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6.11 Carving Up Justice in KNIVES OUT

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In KNIVES OUT, Rian Johnson draws the viewer into a world of diabolical murder and twisted intrigue. When aging mystery novelist Harland Thrombey kills himself after his 85th birthday, the police initially rule his death a suicide. However, after private investigator Benoit Blanc is brought in to question the cantankerous clan, he suspects that Thrombey’s death may be the result of foul play and begins to pull at the thread of truth. This week, Steve welcomes back Wade Bearden (Seeing and Believing) to investigate the film’s depiction of justice, mistrusting memory and understanding good character.

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

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.

6.11 Knives OutDownload

Knives Out: Cut-Throat Family Politics

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Written and directed by Rian Johnson (Looper), Knives Out follows the clues behind the death of Harlan Thrombey (Christopher Plummer), a wealthy author who is murdered after his birthday party. Called in by a mysterious benefactor, Detective Benoit Blanc (Daniel Craig) is called in to help unravel the mystery amongst Harlan’s quirky relatives, including Harlan’s daughter, Linda (Jamie Lee Curtis), his sons Richard (Don Johnson) and Walt (Michael Shannon) and caregiver Marta (Ana de Armas).

From Brick to Star Wars: The Last Jedi, Johnson’s films thrive when thrown into a genre and given the opportunity to turn it on its head. Thankfully, Knives Outcontinues this trend of success by offering a wild and sharply-written homage to classic ‘whodunnit’ mysteries of old. Featuring a grizzled but relentless detective, multiple suspects with questionable alibis, and even on old mansion that feels as much a character within the film as its stars, Knivescarries with it all the tropes established in the best pulp detective novels. (In fact, at one point, the film even refers to itself as a game of Clue, the classic mystery board game.) However, thanks to Johnson’s witty writing and incredible performances by its cast, the film absolutely pops onscreen and never feels stale. 

Featuring an all-star cast, the film allows every one of its characters to shine in various moments. However, it’s Craig as Detective Benoit Blanc that proves to be the standout. As Blanc, Craig is simply wonderful and may have even found a character to define his career when 007 retires. Channeling the best of Poirot and Sherlock Holmes, Craig often holds the film together with his hard-nosed growl and solid comedic timing.

While the film focuses its narrative primarily on the mystery, it’s also interesting to note the subtext that comes within the family drama and, more specifically, its conversation surrounding immigration. The lightning rod of this conversation surrounds Marta, Harlan’s personal caregiver. Young, hard-working and faithful, Marta is repeated referred to as ‘family’ by Harlan’s children. [Potential minor spoilers] However, things change dramatically when its suggested that Harlan may have wanted to reward her properly for her loyalty. After that, the family begins to question her involvement with their father and whether or not she even belongs in their country at all. Despite their love of Marta, when their potential windfall is threatened, her value moves quickly from cherished member of the family to illegal immigrant. [Potential spoilers end] 

While subtle, Johnson uses this Marta’s role in the family to highlight a much larger social issue. By using Marta as an example, Johnson highlights the fragile nature of American value of immigrants who are often perceived as welcome members of the country, until something goes wrong. All of a sudden, when someone or something needs to be blamed for the country’s ills, too often those who have immigrated quickly become scapegoats. Despite their value as people, they quickly become viewed as the dangerous ‘other’ who are unjustly accused. As a result, despite its pulp detective framework, Johnson layers a beating heart of justice to his work that challenges the viewer’s ideologies.

In the end, there will be few films this year that are as fun and entertaining as Knives Out. Writer/director Johnson has once again woven a complex narrative filled with unique and engaging characters that will be well worth the price of admission. In doing so, the film also manages to highlight the difficulties inherent to America’s immigration issues as well.

Knives Out spins its web of lies in theatres on November 27th, 2019.

TIFF ’19: Knives Out

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Written and directed by Rian Johnson (Looper), Knives Out follows the clues behind the death of Harlan Thrombey (Christopher Plummer), a wealthy author who is murdered after his birthday party. Called in by a mysterious benefactor, Detective Benoit Blanc (Daniel Craig) is called in to help unravel the mystery amongst Harlan’s quirky relatives, including Harlan’s daughter, Linda (Jamie Lee Curtis), his sons, Richard (Don Johnson) and Walt (Michael Shannon) and caregiver Marta (Ana de Armas).

