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Tony Hale

Seeing Past the Smoke: 1on1 with Tony Hale (POUPELLE OF CHIMNEY TOWN)

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As we continue to move through the haze of the pandemic, sometimes it can feel like an endless haze has descended upon us all. Stuck in a seemingly endless mid-point, we continue to look beyond the COVID world, squinting to see some form of hope on the other side.

It’s for that reason that actor Tony Hale (Toy Story 4, Arrested Development) believes that his latest project, Poupelle of Chimney Town, is the movie we need right now.

“The story itself is based in this very popular children’s book of the same name and takes this little character named Lubicchi,” he begins. “He’s a little boy who lives in a town full of smoke and the father tells him that there’s stars above the smoke. And everybody in the town says, ‘You’re crazy. You’re crazy. You’re crazy.’ But Lubbichi believes [his father] and my character comes along and helps him on this journey to find the stars. I just think, man, after what we’ve all been going through these two years, just that hope of like, ‘Hey, we’re gonna get past this. There’s something on the other side.’ In addition to that, the animation is crazy beautiful. It has this kind of ethereal-like jewel-tone watercolor. It’s just so stunning. We, as voice actors, are a very, very small slice of this pie. Most of the pie is all the artists working on it.” 

Directed by Yuusuke Hirota, Poupelle of Chimney Town takes place in a city covered by a thick layer of black smoke that has prevented its people from ever seeing the sky. Though the people have accepted the darkness, young Lubicchi (Antonio Raul Corbo) clings to the stories of stars told to him by his late father, Bruno (Stephen Root). Working as a chimney sweep in order to pay the bills and care for his sick mother, Lola (Misty Lee), Lubicchi has become a social outcast and struggles to connect with other kids. However, his life changes when a man made of garbage stumbles out of the night. Naming his new friend Poupelle (Hale), Lubicchi accepts this ‘monster’ when others won’t and the two begin to look for the stars together. 

Branded a monster by the townspeople, Poupelle is kept at a distance by others out of fear. However, in Lubicchi, he finds a young man who (eventually) is willing to see beyond his exterior of garbage to the beautiful soul that lies beneath. In doing so, Hale believes that the film begins a conversation about the poisonous nature of labels and how they limit our ability to connect with people. 

“[A label is] so toxic because it kills uniqueness and what somebody is bringing to the table when they’re being forced to fit into a category or a mold,” he explains. “And the fact is there’s a lot of different branches to the tree of humanity. There are so many different branches, but we don’t feel comfortable with that almost, you know? And so [a label] is incredibly toxic because it’s restrictive. That made me think of when I did Toy Story 4, there was this character named Gabby Gabby in the store and she was considered the evil doll. Forky, my character, didn’t know anything so he just kind of got started getting to know her. Everybody was putting a label on her and he just got to know her, much like Lubicchi was Poupelle. And because of that breaking through, that union, the labels came off and you be able to hear the person’s story. You can be able to get past their trauma and see their humanity and man, what power is that?” 

Although Lubicchi cares about Poupelle, their relationship definitely has its conflicts. As their push/pull dynamic comes into play, Hale sees that both characters have issues that they’re working out. Even so, he also believes that the trust between them is rooted in their willingness to truly see one another.

“It’s like any friendship, kind of,” says Hale. “Also, Poupelle is kind of this being made of garbage come into the town and he’s dealing with his own [questions about] what’s going on. But I think it’s always about trust. Lubicchi hasn’t had a lot of support from the town [in regards to] believing his vision and where he’s going and you know, trusting that this Poupelle does believe in him. What I love about this relationship is it just takes that one person who believes in you and sees you that gives you the strength to do it. Poupelle really sees Lubicchi and he really believes in him.” 

