ScreenFish

where faith and film are intertwined

Jon Bernthal

7.21 Into the Fire of THOSE WHO WISH ME DEAD

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When the heat of the flames tries to overtake you, what will you do? In THOSE WHO WISH ME DEAD, Angelina Jolie plays Hannah, a burnt-out flame jumper who is struggling to deal with the traumatic events of her past. When she meets young Connor, she finds herself forced into the fire again as she attempts to help him get to safety. This week, Victor Stiff (That Shelf, Dope Black Movies) and filmmaker Ryan Kayet (Riverlife Productions) drop by to talk about Taylor Sheridan’s unique style and what it means to find beauty in the fire.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.21 Those Who Wish Me DeadDownload

Those Who Wish Me Dead: Sheridan’s Latest Brings the Heat

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Where there’s smoke, there’s fire. And in his new actioner Those Who Wish Me Dead, director Taylor Sheridan definitely brings the heat.

Those Who Wish Me Dead follows Hannah (Angelina Jolie), a smoke jumper who is struggling with the events of a rescue gone wrong. Now choosing to work in isolation in the watchtower, Hannah stands atop the Montana wilderness, looking for signs of danger. However, this life of seclusion is upended when she meets Connor (Finn Little), a terrified and bloodied boy who needs to make his way back to civilization. As she attempts to bring him to safety, Hannah soon discovers that not only must she dodge an oncoming fiery blaze but also avoid the sights of two relentless killers who are consumed with killing young Connor as well.

Directed by Taylor Sheridan, Those Who Wish Me Dead is a tightly executed thriller that burns with blazing ferocity throughout. Known for such well-regarded films as Sicario and Wind River, Sheridan’s work rarely fails to disappoint, especially when it comes to building a world of intensity. At only 100 minutes, he makes great use of his runtime with very little extra padding. From the film’s opening sequence, Sheridan shows that he knows what he wants to accomplish and goes after it with force. Part Backdraft and part No Country for Old Men, the film has some truly harrowing set-pieces that are positively gripping. (Two scenes involving both a raid on the sheriff’s home and Jolie’s run through a storm-riddled field are particularly worth noting.) 

While the script is solid, what gives life to the film is its cast. While Dead features strong work from Jon Bernthal, Aiden Gillan and Nicholas Hoult, it’s the female cast members whose performances are straight fire. With the bulk of her work in the last decade relegated to family fare, Jolie’s dramatic work has been much more limited. However, in the role of Hannah, Jolie has the opportunity to dig into a unique blend of both compassionate caregiver and brooding badass. (Seriously, when was the last time we got to see her character jump from a moving vehicle… for fun?) With both courage and empathy, Jolie consistently reminds the viewer what makes her so special as an actress and she is a joy to watch onscreen. At the same time, the best surprise may come in the form of relative newcomer Medina Senghore who is on absolutely incredible. As mother-to-be Allison, Senghore showcases a protective strength and focus that fuels the film, making her one of its most notable talents. 

Interestingly, Sheridan opts to play much of the film’s exposition close to his vest. While this will likely irk some viewers, it is also one of the film’s most interesting traits. By keeping its secret under wraps, Sheridan also keeps the narrative firmly fixated on the journey of his characters. This is not a film dedicated to bringing down a vast conspiracy (although that certainly exists). Instead, Sheridan is more focused on the characters and their journeys at this one moment of their lives, especially that of Hannah.

With this in mind, it’s worth noting that Sheridan’s use of fire in this film feels particularly unique. Rather than simply treat it as an oncoming threat, Sheridan uses it to represent the pain that we fear most. Haunted by a particularly traumatic moment of her past, Hannah has chosen to work in solitude in the watchtower. For her, the fire represents her own perceived failures. (“Instead of fighting [the fire], we found ourselves running from it. And that’s not where you want to be,” she explains.) In other words, as the oncoming blaze ravages the forest, Hannah not only attempts to outrun the flames but also her inability to deal with her pain.

As a result, she has opted to take on the role of warning people of danger rather than enter into it herself. 