From Brick to Star Wars: The Last Jedi, Johnson’s films thrive when thrown into a genre and given the opportunity to turn it on its head. Thankfully, Knives Out continues this trend of success by offering a wild and sharply-written homage to classic ‘whodunnit’ mysteries of old. Thanks to Johnson’s witty writing and incredible performances by its cast, the film absolutely pops onscreen and never feels stale. As Blanc, Craig is simply wonderful and may have even found a character to define his career when 007 retires. Channeling the best of Poirot and Sherlock Holmes, Craig often holds the film together with his hard-nosed growl and solid comedic timing.

In the end, there will be few films this year that are as fun and entertaining as Knives Out. Writer/director Johnson has once again woven a complex narrative filled with unique and engaging characters that will be well worth the price of admission. In doing so, the film also manages to highlight the difficulties inherent to America’s immigration issues as well.

Knives Out had its world premiere last week at the Toronto International Film Festival and spins its web of lies in theatres on November 27th, 2019.

What They Had: Remembering to Forget

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“What do you mean she’s gone?”

In What They Had, Nick (Michael Shannon) opens with the phone call that every adult dreads: that their mother (Blythe Danner), Ruth’s dementia has caused her to wander into the night. As a result, Nick calls his sister, Bridget (Hilary Swank) and asks her to come home in an effort to convince their father Burt (Robert Forster) to begin the process of moving them into a proper senior’s facility. Struggling to hold on to his way of life, Burt is resistant, arguing that he is the best care for his wife in her time of need. As a result, Nick and Bridget must struggle to decide what’s best for their parents in their advanced age.

While it should be no surprise that a film anchored by Michael Shannon, Hilary Swank and Blythe Danner consists of strong performances, What They Had gains its true power from its authenticity. Using Bridget as the film’s emotional balance, the film accurately portrays the heartbreak and struggle that comes with having to care for one’s parents. In fact, one of the best aspects of the film is the manner in which it both affirms and challenges the voice of the elderly within the film. For every moment that Nick points out the truth that their parents’ safety is at risk, there is another which seems to justify Burt’s claim that he is still Ruth’s best caregiver. In doing so, the film manages to both honour the power of Burt and Ruth’s story while, at the same time, affirming Nick’s claim that they are unable to continue as they have.

The core of the film lies its exploration into the power of love, especially within the context of Burt and Ruth’s relationship. As Ruth continues to lose herself to her dementia, Burt’s deep love for his wife translate as her personal salvation. Although she increasingly struggles with the details of her life, his relentless commitment to her translates into the one thing that she remembers most easily. (“That’s my boyfriend,” she says repeatedly, “he’s always hanging around.”) His love for her becomes redemptive, providing her the stability that she so badly needs. (Of course, therein also lies the problem, as he also believes he is the only one capable of caring for her properly.)

More than this though, by juxtaposing Bridget’s emotional journey up against Burt and Ruth’s relationship, the film also demonstrates the power of different worldviews. Struggling through a disappointing marriage and tension with her daughter, Bridget’s view of love has been tainted, leaving her dissatisfied with life. In this way, we recognize her admiration for her parents’ marriage, which is based on ‘commitment’. The story of Burt and Ruth is one of traditional values, steeped in the beliefs of their time. Their love is the one Bridget aspires to have. However, the film is not content to simply hold Burt and Ruth’s marriage as the ‘standard’ either, questioning the relevancy of Burt’s views in today’s culture. It’s a beautiful tension that serves as a reminder that love continues to remain complicated. Although relationships look different between generations, there is much for us to learn from the values of those who have come before.

At its core, What They Had speaks to more than one family’s struggle to decide on their parents’ ability to live on their own. It’s a film about what it means to truly love someone else, through every stage of life. Featuring powerful performances by its cast, it’s a reminder of the conflict between love’s ‘butterflies’ and long-term commitment, even when your partner struggles to remember you.

