ScreenFish

where faith and film are intertwined

Scarlett Johansson

Giveaway! SING 2 on 4K!

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Get ready to sing your heart out!
Thanks to our friends at TARO PR, we’re giving away a copy of Sing 2 on 4K disc!

Directed by Garth Jennings, Sing 2 reintroduces us to Can-do koala Buster Moon and his all-star cast of animal performers as they prepare to launch a dazzling stage extravaganza in the glittering entertainment capital of the world. There’s just one hitch — he has to find and persuade the world’s most reclusive rock star to join them. What begins as Buster’s dream of big-time success soon becomes an emotional reminder of the power of music to heal even the most broken heart.

In order to enter, simply like/share this post on Facebook and/or Twitter and tell us your favourite animated film!

Winners will receive a 4K copy of Sing 2.

All entries must be received by 11:59pm on Thursday, March 31st, 2022.

Teenfish #14 ~ BLACK WIDOW!

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Welcome to Teenfish, a podcast series that lets teenagers and young adults speak about media that matters to them in their own voice. Hosted by Daniel Collins, Teenfish airs every month and invites local youth to engage the truth and lies of the shows and films that excite them.

Marvel Studio’s latest masterpiece, BLACK WIDOW, is a phenomenal solo movie about Natasha Romanoff, “a total poser”, aka Black Widow, as she confronts the darker parts of her ledger when a dangerous conspiracy with ties to her past arises. Pursued by a force that will stop at nothing to bring her down, Natasha must deal with her history as a spy, and the broken relationships left in her wake long before she became an Avenger. This month, Daniel is joined by Cat, Riley, and Jacob to discuss sexism, family, human trafficking, and some great acting!

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!

Black Widow: Good Hair is a Game Changer

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Do I even have to put a SPOILER WARNING here? Because we will be talking about Black Widow, so…yeah…potential spoilers.

I have short hair. Most days I can leave it down and it doesn’t cause any distractions or issues with my day-to-day activities. But, if I’m going to be doing things like cleaning or travelling, I’m going to somehow put it back out of my face and out of the way. The last thing I want to worry about when I’m active is my hair.

Can you imagine fighting to take down the universe’s most terrifying and powerful villains with your hair in your face? Because pretty much until Endgame and this movie, our mightiest female heroes have worn their hair down. And if you’re wondering why I care about this so much, let me explain. But first, a brief summary of where we are now that Black Widow has released.

Eleven years after her first appearance in Iron Man 2, Natasha Romanoff (Scarlett Johansson) is finally getting her story. Set between the events of Captain America: Civil War and Avengers: Infinity War, Black Widow shines the light on the shadows that have been Natasha’s elusive past. We’ve gotten some brief glimpses into her Russian training and connections and we’ve seen hints to the emotional burdens she wears. Since we can’t go back to the very beginning of her story, I wasn’t sure how we were going to see the path between who Natasha was, and who Natasha now is to us.

As she begins her time on the run after breaking the Sokovian Accords, Natasha is pulled back into a mission she long-believed was handled. She describes Budapest (an event she and Hawkeye (Jeremy Renner) recall during the first Avengers), as the final step to her defection to S.H.I.E.L.D., effectively finalizing the cleansing of the “red in her ledger.” But she was wrong. A mysterious package arrives at her safe house with a clue about who needs her and she has to seek out the very people she once felt betrayed by.

In the later movies, Natasha thinks of the Avengers as her only family. But we quickly learn here that she once had a sister, a mother, and a father. Even though it was artificially made as a cover for a covert Russian operation, there were a few years where Natasha had a normal life. But it was not to last.

Her “father” was actually Alexei Shostakov (David Harbour) aka Red Guardian aka Russian Captain America. He and brilliant scientist and fellow Widow (and “Mom”)  Melina (Rachel Weisz) had Natasha and “sister” Yelena (Florence Pugh) under their wing until the time came for the girls to begin their training at the Red Room. Together they must work to finish the mission Natasha started all those years ago.