All that changes when she meets Connor. Though she fears the flames, she also recognizes that sometimes you need to face them head-on. Without giving away any spoilers, Sheridan uses Hannah’s decision to endure the fire as an opportunity for her to potentially begin to move forward. Regardless of what she’s been through, this becomes a time where she can stand and fight.

Whereas fire decimates, so too can it make something new.

Well-written and anchored by fierce performances, Those That Wish Me Dead is a thrilling ride from start to finish. With each film, Sheridan continues to develop his skills as a story-teller and he attacks this story with focus and heat. At the same time, he also shows that the fire we fear may also be the very thing that we must face in order to heal.

Those Who Wish Me Dead is available in theatres and on HBO Max on Friday, May 14th, 2021.

Ford v. Ferrari: Driven to Win

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Based on the true story, Ford v. Ferrari takes us back to the year 1966 when the Ford Motor Company was at a crossroads. Losing money and having failed in their attempt to buy Ferrari, they decide that they ultimate opportunity to turn around their company is to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France. In an effort to redesign their vehicles for racing, Ford enlists the help of American automotive designer Carroll Shelby (Matt Damon) and fearless British race car driver Ken Miles (Christian Bale). However, with innovation comes new ideas which threaten the status quo and, as a result, the two men must battle corporate interference, the laws of physics and their own personal demons in order to change history.

Shot with energy and excitement, Ford v. Ferrari feels a throwback film to the such classic ‘guy films’ as Days of Thunder and Top Gun at times. Similar to these other films, Ford v. Ferrari shoots its race sequences with vigor, intensity and fun while emphasizing the stakes at hand. Simple and straightforward in its approach, the film is entertaining and engaging with solid chemistry between its characters. Though the entire cast remains engaged throughout the film, it’s really enthusiastic performances by stars Damon and Bale that push the film forward as their brotherly bromance serves as the film’s backbone.

Given that some of his most recent work includes Logan, 3:10 to Yuma and Walk the Line, it should come as no surprise that director James Mangold continues to explores the masculine identity here as well. However, while these other examples seek to explore the complexity of the male ego, Ford v. Ferrari instead celebrate masculine intensity and competitiveness. While women in the film are held with respect, this really is a film about men looking to prove the size and power of their engines. When Henry Ford’s masculinity is threatened by Enzo Ferrari, his immediate response is to crush his enemies on their home turf of La Mans. Meanwhile, within Ford’s company, right-hand man Leo Beebe reminds Shelby who signs the paychecks by insisting that he does things the ‘Ford way’. Money, winning and power are the gold standards in this world as men scratch and claw at one another for dominance.

Christian Bale and Matt Damon in Twentieth Century Fox’s FORD V. FERRARI.

Where the film differs in this approach however is through Shelby and Miles who, although driven to prove their worth on the racetrack, get most excited when invited to create. Their purest joy comes through developing new technology and breaking barriers. Rather than being driven to win, their primary interest in Le Mans is based on breaking new barriers and showing the stodgy old regimes in power that their ideas and improvements matter. For Shelby and Miles, progress and innovation are the ultimate victory. Even though winning the competition at Le Mans is the goal, there is a freedom in their creativity that creates an almost divine sense of joy in these men that gives them life and energy. For Shelby and Miles, hope lies in the challenge of making something new, as opposed to maintaining the status quo.

In the end, Ford v. Ferrari races across the finish line with fun and fervour. While the film does slightly miss an opportunity to explore the fragile nature of the male ego, it also proves highly entertaining and engaging. As a result, solid performances and high-octane energy ensures that Ford v. Ferrari crosses the finish line well.

Ford v. Ferrari recently had its Canadian premiere at the Toronto International Film Festival and roars into theatres on November 17th, 2019.

TIFF ’19: Ford v. Ferrari

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Based on the true story, Ford v. Ferrari takes us back to the year 1966 when the Ford Motor Company was at a crossroads. Losing money and having failed in their attempt to buy Ferrari, they decide that they ultimate opportunity to turn around their company is to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France. In an effort to redesign their vehicles for racing, Ford enlists the help of American automotive designer Carroll Shelby (Matt Damon) and fearless British race car driver Ken Miles (Christian Bale). However, with innovation comes new ideas which threaten the status quo and, as a result, the two men must battle corporate interference, the laws of physics and their own personal demons in order to change history.

