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Karen Gillan

Dual: Cold-Hearted or Caregiver?

May 9, 2022 by Steve Norton Leave a Comment

Directed by Riley Stearns, Dual is a more thoughtful piece that one might expect. On paper, this satirical sci-fi seems like another opportunity for rising star Karen Gillan to showcase her immense talent as a physical performer, especially in the film’s climactic battle to the death. But, in actuality, Stearns uses the film as an opportunity to look at what makes us human and, more importantly, why life is worth living.

Set in a world where cloning is not only reality but common practice, Dual suggests that the best use of this technology is to help continue on one’s life for their loved ones in the case of terminal illness. After all, why bother enduring the suffering of losing a loved one when you can simply make a new one? Once the original person passes away, the clone simply steps into their life and takes it on as their own. This is certainly the case for Sarah (Karen Gillan), a young married woman who discovers that she is suffering from a terminal illness. After the cloning process is complete, Sarah awaits her own death by training her clone (called ‘Sarah’s Double’, temporarily) about her life, explaining her interests and allowing her husband to accept her copy in her place.

However, problems arise when Sarah discovers that her illness has miraculously disappeared. In these cases, the government mandates a fight to the death between original and copy in order to determine who will take on the person’s life as their own.  (In this way, the title becomes significant as it references both Sarah’s two copies and their final ‘duel’.) With the battle approaching, Sarah seeks out the help of Trent (Aaron Paul), a personal trainer who she enlists to coach her on the fine art of taking the life of another.

In many ways, this is a fascinating use of an old science-fiction trope. Many times before, we have seen the complications when one clones themselves. From Multiplicity to Nolan’s The Prestige, we can’t seem to stop thinking about improving our lives by replicating ourselves. In the case of Dual, however, Stearns uses the cloning trope to wrestle with what gives us life in the midst of our mundane existence. With an intriguing concept and sharp script, Stearns acknowledges the fact that the incredible value of human life, even as we allow ourselves to forget what it is.

Amazingly, despite their upcoming fight to live, neither Sarah nor her double seem particularly passionate about the very life that they’re fighting for. Marital expectations, phone calls with mother and the drudgery of everyday life seem to have sucked all of the enjoyment out of the experience for both women. As such, there seems to be a general sense that the banality of life has emptied it of any sense of joy. With each passing day, their relationships that have been left on the cold hard floor of practicality are increasingly revealed to lack passion and, most of all, love. 

What’s more, as the original Sarah trains feverishly, so too does she have a part of her soul stripped away. Through field trips to the morgue and Clockwork Orange-level desensitivity training, her time with Trent is specifically designed to numb her to any sort of connection to humanity. To Trent, people have no soul worth valuing. Only matter to be disposed of. For him, the key to survival lies in viewing humanity is little more than bags of meat.

Charles Darwin would be proud.

Although, as moments of compassion and care for her clone begin to arise, the value of the other seems to revive Sarah’s inner spark. Suddenly, Sarah begins remember that there’s something amazing and mystical about creating life, even in the midst of its daily drudgery. Although the driest aspects of life can be draining, the ability to care for one another make it worthwhile. 

While the film could benefit by allowing some of Gillan’s natural charm to break through into her character, Dual’s conversations about life and purpose nevertheless manage to intrigue. Although the tone is surprisingly quiet (especially one building up to a final confrontation), Stearns clearly wants his viewer to engage the film’s ideas as opposed to any grand action set pieces. But that unique tone and vision is what makes Dual worth fighting for.

Dual is now available in theatres.

Filed Under: Featured, Film, Reviews Tagged With: Christopher Nolan, Dual, Karen Gillan, Riley Stearns, SciFi

GIVEAWAY: Digital Copy of JUMANJI: THE NEXT LEVEL

March 24, 2020 by Steve Norton 10 Comments

When Spencer goes back into the fantastical world of Jumanji, pals Martha, Fridge and Bethany re-enter the game to bring him home. But the game is now broken — and fighting back. Everything the friends know about Jumanji is about to change, as they soon discover there’s more obstacles and more danger to overcome.

To enter, tell us your favourite video game film and why. For a bonus entry, like or share the post on Twitter, Facebook and/or Instagram.

The winner will receive a digital copy of Jumanji: The Next Level on iTunes.