What They Had is in theatres on October 26th, 2018

What They Had – Family Struggle of Dementia

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Dementia can be a nightmare for families. It’s not just watching a loved one becoming lost as their memory deteriorates. It requires making hard choices that can put family members at odds with each other. What They Had is a look inside a family that is struggling to deal with a wife and mother as she slips deeper and deeper into dementia.

After her mother Ruth (Blythe Danner) wanders away on Christmas Eve, Bridget (Hilary Swank) gets a call from her brother Nick (Michael Shannon) to come home to Chicago to help deal with the problem. Nick, who still lives near his parents has seen Ruth’s ongoing decline. He has been involved in her care. Nick is adamant that the time has come for Ruth to be moved into “memory care”. Her husband Bert (Robert Forster) wants nothing to do with moving her from their home. He will take care of her, he says.

Michael Shannon stars as “Nick”, Taissa Farmiga as “Emma”, Hilary Swank as “Bridget” and Robert Forster as “Bert” in Elizabeth Chomko’s WHAT THEY HAD, a Bleecker Street release. Credit: Bleecker Street

When Bridget arrives, she becomes the referee between father and son. She tries to find middle ground, but it may not be possible. Nick has everything planned, but it is Bridget who holds power of attorney. As the family struggles over how to deal with Ruth, other side issues naturally arise to both illuminate and complicate things: the hostility in Nick and Bert’s difficult relationship, Bridget’s loneliness within her marriage, and Bridget’s lack of understanding her own daughter Emma (Taissa Farmiga).

But this is also a story of a family in which love is real. Even though Bert spends a great deal of time trying to tell his children that there are no bells and whistles in love, he and Ruth clearly had a relationship that was held together by a deep, romantic relationship. And that relationship is central to understanding why Bert is so adamant about keeping Ruth with him. Even in the midst of fighting, the family maintains its bonds between each other. Bridget and Nick have their own sibling resentments, but still we know they want the best for each other and for the family as a whole.

Blythe Danner (left) stars as “Ruth” and Robert Forster (right) stars as “Bert” in Elizabeth Chomko’s WHAT THEY HAD, a Bleecker Street release.

I found this to be the most accurate portrayal of dementia and its attendant issues of any I’ve seen on film. (At least, it very accurately mirrored my experience with my mother sliding into dementia.) Writer/director Elizabeth Chomko based the story on her grandmother’s descent into Alzheimer’s disease. It is at times filled with pathos, and at other times quite humorous, just as is the case with watching someone you love who has dementia.

And while our family did not have as dramatic confrontations as this family, we did have differences of opinion about what would be right at any particular time. It is the family struggle that is the real focus of What They Had, rather than dementia itself. In this too Chomko brings an eye and ear for reality. She also uses the other difficulties in her character’s lives to bring out the emotional and sometimes spiritual struggle the family undergoes. An example is a set of scenes with mother and daughter in bed together, one with Ruth and Bridget and one with Bridget and Emma. Without words, these two shots give us a visual reference to what is going on in Bridget’s life.

Blythe Danner and Hilary Swank star as Ruth and Bridget Keller in WHAT THEY HAD, a Bleecker Street release. Photo courtesy of Bleecker Street

What They Had offers us a chance to see that love and pain often travel together. This family suffers as Ruth loses her memories. But they are also bound by a love that continues through the pain and even the anger it dredges up. This is often the reality not only in dealing with dementia, but also with the many other trials that life brings our way.

 

TIFF ’18: What They Had

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“What do you mean she’s gone?”

In What They Had, Nick (Michael Shannon) opens with the phone call that every adult dreads: that their mother (Blythe Danner), Ruth’s dementia has caused her to wander into the night. As a result, Nick calls his sister, Bridget (Hilary Swank) and asks her to come home in an effort to convince their father Burt (Robert Forster) to begin the process of moving them into a proper senior’s facility. Struggling to hold on to his way of life, Burt is resistant, arguing that he is the best care for his wife in her time of need. As a result, Nick and Bridget must struggle to decide what’s best for their parents in their advanced age.

Using Bridget as the film’s emotional balance, the film accurately portrays the heartbreak and struggle that comes with having to care for one’s parents. In fact, one of the best aspects of the film is the manner in which it both affirms and challenges the voice of the elderly within the film. In doing so, the film manages to both honour the power of Burt and Ruth’s story while, at the same time, affirming Nick’s claim that they are unable to continue as they have.