The target? One of the creepiest villains I’ve seen in the MCU yet, Dreykov (Ray Winstone makes him almost TOO real). Mastermind behind the Red Room – an elite training facility that transforms orphan girls into world-wide assassins that work to keep Dreykov in power over the world’s most influential leaders – Dreykov has perfected a mind-control serum with Melina’s genius that ensures his Widows will deliver on his every command. He exploits both their vulnerability and sexuality and rewrites their reality – until Yelena defects and Natasha jumps in to free the Widows from Dreykov and destroy the Red Room for good.

How does any of this lead into a conversation about hair. Well, let’s think about it. For one, Black Widow’s hair has been a topic of conversation since Johansson brought her to life on the big screen. People complained it was too short, it was too long, it was too curly, it was too straight, it went blonde, etc. Here we have someone who regularly takes out pretty scary and powerful enemies, and we are talking about if her hair is right to the character. Dude – I just always wanted to know why it was down? In Endgame, we finally see her hair up for most of the movie, maybe because in space it’s more acceptable? Or because the scene had been set for years’ worth of searching for ways to undo all that Thanos had destroyed, and suddenly it didn’t matter? For whatever reason, I was thrilled to see exceptionally powerful women go into full battle mode with their hair up in Black Widow.

The contrast between Yelena wearing her hair up from the beginning but Natasha evidently having had to take a journey for it to be acceptable to wear her hair up is hopefully a glimpse into the future treatment of female super heroes in the MCU. Yelena has the same sarcastic wit of Captain Marvel, the same desire for what was fake to be real as Wanda, and the same moral compass of Gamora’s change of heart. She is set up to take on the mantle of Natasha and she’s not here to play games. And as silly as it’s going to seem to people, seeing her with her hair up throughout the film gives me confidence that female superheroes are being equipped to fight the same battles as their male counterparts. In continuation of illustrating this point, I give you the original Avengers:

  1. Captain America. Helmet. I don’t know how effective it is but it’s there. And he’s enhanced.
  2. Iron Man. Obviously. And he’s enhanced.
  3. Thor. Yes his hair is down but he can also fly and call lightning to his very hands. And he is a god.
  4. Bruce Banner. One word: Hulk. And he’s enhanced.
  5. Hawkeye. No head covering, but he mostly fights from a distance…because you know, #bowandarrows.

Captain Marvel had a helmet and a much more protective suit but, to this day, people condemn her character – even though she has been the closest one to receiving equal treatment. And she’s enhanced. Natasha fights on the ground, hand-to-hand, and her hair is curled and flowing the whole time. Now I don’t know much about the comics, but, as an average movie-watcher, it’s always bothered me. So forgive me if such a trivial detail has had such an impact on me. Because it demonstrates strength. And it’s just one piece of how Black Widow successfully created a storyline laced with vulnerability in such a way that made the women stronger as opposed to needy. Hair down to hair up is a key element of this transformation.

For years, Dreykov (Ray Winstone and one of the creepiest villains-to-date) exploited the emotional vulnerability and the sexuality of orphaned and discarded girls and controlled them in order to maintain his power over the world’s most influential leaders. We know this because we have seen Natasha use it in previous films, whether she is using staged modelling photos to distract Tony from her identity or secretly interrogating Loki by using her past as a tool to get what she wants out of him. She was trained to do that, and so were the hundreds of Widows trained after her. The ponytail, the braids, even the earrings…all of them work together as a visual representation of the strength of these women to do what needs to be done. In Black Widow, they are being freed from the constraints of how they have been viewed and used by those around them.

And for me at least, it’s about dang time. If I’m not going to clean with my hair in my face, I sure as heck ain’t saving the world with it in my face. And now my heroes don’t have to either.

Black Widow is now available in theatres and on Disney+.

Black Widow: Spinning Her Own Web

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Marvel makes movies.

Of course, you could be forgiven if you’d forgotten this. With the recent push to extend the MCU into the world of streaming with buzzy series like WandaVision, The Falcon and the Winter Soldier and (now) Loki, it might seem like they’d forgotten about their status as the Crown Jewel of the Box Office.

Even so, while this heavy emphasis recently may have been (partially) inspired by the lack of movie screens during the pandemic, Marvel refused to budge on the release of Black Widow. For Kevin Feige, the intent was always to bring people back to theatres with a bang. So, we saw release dates pushed back further and further. (So much, in fact that there are 4 films coming in the next 6 months…)

Now, with the release of Black Widow, we can finally see why.

