into who they’ve been made to be.

To see our interview with director Elaine Bogan, click here.

To see our interview with stars Isabela Merced, Marsai Martin and Mckenna Grace, click here.

Spirit: Untamed is available in theatres on Friday, June 4th, 2021.

Spider-Man: Far From Home – Starting Over

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The post Endgame era of the Marvel Cinematic Universe is here.

After the universe changing events of Avengers: Endgame, Marvel ushers its new era with their next solo star, Spider-Man, on his own is a multi-million dollar marketing machine. Ever since Tom Holland’s first appearance as Spidey/Peter in Captain America: Civil War, he has exemplified what had been missing on screen with the character. He’s all Peter Parker and all Spider-Man at once. This film is no different.

Spider-Man: Far From Home brings together both the witty humor of Marvel and Spidey. The film’s action and visuals are stunning and provide ‘edge of your seat’ fun. The adventure and, for the most part, the story is good. Jake Gyllenhaal gives a superb performance as Mysterio and gives us a great example of being aware of a wolf in sheep’s clothing. (I mean, it is Mysterio after all.) As Matthew 7:15 reads, we need to beware because things aren’t always what they appear. In the Marvel world, with all that has gone on, it is easy to let one’s guard down, especially when you have a burden that is too hard to carry. Still, if you do fall for someone’s lies, we must have the strength to get up and trust that He who put you there believes in you and knows it is not more than you can handle.

Spider-Man in Columbia Pictures’ SPIDER-MAN: ™ FAR FROM HOME

Overall, the film offers exactly what you’d expect from Marvel–and therein lies the problem. As the first film beyond Endgame, one would expect some emotional carry over, especially considering the relationship they’d established between Tony and Peter. However, the film was a bit too much about Tony and not enough of just Peter. And as good as Gyllenhaal was, what motivates his character is the same trope as the first Spidey film and all three Iron Man films basically. By giving the same cookie cutter villain after they nailed it with Killmonger and Thanos leaves one feeling unfulfilled in a film that could (and should) be great and memorable. In a sense, this was the film to be free of the “Stark Crutch” and it partly felt it was more about Stark than Peter.

Spider-Man: Far from Home is a fun and action packed adventure and, if you love Marvel films, you’ll love it. 

The Sisters Brothers: Mining the Golden Kingdom

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Written and directed by Jacques Audiard (Rust and Bone, Dheepan), The Sisters Brothers tells the story of Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly), two contract killers in mid-19thCentury America. Here, Charlie and Eli are teamed with detective John Morris (Jake Gyllenhaal) to find and kill the humble prospector Hermann Warm (Riz Ahmed). However, when a betrayal leads to a change in plans, the brothers set out on a journey into the wild to complete their mission.

Billed as comedy, the film is actually anything but. Though there remains moments of humor and levity, Brothers actually takes itself quite seriously, establishing the harshness of the time. Strong performances by the entire cast ground the film, even giving it a surprising level of poignancy.

Further, The Sisters Brothers subverts the values inherent to the Western genre by holding it up to the ideals of the modern era. Held in constant juxtaposition with one another, Eli and Charlie represent two differing Western worldviews. While Charlie lives a life without rules in a constant quest for power, Eli is discontented with a life of violence. Though Charlie remains entirely focused on the mission, Eli remains torn between who he is and who he wants to be. Fascinated with luxuries like a toothbrush or flushable toilet, Eli yearns for a civilized life.

Eli yearns for home.

Whether it’s how they interact with women, handle disputes or their life goals, Charlie and Eli have conflicting ideas about what it meanst to be successful. In doing so, the film usurps the tradition values of the Western (and stereotypical Western values) of taking power by force. In other words, whereas the Western genre usually focuses their stories on one’s ability to show force in a savage time, Brothersquestions that ideal by offering an alternative to violence.

What’s more, Brothers also demonstrates the power of the Kingdom in the lives of those who get a taste for the best that it has to offer. Despite the fact that he’s being hunted by contract killers, Hermann remains steadfast in his belief that his secret will change the world. However, more than simply emphasizing the financial impact of his discovery, he is most concerned with the positive social impact on the local community. He yearns to make his way to Dallas in order to participate in a mysterious commune that believes in seeking the benefit of everyone who lives there. To Hermann, Dallas remains the ideal goal for humankind as ‘a new kind of society’ and the mere prospect of it has reshaped his entire worldview.

More than this though, Hermann’s belief affects everyone who listens to his story. His pronouncement that there’s a ‘better way’ serves as a calling to those around him. Suddenly, men like Charlie, Eli and Morris are faced with a choice to continue on in the ways of the West or potentially experience something hopeful and new (albeit terrifying). By no means is Hermann a preacher… but his perceived Kingdom is infectious. There is something hopeful about the world he proclaims and it has the potential to change everyone and everything around him.

In the end, Brothers is an entertaining film with ambitious ideas. More than a simple character piece, the film examines the truth behind our culture’s idealization of power over community. Holding up the wild West to modern values, Brothersknows we need our history to speak into our present.

 

The Sisters Brothers is opens on September 21st, 2018.