With this in mind, one of the key tensions within the film lies between Lubicchi’s decision to ‘keep looking up and the Inquisitors’ commitment to snuffing out such beliefs. Asked why he believes Lubicchi’s views are such a threat to the powers that be, Hale argues that there is a certain amount of danger that lies within change itself.
“I think it’s a threat because change is scary,” he suggests. “Even though they live in a town of smoke and even though there’s this hope, change is scary. They don’t want to believe beyond their framework because they’ve created that [sense of] what I’m comfortable in. And so that’s scary. So, they’ll fight against that, but man not look up. I mean, I personally am a person of faith and I look up all the time because it brings a reference point to my life. It makes me know that I’m not in charge, which is a huge gift because it gets scary. So, it’s a huge source of strength for me.” 

Having said this though, Hale also argues that the sense of hope embedded within the film is what makes it so essential for audiences right now. Coming at a moment when we have all been beaten down so many different cultural issues, Poupelle of Chimney Town offers a message of strength and encouragement in a troubled time.

“Honestly, I think there’s a lot of beautiful movies, but there’s something [about] this movie that, for this point in time, [is] life-giving. It’s redemptive [and] it’s strengthening. Obviously, there are a lot of dark things out there. That’s also strengthening people because they might feel seen in certain ways, but the hope that this provides I think is the medicine that we need right now. Definitely.” 

Poupelle of Chimney Town is now available in select theatres.

To hear our complete conversation with Tony Hale click here (YouTube) or here (podcast).

Poupelle of Chimney Town: Keep Looking Up

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Sometimes, when you can’t see beyond, it’s only the belief in something more that keeps you going.

Directed by Yuusuke Hirota, Poupelle of Chimney Town takes place in a city covered by a thick layer of black smoke that has prevented its population from ever seeing the sky. Though the people have accepted the darkness, young Lubicchi (Antonio Raul Corbo) clings to the stories of stars told to him by his late father, Bruno (Stephen Root). Working as a chimney sweep in order to care for his sick mother, Lola (Misty Lee), Lubicchi has become a social outcast and struggles to connect with other kids. However, his life changes when a man made of garbage stumbles out of the night. Naming his new friend ‘Poupelle’ (Tony Hale), Lubicchi accepts this ‘monster’ when others won’t and the two begin to look for the stars together.

Featuring stunning animation and the purest of hearts, Poupelle of Chimney Town is an absolute joy from start to finish. Based on the children’s book by Akihiro Nishino, Poupelle looks and feels like a bedtime story. Bursting with colour, the film seamlessly fuses 2D animation with 3D rendering in a unique and stylized manner that gives every scene an artistic aura. First time director Hirota has created a world that consists of both incredible beauty and dark oppression and the blend of visuals absolutely pop onscreen. 

While voice work can be forgettable in animated projects, most of the cast seems fully engaged with their characters, especially its leads. Young star Antonio Raul Corbo gives an emotionally engaging performance as the over-burdened but hopeful Lubicchi. At the same time, Root and Lee provide solid supporting work as his parents. However, the standout here is Hale who turns in some remarkable work here as Poupelle. Best known for his work as more manic characters such as Arrested Development’s Buster Bluth or the existential toy Forky from Toy Story 4, Hale is an absolute joy as the mysterious ‘garbage man’. As Poupelle, Hale infuses his character with innocence, humility and even an aura of wisdom. In the midst of a chaotic world, Poupelle becomes an anchor of love and support for the young Lubicchi and, as a result, Hale becomes the soul of the film.

And there is a remarkable amount of soul within this Chimney Town.

With a number of different lenses through which to examine its story, Poupelle of Chimney Town manages to work on multiple levels. For example, the film explores a number of social issues, especially through the relationship between economics and power. Without giving any spoilers, the greatest problem within this particular world is that it remains rooted in the acquisition of money. Whether it’s economic disparity between social classes or the power dynamics that create those divisions, Poupelle shows the damage that can be done when money is given priority over the people and their well-being.

