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Band Ladies: Never Too Late

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Band Ladies is a new web series streaming on HighballTV.com beginning May 13, 2020. Highball TV is a newer platform that offers a 7-day trial where you can check out Band Ladies, as well as much more content.  Band Ladies was created by Kate Fenton, Dana Puddicombe, and Molly Flood (who also directed). With each episode running around 10 minutes long, you can binge the entire season in about an hour.  

When five acquaintances get sick of reading cheesy romance in their book club and have a drunken night together, they realize that they’re all quietly dealing with their own personal wounds. As a result, they decide to venture into the world of punk music as a venue to express their frustrations and escape from their daily mediocrities. 

This force of nature Canadian cast includes Kate Fenton, Lisa Michelle Cornelius, Vicki Kim, Dana Puddicombe, and Kirsten Rasmussen. Together, they yield a group of strong women who, despite their differences, support each other and provide a safe space to be themselves, or at least different from their everyday personas.  

Band Ladies is pure comedy, while still managing to touch on more emotional story lines, such as infertility, struggling to balance parenthood, and even the ugly side of the corporate world. It’s a true to life glimpse into some of the struggles that women face as they approach middle age.  

Band Ladies also contains the potential for some serious female inspiration.  With the overarching theme of “it’s never too late to reinvent yourself”, we see that it doesn’t matter where we come from or what we do. Instead, what matters is the next step we take. We don’t only have to be one thing. It’s important to listen to ourselves and do what we feel is right and what makes us happy. As one character says, “I don’t usually do things just for me. It’s nice to take care of yourself.”

With some fun punk music (available now on most streaming platforms), and funky fashion, Band Ladies is a fun ride from start to finish.

To listen to my interview with the director, producer, actor, and co-creator, Molly Flood, click here.

Run This Town: A Question of Character and Consequences

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Written and directed by Ricky Tollman, Run This Town takes the viewer behind the scenes of Toronto’s political system under the leadership of Rob Ford (Damian Lewis). When Ashley (Nina Dobrev) begins her time on Ford’s staff, she is quickly taken under the wing of Kamal (Mena Massoud), right hand to the mayor and his chief spin doctor. However, as a scandal involving Ford’s private life begins to unfold at the hands of aspiring journalist, Bram Shriver (Ben Platt), Kamal, Ashley and the rest of their team must wrestle with the implications of allowing someone morally questionable to remain in leadership.

Popping off the screen with energy and style, Run This Town feels like a 70s political thriller had it been written by Aaron Sorkin. Opting to use muted colours, spliced editing and fast-paced dialogue, Tollman does a solid job of creating intrigue in a murky political battle for truth. Wisely, Tollman focuses his script on how Ford affected those around him, as opposed to Ford himself. In doing so, Town allows his young talents to show their own range as they wade through difficult social issues such as sexual assault, racism and the overall qualifications of leadership. As mayoral spin doctors, Massoud and Dobrev show great confidence in their roles while Platt plays his inexperienced journalist with courage and pluck. (Massoud, in particular, stands out as he continues to build his career after the success of the $1B success of Disney’s Aladdin.) Ironically, however, if there’s a limitation to the film’s cast, it may lie in Lewis’ performance as Rob Ford, which loses some of the nuance that made him such a complex character in the public eye.

Bound to be as divisive as Ford himself, Run This Town is an entertaining ride that feels more of a moral cousin to Reitman’s The Front Runner than Spielberg’s The Post in its willingness to blur the lines of morality when it comes to allowing people to govern. Interestingly, for much of the film, Kamal’s ability to spin Ford’s public image almost seems defensible in the face of Shriver’s inexperience. By pointing out the fact that Ford is able to ‘get things done’ around the city, Kamal—and many of the people of the city—justifies his after-hours discrepancies by arguing that everyone has the right to relax after a hard day. (After all, isn’t Ford the ‘man of the people’?) 