Immediately following the events of Captain America: Civil War, Black Widow follows Natasha Romanoff (Scarlett Johansson) as goes out on the run. Hunted by the US government, she takes a step into her old life with the hope of disappearing into the night. However, when Romanoff is forced to confront a dangerous conspiracy with ties to her past, she must re-assemble the estranged members of her family and deal with her own broken story in the process.

Directed by Cate Shortland, Black Widow is absolutely something to behold. Part James Bond and part Mission: Impossible, Widow is a globe-trotting adventure that gives Widow her due. In Black Widow, Johansson steps out on her own with a film that takes itself more seriously than many other films in the MCU. Anchored by a solid script by Jac Shaeffer and Ned Benson and some marvelous action scenes, it’s easy to see that the ‘cinematic’ side of the MCU is where they believe their emphasis (read: money) lies. In Black Widow, set pieces simply feel… bigger. Avalanches crash, floating buildings fall, and motorcycles rumble through the streets of Budapest in scenes that are are absolutely eye-popping. When compared to WandaVision’s climatic magic snowball fight or Falcon’s final showdown, it’s clear that these are action sequences are designed to be experienced on the big screen.

Of course, the greatest victory in the film is that it finally gives Johansson a chance to shine without the help of her fellow men in tights. (“I’m better on my own,” she argues.) Whereas Widow’s other appearances in the MCU have either sexualized her (Iron Man 2) or forced her into various relationships with other Avengers (Captain America: The Winter Soldier, Avengers: Age of Ultron), Widow portrays her character every bit as heroically and confidently as her super co-workers. (In fact, several of the film’s best jokes are at the expense of her previous portrayals.) Here, Romanoff is depicted with intelligence, strength and—most importantly—individuality.

Although it has a global scale, the film itself feels very personal and, surprisingly, small in its scope. In other words, this is not a film where the fate of the world is at stake but instead focuses on Romanoff herself as she attempts to work out the traumatic events of her past. Though it has been referenced in previous films, much of her history has only been mentioned in brief segments, such as ‘Budapest’ or ‘having her surgery’. While Natasha’s rage has been the motivating factor for her character, the MCU has never taken the time to properly explore it.

With Widow though, Romanoff finally has the opportunity to face the demons of her past. By reconnecting with her ‘family’, she begins to navigate the complex nature of their relationships. By revisiting her old life, she has a chance to reconnect with the story that made her the invaluable member of the Avengers that she has become.

Then, of course, there’s the Red Room itself.

Having been moulded from childhood into a weapon by the Red Room, Romanoff has long spoken of the fact that she’s got ‘red in her ledger’. Although she has managed to walk away from the psychological torture of the Room, she still remains somewhat controlled by its abuse. Without any spoilers, there remains shadows in her mind that continue to haunt her. As a result, Black Widow is a film that is very much about reclaiming power and control. By confronting the Room, however, Romanoff has the opportunity to finally do battle with that evil influence and release herself (and potentially others) from it in the process. 

For her first (and I think it’s fair to expect more) solo adventure, Black Widow is wildly entertaining. Fueled by heart, humour and action, the film has the style and scope that you would expect from Marvel without ever losing its soul. Most importantly though, Widow finally gives Johansson the starring vehicle that she deserves and sets a standard for female-led superhero films moving forward.

Black Widow is available on in theatres and on Disney+ on Friday, July 9th, 2021.

Sing 2: Can a Song Save Your Life?

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Can a song really save your life?

Sing 2 sees the return of Buster Moon (Matthew McConaughey), the can-do koala bear who has developed an entertaining show with his musical friends. When he hears of an opportunity to take their performance to the next level, he enters his team in a singing competition led by promotion king, Jimmy Crystal (Bobby Cannavale). However, in order to entice Crystal’s investment, Moon suggests that he can get legendary (and reclusive) rock star, Clay Callaway (Bono) to star in his production. Peaking Crystal’s interest, Moon and his friends suddenly have a mere three weeks to develop an entirely new production while convincing Callaway to come out of retirement.