The core of the film lies its exploration into the power of love, especially within the context of Burt and Ruth’s relationship. Although she increasingly struggles with the details of her life, his relentless commitment to her translates into the one thing that she remembers most easily. His love for her becomes redemptive, providing her the stability that she so badly needs. (Of course, therein also lies the problem, as he also believes he is the only one capable of caring for her properly.)

What They Had speaks to more than one family’s struggle to decide on their parents’ ability to live on their own. It’s a film about what it means to truly love someone else, through every stage of life. Featuring powerful performances by its cast, it’s a reminder of the conflict between love’s ‘butterflies’ and long-term commitment, even when your partner struggles to remember you.

What They Had is currently playing at TIFF ’18

The Shape of Water – Fable with Biblical Commentary

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“Decency is an export. We sell it because we don’t use it.”

Guillermo del Toro’s films are sometimes referred to as fairy tales, fables, or parables, but always much darker than we usually think of such things. Those characterizations are not just because of fantastic, mythical beings in the stories. It is also because these stories have a strong moral center that uses a fantasy world to challenge our understanding of our own world. All this is true of his newest film, The Shape of Water.

Sally Hawkins in the film THE SHAPE OF WATER. Photo by Kerry Hayes. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved

The film is set in the Cold War, a time that some saw as a great battle of good versus evil. (Of course, which side you were on would affect which side you viewed as good.) In a secret government facility, Elisa (Sally Hawkins), a mute janitor, discovers a strange creature (Doug Jones) being held captive. It is amphibian and resembles the Creature from the Black Lagoon. The creature is being held there by Richard Strickland (Michael Shannon), who brought the creature back from the Amazon because it might hold secrets to give the US an advantage over the Soviets in the space race. In time, Elisa secretly forms a relationship with the creature and enlists the help of a co-worker Zelda (Octavia Spencer) and neighbor Giles (Richard Jenkins) to free the creature from the lab to save its life.

Because of the setting, the film allows reflection on those “good old days” and how they may fall short of our golden memories of them. There are clear distinctions between classes, races, and men and women. But the story revolves around the differences between the marginalized and the entitled.

Michael Shannon in the film THE SHAPE OF WATER. Photo by Kerry Hayes. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved

Del Toro employs an interesting device to illuminate the issues: biblical stories. Strickland has a worldview that is informed by a particular understanding of scripture. That understanding revolves around power. He believes he can treat the creature as he does because humans are created in God’s image—and he sees himself more in God’s image than other people. When he learns Zelda’s middle name is Delilah, he brings up the story of Samson, which he also reads as a story about power and being the conduit of that power. As we watch we see that even though he knows scripture, he has a distorted view of its meaning.

But the key biblical story alluded to in the film is Ruth. Del Toro doesn’t tell us the story (as with Samson). He just gives us an allusion to the story and lets us find how to use that tool to read the film. Elisa lives above a movie theater that is currently showing The Story of Ruth. That biblical account is also about the marginalized. Ruth was a foreign widow (two forms of marginalization). Elisa has been abused as a child and is now mute. The creature is a prisoner and totally out of his element.

Doug Jones and Sally Hawkins in the film THE SHAPE OF WATER. Photo Courtesy of Fox Searchlight Pictures. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved

In the story of Ruth, Ruth is rescued from her dire situation through finding a relationship with Boaz, a distant well-to-do relative. There is a bit of seduction in Ruth’s story, and in this one as well. But as l look at this story through the lens of the book of Ruth, I’m not sure which character is in the role of Ruth and which is in the role of Boaz. Certainly, Elisa rescues the creature from his imprisonment, but he also rescues her from her loneliness and pain. I have come to the conclusion that they each serve as Boaz to the other. They both bring a kind of salvation that give life to each other through their love.

It is good to remember that the biblical account of Ruth arose during a time of marginalizing those whose Jewish lineage was in question (even though the story is set much earlier). As we look at today’s world, we see many who are on the margins of society because of poverty, race, immigration status, sexual identity, and many other reasons. The Shape of Water provides a fable that calls us to act with decency (something that the powerful in this story see as unimportant) towards those around us. Today’s world still needs to live out that story of Boaz and Ruth.