However, as Ford’s recklessness leads to the lines of sexual appropriateness becoming crossed, Town also points out the dangers of maintaining a culture of toxic masculinity and white privilege. With the subtlety of a wrecking ball, Ford charges through his administration with an air of superiority, failing to recognize boundaries with women on his team or the ethnicities of his own team members. In doing so, Ford’s lack of character calls into question the effectiveness of leadership when they remain out of touch with healthy diversity and the reality of the world around them. While he would have us believe that his actions for the people outweigh his mistakes, Town points out that there is a point when someone goes too far and must be held accountable for their actions. 

In this way, Run This Town speaks effectively into a culture grappling with arrogance at the hands of leadership. While willing to suggest that everyone in the public sector is broken, there still remains a certain level of accountability of character that must be maintained. While the film curiously opts to conclude with a speech about the challenges of Millennials in the job market that threatens the overall tone of the film, it is at its most effective when it wrestles with the moral murkiness of the political system. This is a film that shows well the tension between the brokenness of those who have become obsessed with maintaining the status quo and the passionate heart of justice of Millennials. In the midst of this conversation, there springs up a measure of hope that expunging the poison the past may birth something healthier in the future.

For full audio of our interview with writer/director Ricky Tollman, click here.

Run This Town tells the truth on VOD on Tuesday, April 21st, 2020.

Comfort Films #2 – HURRICANE [CREED]

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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 films that are important to us and why they help bring us up with everything feels down. This week, In the Seats’ Dave Voigt and That Shelf’s Victor Stiff stop by to chat about the fist-pumping beauty of Ryan Coogler’s Creed and the wanton (and joyous) chaos of Rob Cohen’s Hurricane Heist.

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!

Canadian Strain: Marijuana and the Marginalized

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First of all, it’s not about what you think.

While the title of the film may sound eerily like some vague attempt to capitalize on the current pandemic, Canadian Strain has nothing to do with any viral outbreak. Written and directed by Geordie Sabbagh, Canadian Strain tells the story of young cannabis dealer Anne Banting (Jess Salgueiro), who takes pride in her work and believed that the legalization of marijuana would only help her business. However, when her customers begin to abandon her for legal distributors, Anne finds that her decade as a dealer matters little in the new reality. Now, with no money, no direction, and some worthless weed, Anne is forced to confront the system while trying to hold on to what she loves.

Billed as a comedy, Strain is more dramatic than one might expect as Anne attempts to deal with the difficulties of life transition. As a result, Strain becomes a surprisingly fun little film about the challenges that happen when corporations infringe on small businesses, even as it relates to the drug trade. While the script is a little uneven in places, some intriguing engaging performances keep the film moving along. In particular, relative newcomer Salgueiro brings a genuine likeability to her overwhelmed Anne as she attempts to navigate the new realities of drug distribution. Another standout is comic veteran Colin Mochrie (Who’s Line is it Anyway?), who brings charisma and humility to his performance that helps ground the film.

In some places, the film seems interested in speaking into the ironies and hypocrisies of the medical marijuana business at the government level. By examining the trickle-down effect of legalization on the casual dealer, Strain serves as a metaphor for how big business can slowly eliminate the smaller, independent market. Even so, while conversations surrounding the challenges of legal distribution can be poignant, they often slow the film’s pacing. Even though there are moments that seem to emulate the absurdity of The Big Short, the film never fully reaches that level of energy. However, what’s most interesting about the film is Anne’s genuine desire to help others. 

In her world, the distribution of marijuana isn’t just a financial transaction but rather a public service for those in need. Interestingly, Anne’s love for drug delivery has nothing to do with giving others a ‘buzz’ but about genuine medical aid for her people. What’s more, Anne’s care for her clients extends beyond casual acquaintance, as she knows their health issues and is able to prescribe proper strains that will help their individual needs. In one poignant scene, as one client falls ill after getting his hit elsewhere, Anne runs to the rescue, offering him genuine practical care in his time of need. As opposed to getting involved with the more illegal aspects of the drug trade, Anne’s deepest passion remains helping the marginalized. As Anne, Salgueiro’s solid performance creates a character who operates on the fringe of the law yet somehow also operates with integrity and honour. (Is it weird to respect a film’s drug dealer for the way that she works her trade?) For Anne, what gives life to her heart is helping others, not working the system.