Written and directed by Garth Jennings, Sing 2 is a light-hearted and enjoyable film that is also a vast improvement on 2018’s original. Featuring some truly eye-popping animation this time around, Sing 2 feels far more cinematic than its predecessor. Whereas the first film focused more on urban settings, the more artistic elements of the story here allows for a great deal more pop to the film’s visuals. From the opening musical number to its wild finale, this entry into the franchise is simply stunning with its use of colour and animation. (If this were a real stage production, it would easily by the most expensive one ever produced…)

In addition, whereas Sing felt like a soundtrack in search of a movie, Sing 2 feels like it has a story to tell. Although still fueled by the pop music madness of the original, the sequel seems to offer more ‘soul’ through its characters and feels more driven in its storytelling. As with the first film, Buster Moon’s arc focusses on his bravado and desire to create something special for audiences (and, arguably, himself). Even so, he is far less of a schemer here than he was in the original. (Admittedly, there’s another big lie that drives the narrative yet, somehow, it seems more harmless than before.) Moon’s character has always been ambitious but there seems to be a deeper sense of care for his people here that overrides his decision-making (most of the time). As Moon fights to prep his big show, he has genuinely learned the value of the people that work with him and he does his best to find the best possible showcase for their talents. (Of course, it also helps that Sing 2 finally has a true villain in Cannavale’s vicious wolf, Jimmy Crystal. By bringing him into the franchise, Moon is allowed to lean into the role of inspiring—but flawed—hero.)

But let’s be serious. This film is really all about Bono. 

As reclusive artist Clay Callaway, Bono’s story feels infinitely more important than many of the other arcs that are taking place. (In fact, one wishes that we had gotten even more of him and his emotional journey.) As the reclusive artist, Bono absolutely shines. His distinct voice disappears into Calloway’s deep-throated growl and is almost unrecognizable. However, just like his character, his songs and his voice still make an impact. 

Perhaps ironically, the film almost feels like a redemption project—if one were necessary—for Bono and U2‘s music. Having been lost to this generation after their ill-advised decision to release an album entirely free on iTunes several years back, U2 has fallen out of the pop-culture zeitgeist. In many ways, Sing 2 is an invitation for a new generation to begin to get to know their music. Selectively choosing three of their more well-regarded hits for the soundtrack, the film has a sense that their music still resonates. 

Their music still matters. 

Certainly, this speaks to the film’s emotional core as well. Grieving the loss of his wife, Callaway refuses to see visitors and hides away from the public eye. Believing that he has nothing to offer without the love of his life, he will no longer even pick up a guitar to play for himself. However, Ash and Moon recognize that the power of his music still gives life and hope to others. There is a soul to his music that the world still needs, even if it is a challenge for him to step back onto that stage. Having been locked away by his grief, the power of his own lyrics helps Callaway remember the hope that he had lost. (In fact, the moment that he and Ash begin to sing ‘I Still Haven’t Found What I’m Looking For’ takes on almost religious significance. Specifically choosing to emphasize a verse about believing in the Kingdom Come and how the colours will bleed into one is not an accident.)

Though the film’s theme argues that a ‘song can save your life’, maybe its the truth within it that truly offers healing.

It’s worth noting that the film’s stunning visuals absolutely pop on home video as well. Despite the smaller screen, the film’s bright set pieces are rendered beautifully in 4K and should keep your children fully entertained. What’s more, it’s worth noting the Illumination has done a wonderful job with their special features here as well. Along with the expected digital shorts (there’s always room for more Gunter…), outtakes and behind-the-scenes features, they also do a good job targeting child engagement with additions such as sing-a-longs and even a ‘how to dance’ feature. (Incidentally, I… did not do well at this…) All in all, there’s certainly enough here to justify the purchase for your family.

With energy and enthusiasm, Sing 2 still offers all the fun that marks the franchise. Most importantly though, the film has found a way to balance the song-filled silliness with a story that resonates. Like Callaway himself, Sing 2 has definitely found its soul once again.

Sing 2 is available on 4K, Blu-ray and DVD on Tuesday, March 29th, 2022.