Furthermore, the film works as an exploration of the nature of friendship. Broken by the sudden loss of his father over a year ago, Lubicchi and his mother are struggling to get by. Forced to support his family financially, he lives in a world of adulthood and responsibility. As a result, Lubicchi has closed himself off to friendship and pulled away from those his own age. However, with the arrival of Poupelle, his hardened heart begins to show signs of cracking. Even though others view him as a ‘monster’ and Lubicchi initially tries to push him away, Poupelle’s undeniable love and grace begins to get through. Their relationship may be imperfect but Poupelle’s commitment to the young man never fades. Even though he is hunted by the villainous Inquisitors, Poupelle constantly looks for ways to support Lubicchi and remind him of how much he matters.

No matter what oppression Poupelle faces, he never ceases to be loving. 

Similarly, Poupelle also becomes a film about the relationship between hope and belief. Covered by ‘black smokey smoke‘, Chimney Town lives under a blanket of darkness. Having never seen anything other than the congested pollution above, the people of Chimney Town cannot fathom anything larger than their own experience. (In fact, they feel threatened by it.) However, Lubicchi refuses to believes that that’s all that there is to the world. Having been told stories of wonder by his father, he believes that there is more above the clouds. Although the world around him attempts to squash his faith in the stars, he can’t help but believe there’s something more. Just like his father before him, Lubicchi cannot help but ‘keep looking up’. (He even takes a job as a chimney sweep so he can get closer to the mystery of the skies.) To Lubicchi, the mystery beyond is of greater significance than the world in front of him. Though others struggle to accept his stories, his belief in the unseen gives him purpose and restores life to his soul. 

With its emphasis on seeing beyond what’s in front of us, Poupelle of Chimney Town is a bright light in a time marred by an endless pandemic. This is a film that serves as a reminder of the power of love, friendship and believing that things can be better than they are. As Poupelle and Lubicchi work together to pierce the darkness, so too do they spark hope to those that have none. 

All because they choose to ‘keep looking up’.

Poupelle of Chimney Town is available in select theatres now on Friday, December 17th, 2021. Click here for available showings.

To hear our interview with star Tony Hale, click here (YouTube) or here (audio).

To hear our interview with star Misty and Antonio, click here (YouTube) or here (audio)

Poupelle of Chimney Town is nominated at the 2022 Annie Awards for ‘Best Music Feature’.

Being the Ricardos – Wanting a home

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“Lucy, I’m home.”

Lucille Ball and Desi Arnez were the biggest TV stars (by far) of the 1950s. Their show I Love Lucy was seen by up to 60 million people a week. That show took us into the home of Ricky and Lucy Ricardo, a small apartment filled with hilarity. But of course what is on TV is not always the same as real life. Being the Ricardos is Aaron Sorkin’s look at what might have been the reality behind the scenes.

NICOLE KIDMAN and JAVIER BARDEM star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

The film is set in one week as the TV show goes from a script reading on Monday to the filming of the show on Friday. As is common in Sorkin’s films, plays, and TV, this is very much and ensemble piece. We meet most of the key players in that first reading. Lucille (Nicole Kidman) and Desi (Javier Bardem) are the stars and the power behind the show. William Frawley (J. K. Simmons) and Vivian Vance (Nina Arianda) played their neighbors the Mertz’s. The show’s writers, Jess Oppenheimer (Tony Hale), Madelyn Pugh (Alia Shawkat), and Bob Carroll (Jake Lacy) are also at the table as the group starts the work on this week’s show. But this is not a normal week. It is beset with a number of stresses that could bring an end to the show—and the marriage.

There are three main stressors that complicate this week, all of which were actual events that threatened the show, but not all in one week as we see here: accusations that Ball was a Communist, Ball’s pregnancy, and Arnez’s philandering. This leads to a number of meetings with the network and sponsor about keeping the show on the air. Here we see Arnez much more in control of the business aspects of the show.