In the end, Canadian Strain is a surprisingly enjoyable and unexpected look behind Canada’s burgeoning marijuana industry. Differentiating itself from other ‘drug-themed’ films with its humility and love of others, Strain is a reminder that passion for others is always the most important aspect of our lives.

For audio of our interview with director Geordie Sabbagh and star Jess Salgueiro, click here.

Canadian Strain is available on demand on AppleTV+ and other digital platforms on Tuesday, March 17, 2020.

Moving into Moving On: 1on1 with Victoria Kucher (SPACE & TIME)

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Directed by Shawn Gerrard, Space & Time follows academic physicist Siobhan (Victoria Kucher) and her photographer boyfriend Sean (Steven Yaffee) who realize they failed to answer key questions about themselves and their relationship. Their devotion to each other is further tested when Siobhan decides to pursue a career opportunity in Geneva that would cause them to uproot their lives and move into the unknown. When she was first approached for the role of Siobhan, star Victoria Kucher says that her initial enthusiasm stemmed from both her character’s intelligence and the complexity of her relationship with her boyfriend.

“I think it’s really exciting to see women in film who are actually portrayed as needing science and math,” she beams. “That’s a big focus of this character so the actual character of Siobhan really drew me to it. Also, the strong relationship between [Sean,] Steven Yaffee’s character and my character, [Siobhan] and how it’s not just about love. It’s about all the shades of love and pain and a relationship between two people over a long period of time. That’s something I was really interested in exploring as an artist and as a human being.” 

Having worked with both Yaffee and Gerrard in the past, Kucher says that their time together helped create the chemistry between them that comes across onscreen.

“We were lucky enough to work with Shawn Gerrard, the director, on several films,” Kucher explains. “The first time we did together was My Viola, where we got to play two cops. So, we got to spend a lot of time in a police cruiser together and really get to know each other, which I think was actually Shawn’s plan all along to get us to kind of get comfortable with each other so that he could then approach us with this script.” 

Having worked together on multiple occasions, Kucher does not hide her love of working with Gerrard due to his ability to his strong writing and ability to properly care for his cast.

“I love working with Shawn Gerrard because he really is an actor’s director,” she begins. “He gives you the space and support you need to work as an actor. He also is really good at like identifying where things shift in a script and speaks the language of an actor… At one point, we have a big emotional fight scene and Shawn was so understanding about how taxing that is on you as an actor and how you have to go into those deep, dark places. So, he gave us a whole day just to work that entire scene and just to get to the place we needed to go and have this space that we needed to actually work. He gave us space away from set to just have our own time to process what we were going through, take a timeout and come back. It’s because of things like that that keep me wanting to work with Shawn. He’s just incredible. I can’t speak highly enough about him.” 

“He’s also a phenomenal writer because he also wrote this script. He brings in like parts of himself into the script so he could speak from a very personal place when he’s directing and you can see the love and attention to detail that goes into each and every page.”

Because the film follows the emotional journey of two young people in a time of crisis and growth, it can be difficult for an actor to connect with their character.  However, in preparation to play Siobhan, Kucher says that she was able to draw from her own personal experiences and questions.

“I think your art parallels are life and the universe brings to you some roles or work that just feeds where you’re at,” she claims. “The time when we were filming space and time, I was actually going through a bit of a tumultuous serious relationship myself. So, a lot of the stuff that was coming up in the script were things that I was feeling in my personal life, so I had a lot to draw from. As well, the themes of growing older and starting to realize that you’re heading down a path, going one specific direction was something I really identified with. As you start to get into your thirties, things start to cement [about] where you’re going in your career and who the people around you are. For me, these were all themes that were coming up in my personal life that were coming up in the film. So, it was easy to tap into.” 