Christian Bale and Matt Damon in Twentieth Century Fox’s FORD V. FERRARI.

Shot with energy and excitement, Ford v. Ferrari feels a throwback film to the such classic ‘guy films’ as Days of Thunder and Top Gun at times. Similar to these other films, Ford v. Ferrari shoots its race sequences with vigor, intensity and fun while emphasizing the stakes at hand. Simple and straightforward in its approach, the film is entertaining and engaging with solid chemistry between its characters.

In the end, Ford v. Ferrari races across the finish line with fun and fervour. While the film does slightly miss an opportunity to explore the fragile nature of the male ego, it also proves highly entertaining and engaging. As a result, solid performances and high-octane energy ensures that Ford v. Ferrari crosses the finish line well.

Ford v. Ferrari recently had its Canadian premiere at the Toronto International Film Festival and roars into theatres on November 15th, 2019.

Pilgrimage: A Bloody Road to Faith or Doubt

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We’re not alone. We’re never alone. Have faith.– The Novice

Forced to travel on a holy pilgrimage from the only home he’s ever known, The Novice (Tom Holland, Spiderman: Homecoming) leaves his Irish Catholic monastery with a few other priests to deliver a relic to Rome for the efforts of the Crusade. Along with the Mute (Jon Bernthal), who is a lay member of the order with a past, and Brother Ciarin (John Lynch), he’s directed by Cistercian Frere Geraldus (Stanley Weber) to join up with the army of the Baron de Melville (Eric Godon). Out of his element, and struggling to see this new world through his eyes of naive faith, the Novice considers the bloody world he finds outside of the monastery.

In a gripping (and graphic) prologue, we see Mathias of Bethlehem stoned by an unbelieving crowd – it’s the rock which delivers the death blow that will become the relic The Novice protects a thousand years later. But just like the violence that leads to Matthias’ death, there is blood and terrible havoc released as the monks travel through enemy lands to deliver the relic. Brendan Muldowney’s vision of that violence beyond the walls of the monastery never wavers, and we see the dangers facing the monks – and the degrees to which they’ll be forced to go to protect the relic (and by default, their faith).

With a blend of English, Irish, Latin, and French dialogue, the film proves to be a higher bit of filmmaking than your average medieval blood bath (Ironclad, Black Death). But in the narrative, the violence is a background for the journey – the action to keep the monks moving forward in protecting, recovering, and transporting their relic – which many of them believe will actually provide protection and victory because of the way in which Matthias died.

This ultimately becomes the dilemma, the thesis, the question: does God actually will one to win over another? Can a rock actually provide the holy talisman which would swing a war? What difference does it make if we believe in a ‘thing’ or idea, versus the actual substance of the thing itself?

Pilgrimage is a dark, troubling film with a few wince-worthy moments, and enough subtitles to make me read (rather than watch) the film. But the end result, with its blend of action and thought-provoking exploration of what faith in the world looks like, captivated  and entertained me. In fact, the film gets pretty close to evangelical – even in the midst of the violence: as one monk is cruelly tortured and murdered, his dying words to his interrogator are: “God loves you. He forgives you. I forgive you.” It’s… intense.

But it’s also not cut and dry. Some of the monks see only the delivery of the relic; others see only their own self-preservation. And then there’s Holland’s Novice caught in the middle, with us, the audience.

It’s a fair exploration of faith and doubt, even if you don’t always like where it goes.

3.24 Cruising with BABY DRIVER

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This week, author Jeffrey Overstreet rolls in to talk with Steve about BABY DRIVER, Edgar Wright’s hit heist film!  This film has it all — action, romance and a fantastic playlist — but is there more to the story?  In a fun conversation, they talk about defining ourselves and what it means to be ‘good’.  Plus, the guys give their surprises of the year (so far) and most anticipated titles to come!

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.

3.24 Baby Driver

A special thanks to Jeffrey for coming on the show!

The Accountant – When the Weak Become Strong

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accBen Affleck had a quiet 2015 by his standards. But in 2016, his depiction as the fifth modern interpretation of Batman in Batman v Superman: Dawn of Justice and Suicide Squad drew plenty of attention. And yet, the film no one had on their radar, The Accountant, may have been his best film in years.