NICOLE KIDMAN, JAVIER BARDEM, NELSON FRANKLIN, and CLARK GREGG star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

There is also a great deal of rivalry among the other players. Frawley and Vance really don’t get along. Vance is resentful at having to play the older, frumpy Ethel Mertz.  Pugh and Carroll carp at each other over how the show should be. In the writer’s room, Pugh pushes for the character Lucy to have a bit more feminist influence. She doesn’t want Lucy to seem stupid. (Ball certainly was not.) Ball is constantly wanting to rework the show—all the way up to Friday.  All of this is brought out in the witty and acerbic dialogue that is Sorkin’s trademark.

This is not a film that tries to capture the comedy of I Love Lucy. It would be a disservice to the actors to expect them to recreate such icons, in part because we associate Ball and Arnez so much with their onscreen personas. Instead, this is a story about the real Ball and Arnez and the stress they had to work through as a married couple. As the story unfolds we learn a bit of their history together—their meeting, early marriage, conflicts of schedules that kept them apart until Ball demanded that Arnez play her husband on TV so they could be together (and hopefully save their marriage).

JAVIER BARDEM, J.K. SIMMONS, NINA ARIANDA, and NICOLE KDIMAN star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

Ball and Arnez, as portrayed here, are a complex couple. At one point they’re described as “either tearing each other’s heads off, or tearing each other’s clothes off.” Arnez was very much in charge of the business side, Ball much more on the creative side (although they both took part in both). Arnez, who had been successful in acting and as a band leader, is now a second banana to his wife, and that may have caused resentment. Much of what drives Ball goes back to their meeting. At one point, Arnez asks Ball what she wants. Her answer is, “a home”. She doesn’t care about a large house. She wants the warmth and security and love of a home.

All through this difficult week, we see Ball struggling not just with all the threats to the show, both internal and external, but even more with the threats to her marriage. That marriage is in large part the reason for the show even to exist. And when we know that, it gives a new meaning to that line that Ricky Ricardo spoke so frequently.

NICOLE KIDMAN and JAVIER BARDEM star in BEING THE RICARDOS Photo: GLEN WILSON © AMAZON CONTENT SERVICES LLC

Being the Ricardos is in general release and available on Amazon Prime Video.

Photos courtesy of Amazon Content Services.

Clifford, the Big Red Dog: #LoveBig

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Clifford the Big Red Dog understands how important it is to #LoveBig.

Set in the urban jungle of New York City, Clifford, the Big Red Dog tells the story of Emily Elizabeth (Darby Camp), a young girl who is finding it hard to fit into her new school. Cared for by her Uncle Casey (Jack Whitehall) while her mom is away on business, Emily Elizabeth meets a magical animal rescuer (John Cleese) who changes her world when he gives her a little red puppy. Emily Elizabeth quickly falls in love with her new pet and names him Clifford. However, when the tiny pup grows into a giant, 10-foot hound overnight, her tiny New York City apartment—and the neighbourhood—suddenly becomes too small to contain her beloved pet and they must figure out what they’re going to do with him.

Directed by Walt Becker, Clifford, the Big Red Dog is adorable children’s fare that feels reminiscent of John Hughes’ later family classics, such as Beethoven and Flubber. Produced by Jordan Kerner (George of the Jungle, Inspector Gadget), Clifford is certainly an unenviable challenge to bring to life on the big screen. With countless books over the decades, Clifford the Big Red Dog holds a certain place in kid’s pop culture. Telling stories of love and helpfulness, this literary franchise is one which has helped build up children for generations and that also brings expectations. Thankfully, filled with a big heart and a certain silliness, Clifford will appeal to younger viewers but also has a charming warmth that should appeal to their parents as well. 