Sally Hawkins and Octavia Spencer in the film THE SHAPE OF WATER. Photo Courtesy of Fox Searchlight Pictures. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved

4.07 Diving into THE SHAPE OF WATER

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Guillermo Del Toro’s latest creation is garnering awards momentum with each passing week. While a romance film between woman and fish-man seems… unexpected… on paper, it carries a poignant message that seems timely and relevant. But why? This week, returnees Ben Dower and Andrew Eaton speak with Steve on the nature of love and repeating history.

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.

4.07 The Shape of Water

A special thanks to Ben and Andrew for joining us!

 

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/

 

Midnight Special: When Worlds Collide

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midnightspecial1

Alton (Jaeden Lieberher) is a special young man. He’s so special that several government organizations with a spectrum of motivations and a cult devoted to things Alton has said are hot in pursuit of Alton and his father, Roy (Michael Shannon). In writer/director Jeff Nichols’ brilliant followup to Mud, the action occurs in bursts as the father pursues an unseen level of safety for his son. With a throwback feel to films like Starman or Escape to Witch Mountain, this one is ultimately about what you believe and why you believe it.

midnightspecial2In the beauty of Nichols’ story, we’re dropped right into the middle of the chase. We don’t know exactly what Alton can do, why the government or cult want him, where they’re going, or what exactly all of the relational dynamics are between Roy, Alton, and fellow travelers who come and go. We do know that Lucas (Joel Edgerton) is determined to protect Alton, even as much as Roy, but we know that Lucas’ belief spectrum is much narrower than Roy’s. It’s the beauty of how belief is presented: there are no right or wrong answers, but our own understanding of faith comes into the way we appreciate characters in the film.

midnightspecial3Several other characters develop this spectrum of faith. There’s a rather important part played by Kylo Ren, er, Adam Driver, as Paul Sevier, an analyst who understands more about Alton than anyone else, and another, thanks to a Kirsten Dunst sighting, as Sarah Tomlin, Alton’s mother and Roy’s wife. [Note the moment when she gets an important haircut later on in the film.] Seriously, Nichols’ use of strong acting, even by actors we’ve come to know in other, different settings, is part of what makes this film purr along. Case in point: go check out The Confirmation to see more Lieberher.

midnightspecial4But for those considering plot: this is a straight up “chase” film. Will the baddies catch the fugitives? Or will Roy get Alton wherever he’s going? We don’t know exactly where “there” is but we know it’s paramount. It’s just like the way that we know that this is a science fiction film, but we don’t know exactly what we’re seeing. The pacing is spot on, and the mood, thanks in part to David Wingo’s score, makes for a feeling of anticipation and dread. Will you love the ending? Potentially. So much of your appreciation for the film depends on how much you are drawn into the characters – and the main dynamic of father and son.

In a “flipped” Parable of the Prodigal Son, we find a father who is willing to run with his son rather than toward him. The father’s desire to protect his son is an amazing display of paternal love – but it’s also something more, reflecting the divine. We know that it’s a reflection of Nichols’ own struggle with nearly losing his son (you can check out the review on ScreenFish) and the way that parents come to realize they can’t control, protect, direct, or change their children forever. And yet that impossibly powerful love remains, just like the love of the Father for the Son, passed on to us because of letting go. Can Roy’s love be big enough to let Alton go if need be? If so, what would that look like? What would it accomplish? What will be the sacrifice?

It all depends on what you believe – it’s all part of the process Nichols is taking us through. In the end, I found it mind-blowing – sci-fi on a dialed back, less CGI-focused scale. And it was perfect.

Special features include a focus on the five key characters (Roy, Alton, Sarah, Lucas, and Paul Sevier), and Nichols’ own look at the way the worlds of the film collide. 

Podcast: Ordering the [MIDNIGHT] SPECIAL

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Midnight-Special-Movie

This week on the show, Steve Norton welcomes Seeing and Believing co-host Wade Bearden as they discuss Jeff Nichols’ MIDNIGHT SPECIAL. Plus, the guys offer up their Top 3 Sci-Fi films of the 21st Century!

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.

2.13 Midnight Special