TIFF ’18: The Sisters Brothers

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 Written and directed by Jacques Audiard (Rust and Bone, Dheepan),The Sisters Brotherstells the story of Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly), two contract killers in mid-19thCentury America. When Charlie and Eli are teamed with detective John Morris (Jake Gyllenhaal) to find and kill the humble prospector Hermann Warm (Riz Ahmed). However, when a betrayal leads to a change in plans, the brothers set out on a journey into the wild to complete their mission.

Billed as comedy, the film is actually anything but. Though there remains moments of humour and levity, Brothers actually takes itself quite seriously, establishing the harshness of the time. Strong performances by the entire cast ground the film, even giving it a surprising level of poignancy.

Held in constant juxtaposition with one another, Eli and Charlie represent two differing Western worldviews. While Charlie lives a life without rules in a constant quest for power, Eli is discontented with a life of violence. Whether it’s how they interact with women, handle disputes or their life goals, Charlie and Eli have conflicting ideas of what it is to be successful. In doing so, the film usurps the tradition values of the Western (and stereotypical Western values) of taking power by force. In other words, whereas the Western genre usually focuses their stories on one’s ability to show force in a savage time, Brothers questions that notion by offering an alternative to violence.

In the end, Brothers is an entertaining film with ambitious ideas. More than a simple character piece, the film examines the truth behind our culture’s idealization of power over community. Holding up the wild West to modern values, Brothersknows we need our history to speak into our present.

 

The Sisters Brothers is currently playing at the Toronto International Film Festival.

3.16 The Meaning of LIFE

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This week, Steve is joined by special guest and friend to the show, Wade Bearden (Seeing and Believing) to talk about whether or not there’s a meaning to LIFE, the newest sci-fi actioner to hit the big screen.  Yes, the film is tense but does it have something to say?  Plus, the guys give their top 3 remakes since the year 2000!  Only on ScreenFish.

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.

3.16 Life

A special thanks to Wade for coming on the show!

Nocturnal Animals – Unhappy Perfect Life

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“What right do I have to not be happy? I have everything.”

Susan Morrow (Amy Adams) seems to have a perfect life in Nocturnal Animals. She has a top job in the art world, a beautiful home complete with its own works of art, her clothes and makeup are flawless. Yet we learn very soon that this is a world of artifice and pretension. Even from the opening credits that happen as we watch several naked, grossly obese women dancing as part of a performance art piece, there is a juxtaposition of what we might think of as beautiful and the ugliness of reality.

Academy Award nominee Amy Adams stars as Susan Morrow in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features

We soon discover that her marriage and financial life are on very shaky ground. When her husband leaves on one of his too frequent business trips, she receives a package from her ex-husband Edward Sheffield (Jake Gyllenhaal) whom she hasn’t heard from for many years. Inside is a novel he’s written entitled Nocturnal Animals (a term he had used to describe her late night habits). She begins reading the manuscript and is immediately caught up both in the story and in memories of her marriage to Edward. The film is an intricate structure of Susan’s present day life, flashback, and the story-within-a-story of the novel.

The novel tells the story of Tony Hastings (also portrayed by Gyllenhaal) and an ill-fated vacation with his family through West Texas. They have a run in with a carload of coarse young men who end up taking Tony’s wife and daughter in one car and him in another. Tony is left stranded in the middle of nowhere. When he makes his way to the police, the story becomes even darker. Police detective Bobby Andes (Michael Shannon) is determined to have justice done—even if it has to happen outside the law. He and Tony set out to find the men who were involved.

4100_D002_00311_R3 (l-r.) Academy Award nominees Michael Shannon and Jake Gyllenhaal star as Bobby Andes and Tony Hastings in writer/director Tom Ford’s romantic thriller NOCTURNAL ANIMALS, a Focus Features release. Credit: Merrick Morton/Focus Features

The interrelatedness of that novel with events in Edward and Susan’s past sheds light on the depression that lurks behind the seemingly perfect life that Susan is leading. In the novel, Tony loses everything he holds dear, and is encouraged by Bobby to get revenge for the pain he has suffered through. For Edward, there is a sense that Susan has taken away everything that gave him happiness when they were married. But now, Susan is discovering that the life she has chosen is empty and meaningless, even though it seems to be filled with life and beauty.

Director Tom Ford makes great use of visual comparisons as the stories unfold. The art world that Susan inhabits is filled with beautiful things, but also seems very sterile. The West Texas countryside seems bleak and desolate, yet it is there that matters of life and death play out. There are also times that Ford connects the stories with shots that seem to echo each other. As we watch the various stories evolve and weave together, we begin to understand what Susan has lost on the way to the apparent success she enjoys, but now finds unfulfilling.

Susan is discovering that the world around her is full of illusion. Not just artistically, but emotionally and spiritually. Happiness is not found in success or possessions, both of which she has in abundance. It is through looking back that she begins to see that she has lost the very things that could have given her happiness.

Photos courtesy of Focus Features

Special features on the Universal Blu-ray Combo pack include “Building the Story” (the trifold manner of the narrative), “The Look of Nocturnal Animals,” and “The Filmmaker’s Eye: Tom Ford.”