While Clifford features a solid cast, it’s also fair to say that very few of them are given much to do within the film, other than the always affable Tony Hale. With experience in numerous other kid-focused franchises like Alvin and the Chipmunks and Toy Story, Hale understands the assignment in playing the mustache-twirling villain and he fully indulges in the role with glee. (The other notable exception is John Cleese who somehow manages to improve every film he’s involved with simply by being onscreen.) However, in all honesty, any perceived issues with character depth aren’t really the issue in a film like this. 

What matters most in Clifford is the big red pup, himself.

As one would hope, Clifford is an absolute delight. Bounding onscreen with playful energy, his innocence and charm bring the character to life. In recent years, there has been an interesting challenge with creating CGI animals. Beginning with Disney’s recent live action remake of The Lion King, we have seen how hard it can be for the audience to suspend their disbelief when beloved characters are translated on screen with a more realistic look. There’s a certain expectation that beloved animated characters like Clifford carry with them about the way that they look and this can cause issues with the audience. (The Lion King especially is a great example of how more taking realistic approaches can throw off the relationship between the viewer and the material.) Having said that, the CGI on the big mutt works relatively well. While he may not appear like the beloved character from the books, the details on him are surprisingly good when you look at them. What’s more, Clifford’s character is so heart-warming that he manages to break through any supposed expectations or presuppositions about his appearance.

It is interesting in some ways that Clifford‘s giant size is directly related to love. Whereas the books gave no reason for his gargantuan form, the film focusses on the fact that Emily Elizabeth’s immense love for the puppy is what makes him grow. While the explanation feels unnecessary in some ways, there’s also something truly magical about its truth. In a congested city like New York, people need things to be small in order to fit their over-packed lives. However, love makes things bigger… and that breaks down boundaries and walls. Clifford may not fit into the traditional mold (or even in their living room) but the love that he and Emily Elizabeth share is so massive that it changes the neighbourhood and everyone in it.

Further, this theme anchors the film’s belief that ‘the unique things are the ones that change the world’. Because of her relationship with her new pup, Emily Elizabeth finds the courage to stand up for herself and assert herself. Bullied and pressured to confirm at the beginning of the film, she is speaking to large crowds about Clifford‘s importance by its conclusion. What’s more, whereas Uncle Casey begins as somewhat of a broken man suffering from loss, his time with Clifford helps him rediscover a sense of purpose and a second chance at life. Built up by love, these characters realize how much they truly matter and find the courage the change their world around them.

While it is not necessarily the most memorable children’s film of the year, Clifford the Big Red Dog is certainly both entertaining and charming enough to make it worthy family fare for the holiday season. By leaning into the impact of love, Becker has managed to tell a story that should comfort and inspire children to step out with courage when others make them self-conscious about fitting in. After all, like Clifford himself, the unique things are the ones that change the world.

To hear our interview with director Walt Becker and producer Jordan Kerner, click here (YouTube) or here (audio).

To hear our interview with Clifford the Big Red Dog himself, click here.

Clifford the Big Red Dog debuts in theatres and on Paramount+ on Wednesday, November 10th, 2021.

Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Nine Days: What Makes Life Worth Living?

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Life is hard every day. But Nine Days suggests that the work beforehand can be just as challenging.

Set in the world before this one, Nine Days follows Will (Winston Duke), an arbiter who judges which souls shall have the opportunity to inhabit the bodies of the living. Whenever a position opens up, Will meets with potential applicants who are interested in making the journey to Earth. However, when one of his previous hires is killed in a car accident, Will is left shaken by her death. Suddenly, his world feels emptier and yet he must still interview for who takes her place. As the new applicants arrive for their nine day vetting process, Will askes them questions about life and makes notes on their responses to determine their ‘worthiness’ for the job. Of all of the candidates though, he is most intrigued by Emma (Zazie Beetz), a soul to displays a level of empathy and curiosity that is both fascinating to Will yet also feels potentially dangerous to him as well.