With this in mind, there seems to be something almost mythological in our culture about finally turning the age of 30. As young adults reach the seemingly important milestone, it often sparks questions of identity and purpose. 

“We mythologize all of the milestone birthdays that 30, 40, [or] 50,” Kucher recognizes. “The interesting thing about turning 30–and there’s interesting things about turning 40 and 50 too–but the interesting thing about turning 30 is, I think, that after you’ve had your 20s of self-discovery, figuring out who you are and making a lot of mistakes, we sort of think that we have to know who we are by the time we hit 30. It’s like this is it. This is ‘real life’, which is not necessarily true. I don’t fully know the depths of who I am yet or the path in which I’m going. But I think as a culture that’s like the point at which we say ‘now, you’re an adult’. Now, you should be waking up at a certain time, going to bed at a certain time, dressing a certain way, making a certain income and kids and houses and all of those things that are supposed to be staples to who you are.”

One of the more unique things about the film is its use of the city of Toronto as itself. Whereas the city most often provides the backdrop for other major cities such as New York or Chicago, Space & Time showcases Toronto’s identity and character onscreen. Based in the city herself, Kucher was excited to see her hometown bring its own energy to the film.

“I love seeing Toronto onscreen and, in this film, Toronto plays its own character,” she exclaims. There are such gorgeous shots of the city and, if you’ve never been to Toronto or if you’re just starting to fall in love with Toronto or even if you’re jaded with Toronto, I think you’re just going to fall in love with Toronto over and over again through this film. Toronto is a character. We see her on the Island, we see her in the subway stations, we see her along Bloor Street. I think she feeds the character kind of in the way that New York is said to feed characters in the hum of the city. I think you can really feel the tone of Toronto in this film. You can feel the way that it’s electric and energized. It really adds to each of these characters narratives, that hum of Toronto and that hum with the city [pushes them along]… They kept it true to itself. It’s so refreshing just to be Canadian for once onscreen.” 

Through its exploration of growing up, Space & Time also highlights the tension between ‘moving on’ and ‘running away’. For Kucher, this exploration of identity is important in that it takes the characters outside of the familiar.

“I think part of the themes of growing up is this need to go out, branch out and explore who you think you are or who you might be outside of home. [It’s rooted in the] idea that going somewhere that might be unsafe. What I really love is that this idea that both Sean and Siobhan had that they’ll somehow find themselves away from where they know, away from their home, is kind of like this mythology that you kind of see in books, theater and film of people going [outside] of themselves, only to return inwards to themselves because the answers were kind of within you all along, if you want to use that metaphor.” 

Asked what she believes Siobhan is ultimately looking for, Kucher believes that her passion for quantum physics drives her quest for purpose and understanding.\

“I think it’s what everyone’s looking for is a sense of love and a sense of purpose,” she answers. “Siobhan is very smart. She’s a quantum physicist. Her dreams are to understand the universe and, by understanding the universe, understand the way that we work and the purpose of us all being here. If you look at it that way, really she’s just looking for her sense of purpose herself.”In light of this, if she were ever given the opportunity to speak to her character face-to-face, Kucher believes that she would want to encourage her to be satisfied within herself.

“First of all, I would ask her to help me with my high school physics homework and try and explain that to me. [Laughs] I tried reading a lot of Stephen Hawking to prepare for this role and even though he speaks colloquially, it’s very fun. I’m though, ‘Oh, this is a lot.’ [Laughs] But then if I could say anything to her, I think I would just tell her that you’re enough. Just be who you are and be happy. I think that’s something I’d like to say I do a lot of people is that you’re enough.” 

For full audio of our interview with Victoria Kucher, click here.

Space & Time begins to tell its story in Toronto’s Carlton Cinema on Friday, February 21, 2020 and moves into more theatres across Canada in subsequent weeks.