Comfort Films #7: Air Force [GLASS]

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When times are tough, what stories do you turn to? Our new series, Comfort Films, is designed to look at the stories that are important to us and why they help bring us up with everything feels down. This week, Seeing and Believing’s Wade Bearden and Kevin McLenithan return to chat about uncovering the truth in Shattered Glass, good vs evil in Air Force One and life-giving honesty in Chef.

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!

Marriage Story: Love Unraveled

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Marriage Story examines the fallout of Charlie (Adam Driver) and Nicole’s (Scarlett Johansson) failed marriage as they begin divorce proceedings. Though both of them want to ‘make this easy’ and ‘do what’s best for their son’, civility slowly begins to disintegrate by adding lawyers and looking out for their own interests. When Nicole moves from New York to Los Angeles to be with her family, things begin to unravel more rapidly, pushing them to their personal and creative extremes.

Written and directed by Noam Baumbach (The Meyerowitz Stories), Marriage Storyworks on every level and may be the best film of his career. Known for his signature awkward banter and flawed characters, Baumbach paints a portrait of what happens when what once was a loving marriage is exhumed at the hands of lawyers and bitter hearts. Anchored by Oscar-worthy performances from Adam Driver and Scarlett Johansson, Baumbach showcases all the messiness of a divorce without ever taking sides or simplifying the arguments. In Marriage Story, there are no heroes or villains. Instead, there are only two people attempting to navigate all the pain and frustration that comes with ending their relationship. Rather than bog down the viewer with flashbacks and very little backstory, the film focuses entirely on the present and what has to happen next in order for this family to find a new space for success and healing.

Unlike other tales of divorce, Marriage Story chooses not to focus itself on one particular event that drove the relationship apart. Although there was one instance of marital infidelity, Nicole and Charlie’s marriage has not been destroyed over a moment. Instead, through lawyers and filtered conversation, the story speaks to how a marriage can unravel over multiple issues and arguments when love and humility give way to pride and frustration. Though both Charlie and Nicole are good people who genuinely want to work things out in the best way possible for their son, they also slowly begin to fight for the high ground in the divorce settlement. Gentle discussions that took place during their marriage such as where to live become full blown battlegrounds when the lawyers get involved, forcing Charlie and Nicole into greater and greater odds. In arguments such as these, the film highlights the perils of being entrenched in our own perspectives, especially when the solution only serves our interests. While the film offers no ‘answers’ about love, it clearly points to the fact that relationships fall asunder when both people cease to listen to one another and humbly seek a solution. In other words, if love, as they say, really is patient, kind and not self-seeking, Marriage Story shows what happens when those things become lost over time.

Pulling no punches with the awkward realism associated with divorce and starting over, Baumbach’s Marriage Story shows that when love is unraveled, the remaining anger can be a force to be reckoned with. Despite beginning with the best of intentions, the pride and bitterness of divorce can quickly cause caring people to fight tooth and nail for their rights, even at the expense of others. Honest, searing and hilarious at times, Baumbach has spun a story that shows the true pain of family separation while also showing what a couple needs to do in order to begin again.

Marriage Story plays in theatres starting November 6th, 2019. It will also stream digitally on Netflix as of December 6th, 2019.

6.06 Laughing at History in JOJO RABBIT

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This week, Paul and Julie Levac gather to take on JOJO RABBIT, a film which allows director Taika Waititi to bring his brilliant art to the big screen in a stunning satire that will have you howling and shedding a tear in the same sitting.

Jojo Betzler is determined to fight for his country, confident in the support of his imaginary friend, Adolf Hitler. When he discovers a Jewish girl hiding is his house, he is faced with a dillema. As he slowly builds a tolerance for the girl, and together with the lessons of an exceptional matriarch, Jojo begins to realize that perhaps his fanatical views of the Fuehrer and Nazis are not what they used to be.

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!

TIFF ’19: Marriage Story

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Marriage Story examines the fallout of Charlie (Adam Driver) and Nicole’s (Scarlett Johansson) failed marriage as they begin divorce proceedings. Though both of them want to ‘make this easy’ and ‘do what’s best for their son’, civility slowly begins to disintegrate by adding lawyers and looking out for their own interests. When Nicole moves from New York to Los Angeles to be with her family, things begin to unravel more rapidly, pushing them to their personal and creative extremes.