Written and directed by Edson Oda, Nine Days is a beautiful piece that engages some of the deepest philosophical questions of life and existence. For a film that takes place pre-life, Oda has created a story that very much deals with our everyday world. In some ways, the film almost carries the same mundane spirit as modern workplace series. Even though he exists outside of time, Will’s work is sometimes as tedious and repetitive as a regular office drone, even if the stakes for choosing the proper applicant remain so much greater. In other words, despite nature of Will’s menial job, Oda’s stunning writing emphasizes the importance of every soul and the impact that their life may have on the world.

However, Days never forgets the struggles that it takes to get through the day either. Emphasizing the effects of pain and suffering on the soul, Nine Days shows a world where those who oversee creation are also burdened by its brokenness. What’s more, while the film takes its time with its pacing, it never feels too slow or overly padded. This is a film which allows its characters the space and time to grow and mature, despite the fact that it happens before their own birth.

While the entire cast is solid within the film, it’s truly the performances by Duke and Beetz that are most noteworthy. (Although, Tony Hale’s work is always welcome within any project.) As Will, Duke brings a surprising level of stoicism and rage to the role. Whereas one might assume that offering the gift of life could be a blessing, Will bears the weight and responsibility of the position on his shoulders. Frustrated and fearful, Duke lumbers around onscreen in a fascinating performance as a man broken and burdened. 

Sitting opposite Will’s gruff antagonism though is Beetz’ Emma. Playing the character with eagerness and delight, Beetz absolutely sparkles onscreen. There’s a youthful impetuousness embedded within this character which makes her instantly likeable. At the same time though, Beetz never allows her innocence to stray into the realm of naivety. Despite her youthful enthusiasm, there’s an insight to Emma’s questions that shows wisdom. Instead of pushing Will out of rebelliousness, Emma seeks to understand. Held up against one another, Beetz and Duke provide some incredible chemistry as they push one another to see the world in entirely different ways.

While the idea of life before birth isn’t necessarily new (see Pixar’s Soul), Oda takes the concept and inverts it with a competitive edge. Like the world’s longest job interview, only one slot is available for new life to begin and each one of these souls wants the opportunity to experience it. Tasked with seeking out the best possible candidate, Will must weed through his applicants and choose who deserves the chance to live. However, part of the beauty of the film is that these individuals still matter, even if they don’t receive the ‘position’. Each one of these pre-individuals has their own innate desires and dreams already firmly implanted and Will sees the value in this. In an act that demonstrates value and grace, Will offers those who are not selected the chance to experience simulated moments of life. As a result, although there’s sadness embedded within these times, there is also joy. 

Further, Will’s experience also highlights the most soul-crushing aspect of life on Earth: its unpredictability. As he grieves the loss of Amanda, he begins to wonder what the point of his job may be if people are going to simply going to lose the same precious lives that he offers them. However, through his time with Emma, Will senses something different. Though she will undoubtedly experience the same trials as everyone else, her insatiable desire to enjoy life is unusually jarring to Will. Whereas other candidates attempt to navigate the evaluation process professionally, there’s a passion and curiosity within Emma that is so infectious that it almost feels like a threat to the whole process. For Will, his job is to find those who can deal with difficult situations and struggles. However, for Emma, her soul simply wants to embrace life, including all of its pain and ambiguity.

Though quiet and reflective in its tone, there’s a beauty within Nine Days that’s almost poetic. With patience and care, Oda has created a world that both honours the spiritual sacredness of every soul but also respects the realities of hurt that we all experience. Even in the midst of this juxtaposition of opposites, the most important aspect of Days is that it also serves as a reminder that life—wherever it takes place—is worth living.

To hear our interview with writer/director Edson Oda, click here.

Nine Days is available in theatres on Friday, July 30th, 2021.

Eat Wheaties!: Finding Yourself in Others

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Everyone believes that they know the lives of celebrities from their social media. But what if you discovered that you knew one of them before they were famous and wanted to contact them again?