Space & Time: Prone to Wander

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Directed by Shawn Gerrard, Space & Time follows academic physicist Siobhan (Victoria Kucher) and her photographer boyfriend Sean (Steven Yaffee) who realize they failed to answer key questions about themselves and their relationship. Their devotion to each other is further tested when Siobhan decides to pursue a career opportunity in Geneva that would cause them to uproot their lives and move into the unknown.

Set in Toronto, Space & Time makes good use of its location by showcasing the city as both charming and daunting. (Incidentally, I always find it somewhat refreshing when Toronto is allowed to play itself onscreen, as opposed to other major cities.) While the relationship between the two leads remains the focus of the film, Toronto itself becomes a character within the film, revealing the contradiction within the urban centre by giving it the feeling of ‘home’ and alienation at the same time. Through his interesting use of lighting and locations, Gerrard gives Toronto an atmosphere of loneliness that makes their story feel very small in a very big world. 

While the driving force of the narrative remains the relationship between Siobhan and Sean, the film seems most interested in the emotional journey of a generation that is searching for a better understanding of who they are. Solid chemistry between Kucher and Yaffee help anchor the emotional core of the film as two young adults on a journey to find themselves but fear being stuck. Gerrard’s direction wisely encourages his leads to stay more grounded in their performances, resisting the urge to push them for over-the-top melodrama. As a result, the film maintains a realism that works well in a film that wants to feel like a window into the world of modern millennials as they look to establish themselves.

As they approach their 30th birthdays, both Siobhan and Sean have reached an age where they wonder what it will mean for them to stretch themselves and take steps into the unknown. Battling questions regarding their future together, neither seems fully content in the direction that their lives have taken and they begin to question both their relationship and their own sense of self. Caught in between their love for one another and an uncertain future, Siobhan and Sean fantasize about alternate versions of themselves in other dimensions, wondering how their lives would turn out had they made different decisions. Despite the fact that their lives seem ‘settled’, their spirits continue to wander, looking for something that truly gives life to their souls. In doing so, Space & Time gives voice to those that want to feel as though their lives matter but struggle to understand what that means. Does true success mean landing the big career opportunity? Is life about finding love? Or does real purpose and value lie within one’s understanding of who they are? Space & Time doesn’t always have the answers to these questions but it is an engaging journey that isn’t afraid to ask them.

While only in limited release, there’s a charm to Space & Time that makes the piece worth a look. Strong performances by Kucher and Yaffee give the film a genuine feel that emphasize the importance of a small story in a very large city.

For audio of our interview with Victoria Kucher, click here.

Space and Time opens at the Carlton Cinema in Toronto, ON on February 21st, 2020 and continues to add theatres in subsequent weeks.

Real World SciFi: 1on1 with Robbie Amell (CODE 8)

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Code 8 transports the viewer to an alternate reality where superpowers are a reality amongst the people yet are considered potentially dangerous to others and have been outlawed by the government. When Conner (Robbie Amell) discovers that his mother is tragically ill, he turns to a group of criminals, led by Garrett (Stephen Amell) in order to help him get the funding he needs to pay for her medical bills. However, as Connor falls deeper into the underworld, he must decide whether or not his mother’s health is worth losing his soul. Having been involved in the project from the very beginning, star Robbie Amell admits that the film developed out of his interest in working with his close family and friends.

“My cousin [Stephen Amell, Arrow] and I knew we wanted to work together on something,” he begins. “[I was also trying to work with] one of my best friends, Jeff Chan, who directed the movie, and his writing partner, Chris Pare. So, they came up with a concept and we shot the short film just as a proof of concept and hope to make a little bit of money on Indiegogo. It blew up. We front paged on Reddit and then the campaign blew up to way bigger than we [could have] ever imagined. Then, $2.5 million later and 27, 000 backers later, we were able to make a much bigger movie than we had thought possible.” 