As a “math savant” (autistic accountant may work better), Christian Wolff (Affleck) does statistical analysis for dangerous people, reaping a fortune but living a quiet life. Thanks to his military father’s training, he’s well-versed in gun use and hand-to-hand combat, which all come in handy when he takes a liking to a fellow accountant (Anna Kendrick) and incurs the wrath of a dangerous organization who wants his math to go away. Suddenly, the two are on the run from the bad guys and the Treasury Department’s Crime Enforcement Division (are they bad, too?)

acc2

On Warner Bros.’ special features on the Blu-ray, the audience can follow up this film’s exploration of family and autism by checking out the way that Wolff’s brain is wired in both “Inside the Man” and “Behavioral Science.” This is just a continuation of my appreciation for the film’s take on autism – where Wolff’s OCD and autism are not weaknesses but strengths he has mastered. (Of course, there’s also a take on the stunt work and fighting in “The Accountant in Action,” but that’s more standard than the actual focus on autism.

While the film focuses mainly on Wolff, there’s a terrific role here for Jon Bernthal that I won’t reveal much about. It’s solid action/thriller territory here, mixed in with the tender way that director Gavin O’Connor unpacks autism. It’s certainly not the way that some might understand it (and I have no one of knowing if it’s all ‘possible’) but it will certainly cause you to consider how you see people – and what you believe they can do.

Elsewhere, O’Connor’s direction of Bill Dubuque’s (The Judge) script also delves into the ways that O’Connor explored family in Warrior with Joel Egerton and Tom Hardy. There’s some of that “fight it out” mentality here – and an understanding that we don’t always have to like each other to love each other. Powerfully wrought, wonderfully acted, and dizzyingly exciting, The Accountant deserves to be on your watch list if you missed it. It’s certainly my action film of 2016!

Netflix Continues To Punish The Competition

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netflixlogoWith the increasing amount of “cord cutters” (I am myself joining that fray real soon), the battle for scooping up that market is becoming a one-horse race recently. With its foray and concentration to original programming and a low affordable streaming rate, Netflix has blazed a trail that others are trying to keep up with. More notably, the returning Orange Is the New Black has received countless awards and allows viewers to binge watch a whole season without having to wait for drawn out episodes spanning over several months. House of Cards has also made its mark on the consumer and, just recently, Marvel TV teamed up with Netflix and released the already popular and acclaimed Daredevil series as part of Marvel’s growing cinematic universe.

pitt

It’s quite a lineup that Netflix has going for it but there is more to come. Original movie are set to follow their original series. They’ve recently reached a deal with Weinstein Co. for the sequel to Crouching Tiger, Hidden Dragon and now have announced an exclusive movie deal with Brad Pitt to make War Machine. They also have a pact with Adam Sandler for four original movies. Needless to say, their stock is at an all-time high. These plans are making Netflix the front runner in streaming media and one can clearly see more down the road.

Back on the “TV series” side, Netflix had already acquired the rights for Fuller House reuniting the cast of Full House and have now picked up the just recently cancelled Degrassi: Next Class, keeping the long-running Canadian teen drama alive. Also, there are reports that the creators of Top Gear are leaving BBC and reuniting for an exclusive new car show series for Netflix (I don’t care for rumors but this seems to be picking up steam).

jon bernthal the punisher

On top of that, Marvel fans can rejoice with the official announcement that Joe Bernthal (Walking Dead, Fury) has been cast as fan favorite Frank Castle aka The Punisher for season 2 of Daredevil. That leaves some credibility to rumors that Marvel and Netflix have plans for Blade and possibly Ghost Rider as well. Also, the next series in the Marvel/Netflix slate has gotten a name change dropping the “AKA” and strictly calling it Marvel’s Jessica Jones. Let’s not forget, Luke Cage, Iron Fist, and a Defenders series are also already confirmed and in the mix.

Marvel's Jessica Jones

That is tons of news, and I’m sure I’ve probably missed some, so leave us some feedback and let us know what you are more excited about from Netflix. And leave us suggestions as well!