Written and directed by Scott Abrahamson, Eat Wheaties! tells the story of Sid Straw (Tony Hale), an everyman who is frequently shunned by his friends and family for being ‘weird’. When he stumbles onto an old college photo of himself and star Elizabeth Banks, Side feels rejuvenated and can’t wait to tell his friends. Unfortunately, they refuse to believe their relationship and Sid attempts to reach the actress via social media. However, when his quest to reconnect with Banks becomes public, Sid feels the fallout from those around him as they push him even further away.

Balancing silliness and sadness, Eat Wheaties! carries a charm and sweetness that works well. Built on solids performances by its cast, Abrahamson has fairly good impulses about when to let his them shine. Though playing smaller roles, veterans Paul Walter Hauser, Alan Tudyk and the vastly underrated Rizwan Manji all show off their comedic talents when given the opportunity. (Note to screenwriters though: the world always needs more Sarah Chalke.) 

Ultimately however, the success of the film rests on Hale’s shoulders. Regardless of what role he plays, Hale always brings an affability and purity to his characters (even his more villainous ones) and that certainly plays well in this role. As loveable loser Sid, Hale plays him with simplicity but never stupidity. Though frustrated and seemingly unable to connect with others, Sid remains intelligent and innocent and never goes ‘full Bluth’. 

Strangely, the best chemistry he has onscreen is with the elusive Banks as he attempts to reconnect with her. To write these scenes requires a delicate touch as they could easily come off as creepy yet Hale and Abrahamson keeps them from ever straying into that territory. In fact, there’s such an honesty in his online blogging that the film almost plays out as a ‘will they/won’t they’ scenario between Hale and Banks. While there is no romantic tension between the two characters, Wheaties! leaves legitimate question as to whether they will connect and builds anticipation for resolution.

In many ways, Wheaties! is a cry for both community and self-realization. As he struggles to find a place where he fits in, Sid becomes increasingly lonely. Completely undervalued by his family and friends, Sid is looking for anything that might awaken them to his ‘importance’. While the revelation that he was once friends with Elizabeth Banks brings back pleasant memories at first, the negative response that he receives from others taints the experience and causes him to fixate on it. To Sid, his past with Banks becomes a form of justification about his value yet it also drives others away who already viewed him as strange. (Incidentally, Wheaties! also becomes an interesting commentary on our own obsession with connecting with celebrities online. As we message celebrities and beg for retweets/likes, so too do we also reveal our own interest at touching fame, even if many stars pass off responsibility for their social connections.)

However, this social isolation also provides opportunity for Sid to begin to work on himself. As things begin to unravel around him, Sid begins to take charge of his life and break free from the self-doubt that has been holding him back. Though painful, his hardship provides a chance for him to grow and take control of his life for the first time. Meanwhile, he also grows in his ability to maintain healthy relationships. Emotionally healthy himself, he also begins to create a new community that is supportive of him (and that he can support). 

Though funny and charming, Eat Wheaties! also carries an important message. At a time when social networking drives our relationships, the film shows the need we have to connect with one another. However, as a result of Sid’s journey, Abramson’s script shows that there is a mutual need between self-growth and maintaining healthy relationships as well 

Eat Wheaties! is now available on VOD.

5.21 Lost Toys in TOY STORY 4

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To infinity and beyond… the house? In Toy Story 4, the latest (and final?) entry into the beloved franchise, Woody and the gang take a trip out on a the open road with Bonnie and her parents. Along the way, when her latest ‘creation’ Forky goes out on the run, Woody ventures out on his own to bring Bonnies beloved toy back to her. However, when the two accidentally come across a new foe who is desperate for Woody’s voice box, the two must rely on their friends (both old and new) to rescue them. This week, Steve welcomes back returnee Jolie Featherstone (@TOFilmFiles) and ScreenFish’r Julie Levac to talk about the film’s portrayal of what it means to be lost, finding one’s voice and the complexity of being broken.

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.

5.21 Toy Story 4Download