While it’s becoming increasingly more common for online campaigns to help projects get off the ground, the sheer amount of support that Code 8 received from fans was nothing short of remarkable. Though they had high hopes, Amell also notes that they were nervous about reaching out the public in order to help their film come to life.

“It was scary,” he recalls. “You put yourself out there and you invest money into a short film and you just hope people will be into it. Luckily, they were. We always planned on just using it as kind of a launch pad to work with Canada, Telefilm and tax credits [but] we were really able to do that on a much larger level because of the success of the Indiegogo campaign.”

Featuring a cast of both newcomers and veterans, Code 8 is filled with engaging performances from its cast. While the increased budget may have allowed for better special effects and sequences, Amell also understands and appreciates the importance of having quality actors that offer great performances in order to bring the film to life. 

“We got really lucky with our cast,” Amell beams. “Greg Bryk was fantastic. Kary Matchett was so good as my mom. Laysla [De Oliviera] is a friend of ours that just came in… We got so lucky. Peter Outerbridge did us a favor because, it was down to him and Greg Bryk for the Sutcliffe roll [but] we leaned more towards the disheveled kind of ‘losing it’ version of the character with Greg. When Peter came in, we asked him if he would still come on in the smaller role in the hopes that if we do a sequel, the next step [would be] that he could be involved. He was gracious enough to be a part of it.“

Of course, one of the key draws to the film for Robbie was the opportunity to work more extensively with his cousin, Stephen Amell. Best known for his role as Oliver Queen in CW’s Arrow series, Stephen has shared a brief amount of screen time with his younger cousin before. However, in the development of Code 8, both Amells finally had the opportunity to truly work together for the first time.

Says Amell, “We had a little team-up fight on The Flash but we didn’t say anything to each other. So, it was great to spend six weeks creating our own movie, being our own boss and kind of molding and finding these scenes. The only reason we were able to do that was because this movie was made by friends and family and the Indiegogo backers and Telefilm. It’s a very unique way to be able to create a project. We had a blast. We got to see how the other one works in their process and feed off each other. It was great.” 

Given his experience in the genre over the course of his career, Amell believes that the science fiction atmosphere continues to draw him in due to its opportunity to both entertain and challenge at the same time.

“I think it gives you an entertaining way to tell interesting stories,” he explains. “For instance, our movie is a crime drama about how far [my character will] go to save his mom. The nice thing is you get the sci-fi package to kind of make it a little more entertaining and hit a broader audience. Sometimes, if you’re making a character drama, it’s tough to really make it marketable. So, for us, we felt that the grounded sci-fi genre was our wheel house. We knew it well and were fans of it. So, we wanted to try and make something with a little more substance but above all else we wanted to entertain.” 

With this in mind, the film’s grounded tone and gritty feel allow for it feel both futuristic and contemporary at the same time. For Amell, maintaining this balance was essential because their goal for the film was to offer something different from more typical science fiction films at the box office.

“Part of it was that everyone has seen the big citywide fight scenes,” Amell argues. “It’s not to say I don’t enjoy those. I go see every big Marvel and DC movie but we knew that that wasn’t the story we wanted to tell. We wanted to tell this grounded character-driven crime thriller. (We used Heat as an example.) We wanted it to feel relatable and it wasn’t ever going to take place in a world of right and wrong or black and white. It was always going to be these gray areas that I think exist more in real life. People make decisions and other people don’t always agree with them. So, we wanted to tell this real story and we thought it would be more relatable. At its core, I feel like everyone can relate to doing the wrong things for the right reasons when you’re trying to save a loved one… Above all else, he just wants to make her happy, make her proud and take care of her, even if it means losing her.“

Despite existing in a world where superhuman abilities are a reality, Code 8 grapples with larger real-world problems such as racial profiling and poverty issues. While Amell feels that the film isn’t directly trying to make a particular social commentary, they did allow themselves to ground the story within a world of marginalization and oppression.