All entries must be completed by 11:59pm on Thursday, March 26th, 2020.

To hear teenFish’s episode on JUMANJI, click here.

Filed Under: Featured, Giveaways Tagged With: Coronavirus, COVID-19, Danny DeVito, Dwayne Johnson, Jack Black, Jumanji, Jumanji: The Next Level, Karen Gillan, Kevin Hart

teenFish#8 JUMANJI: THE NEXT LEVEL

February 2, 2020 by Steve Norton Leave a Comment

Welcome to teenFish, a podcast series that lets teenagers speak about media that matters to them in their own voice. Hosted by Daniel Collins (Infinity Warm-Up), teenFish airs every month and invites local youth to engage the truth and lies of the shows and films that excite them.

When Spencer decides to re-enter the world of JUMANJI, his friends follow in order to save him from the dangers inside. However, when glitches in the game push the boundaries of their experience, the team is forced to take a hard look at themselves in order to decide who they really are and what they’re capable of. This month, Daniel and Jacob delve into JUMANJI: THE NEXT LEVEL to talk about finding our identity, purpose and reconnecting.

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

Filed Under: Featured, Film, teenFish Tagged With: Awkwafina, Danny DeVito, Danny Glover, Dwayne Johnson, Jack Black, Jumanji, Karen Gillan, Kevin Hart, Nick Jonas

In a Valley of Violence – Sin and Salvation in the Old West

October 19, 2016 by Darrel Manson Leave a Comment

“I’m not here to save you. I’m not here to save anybody.”

The Spaghetti Western is back! In a Valley of Violence harkens back to the films of Sergio Leone and Clint Eastwood. From the opening credits we know a very close similarity to films like The Good, the Bad, and the Ugly. Like those earlier Westerns, this is something of a demythologized West. There is no romance to this vision of the Old West. People and life are hard. There is little love to be seen. Through it all, there is a good deal of talk about sin and salvation.

In a Valley of Violence

On his way to Mexico, Paul (Ethan Hawke) and his dog Abbie come across a whisky priest (Burn Gorman) in the desert. He is told that over the ridge is the town of Denton, that is “full of sinners.” While Paul wants to avoid other people, he decides a stop in town would be a good idea. When he arrives in town, the first building is a boarded up church. Paul reflects, “God must have packed up and left with the rest of them.” Soon Paul has a run-in with Gilly (James Ransone), the local bully and son of the Marshal (John Travolta). Paul is happy to go on his way, but Gilly isn’t willing to let things go. Violence and vengeance escalate, and Paul, who is haunted by his past, must go back on the promise he made himself to not kill any more.

Added to this mix are two sisters, Mary-Anne (Taissa Farmiga) and Ellen (Karen Gillan) who run the town’s hotel. Ellen has connected herself to Gilly as a way out of the boring life of this community. Mary-Anne, whose husband has left her, sees her hope of escape in Paul. But Paul has a past that makes him not want any human connections. He sees himself as a sinner without hope of redemption. As such, he won’t allow himself to be loved, and so cannot offer love.

In a Valley of Violence

It is interesting just how often the ideas of sin and salvation come up in the dialogue between all these characters. They seem to be defined by the sins of their lives. Anger and hubris are very central to Gilly and his cohort. The Marshal just wants to maintain a status quo, even though he knows his son is dangerous. Ellen embodies vanity. Paul cannot let go of the sins of his past. That is the very reason he his drifting through the desert to get to Mexico. Only Mary-Anne has a claim to goodness. She spends her life taking care of others but feels as though she is punished for it. Salvation seems impossible to these characters. Paul just seeks solitude as an escape from his guilt. The rest seem to see themselves as residing in hell. It is Mary-Anne who is actively looking for something better—a redemption that she hopes she can find in Paul.

In A Valley Of Violence

Whether salvation can be found in this film is a question worth considering. But a deeper question is whether violence can be the medium by which salvation is accomplished. This is a story that is driven by revenge and violence. Does all that overcome the sinfulness that envelops Denton or by the end do we think that the evil that dwells there has come out victorious?

Photos courtesy Focus World

Filed Under: Film, Reviews Tagged With: Burn Gorman, Ethan Hawke, James Ransone, John Travolta, Karen Gillan, revenge, sin, spaghetti western, Taissa Farmiga, Ti Weswt, western

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