Written and directed by Noam Baumbach (The Meyerowitz Stories), Marriage Storyworks on every level and may be the best film of his career. Known for his signature awkward banter and flawed characters, Baumbach paints a portrait of what happens when what once was a loving marriage is exhumed at the hands of lawyers and bitter hearts. Anchored by Oscar-worthy performances from Adam Driver and Scarlett Johansson, Baumbach showcases all the messiness of a divorce without ever taking sides or simplifying the arguments. In Marriage Story, there are no heroes or villains. Instead, there are only two people attempting to navigate all the pain and frustration that comes with ending their relationship. Rather than bog down the viewer with flashbacks and very little backstory, the film focuses entirely on the present and what has to happen next in order for this family to find a new space for success and healing.

Honest, searing and hilarious at times, Baumbach’s Marriage Story spins a story that shows the true pain of family separation while also showing what a couple needs to do in order to begin again.

Marriage Story had its North American premiere last week at the Toronto International Film Festival and plays in theatres starting November 6th, 2019. It will also stream digitally on Netflix as of December 6th, 2019.

Isle of Dogs – It’s Cute, but It Has a Bite

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If you’re looking for a movie to go to for the fun of it, let me share what my wife’s comment was when we came out of Wes Anderson’s Isle of Dogs: “It made me smile all the way through.” If you want a movie that allows us to consider some important issues in our world, Isle of Dogs fulfills that desire as well. This is one of the great examples of having a film that entertains well and at the same time goads our minds into active thought. It is very much like a cross-cultural extended parable.

(From L-R): Bryan Cranston as “Chief,” Bob Balaban as “King,” Koyu Rankin as “Atari Kobayashi,” Bill Murray as “Boss,” Edward Norton as “Rex” and Jeff Goldblum as “Duke” in the film ISLE OF DOGS.

Set in the near future in the Japanese city of Megasaki, there is disease spreading among the dog population. Fearing that the disease could spread to humans, Mayor Kobayashi decrees that all dogs will be deported to Trash Island, starting with his own family dog, Spots. Six months later, a small plane crashes on the island. As a small pack of dogs check this out, they discover a 12 year old boy as the pilot. Atari Kobayashi, the mayor’s nephew and ward, has come to look find his dog. The group sets off across the island to seek Spots.

It turns out the Mayor’s family has a history of animosity towards dogs and may have engineered the entire “crisis” as an excuse to finally eliminate all the dogs from Megasaki. As Atari and the dogs begin to discover the truth, it becomes a mission to bring down the government and restore the rights and lives of the doomed dogs.

The enjoyment of the film is very much like most of Anderson’s film. It is an inventive story that was developed by Anderson, Roman Coppola, Jason Schwartzman, and Kunichi Nomura. Part of the quirkiness of the film is that the dogs speak in English, but all the human characters speak in their native language (although the Japanese is nearly always translated to English). The voices are supplied by a long list of well-known actors including Bryan Cranston, Edward Norton, Jeff Goldbloom, Greta Gerwig, Scarlett Johansson, Liev Schreiber, F. Murray Abraham, Tilda Swinton, and Ken Watanabi.

But for all the canine enjoyment the film offers, it also has a bite. In a world filled with the politics of fear, Isle of Dogs reflects the reality of life in many places. Mayor Kobayashi uses dogs as a scapegoat, and in the process promotes his own power. This is not a new strategy—it is probably nearly as old as humanity itself. (We need to keep those Neanderthals away from our good people.) Watching not only the dogs and Atari, but the developing political situation in Megasaki makes it very clear that we are seeing the kind of things that go on around the world every day. Most importantly though, we should be reflecting on the ways these dynamics are taking place within our own society.

Every time the President speaks of the rapists and drug dealers that come from Mexico, he is attempting to stoke fear. The fears do not have to be legitimate—only believed. Islamophobia, homophobia, xenophobia, and racial prejudice are all attempts to create fear so that someone else can gain a bit more power. When we allow those fears to rule the day, it means we will likely cede more power to those who claim we need protection. But, as we also see in the film, the truth and determination can eventually defeat the lies that are spread.

Photos Courtesy of Fox Searchlight Pictures. © 2018 Twentieth Century Fox Film Corporation All Rights Reserved