“The many outweigh the few,” Amell clarifies. “So, even though there are [people with] powers, they’re only 4% [of the population] and, of those 4%, the powers range from class one to five. Ones and twos aren’t very dangerous but you’ve got a militarized police force [and] a marginalization of people with powers. We weren’t trying to preach anything but we always wanted to draw from inspiration from real life and things that are going on around the world.” 

Having said this, it begs the question of whether the film is purely a standalone venture or if the intent is there to continue the story. Asked if he hopes for a Code 9, Amell remains hopeful but knows that it depends entirely on the audience response to this film.

“We hope so. We’re definitely not done telling our story but we’ll see how it goes.” 

For full audio of our interview with Robbie Amell, click here.

Code 8 rolls into theatres across the US and VOD on December 13th, 2019.

TIFF ’19: The Lighthouse

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Starring Robert Pattinson and Willem Dafoe, The Lighthousevfollows the journey of Winslow (Pattinson) and Wake (Dafoe), two lighthouse keepers, who try to maintain their sanity while living in isolation on a remote island off the coast of Maine. Tightly written and directed by Robert Eggers (The Witch), The Lighthousevis a fascinating piece that feels like a throwback to classic post-War noir films. Unlike most modern horror films that insist on bombarding the senses, the film is a slow descent into madness highlighted by strong performances from its cast and a striking visual style. Shot on black and white 35mm film, Lighthouse echoes classic Hitchcock films like Psycho and Rear Window by allowing its characters to slowly lose themselves to their circumstances. What’s more, by shooting in a 1:19 : 1 ratio, the film visually reinforces the claustrophobic atmosphere between the two leads as they battle for screen presence. 

Through its visuals and narrative, Lighthouse is most intent on exploring whether one can ever truly escape their own darkness. Despite Winslow’s desire to return home and start over, the evil around (and within) them continues to grow, giving failure a sense of inevitability. For Winslow, hope becomes a boat that may never reach him as the sea grows angrier.

Filled with psychological terror and bold imagery, The Lighthouse shines brightly. Caught in the grip of a pseudo spiritual enemy, Winslow and Wake fight and claw for supremacy against elements and each other. 

The Lighthouse is currently playing at the Toronto International Film Festival. Upcoming screenings can be viewed here.

Advance Screening Giveaway: MILE 22!

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ScreenFish is thrilled to be giving away 2 double passes to this week’s advance screening of VVS film’s Mile 22, starring Mark Walhberg and Ronda Rousey!

From director Peter Berg (Deepwater Horizon, Patriots Day), Mile 22 tells the story of CIA operative James Silva who leads a small but lethal paramilitary team on an urgent and dangerous mission. They must transport a foreign intelligence asset from an American embassy in Southeast Asia to an airfield for extraction — a distance of 22 miles. Silva and the soldiers soon find themselves in a race against time as the city’s military, police and street gangs close in to reclaim the asset.


 When: Wednesday, August 15th at 7:00 pm (Doors: 6:00 pm)

Screenings are available for Toronto, Montreal and Vancouver

Montreal             Wednesday, August 15 Cinema Banque Scotia   7:00 PM

Toronto                Wednesday, August 15 Yonge and Dundas          7:00 PM

Vancouver          Wednesday, August 15 International Village       7:00 PM

 

To enter, simply write your city in the comment section and like or share our post on Facebook! For a bonus entry, like or share the post on Twitter and Instagram.

Entrants must be 18 and over. All entries must be completed by 11:59pm on Tuesday, August 14th, 2018.

A special thanks to VVS Films for their support.

Trailer: https://www.youtube.com/watch?v=jSEY-y5ZByw

Social: @vvs_films, @Mile22Movie

Suburbicon: Neighbourhood Disturbance

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There goes the neighbourhood…

Directed by George Clooney, Suburbicon is a satirical look at the suburban world of the late 50s, as racial integration was truly beginning to break down social barriers.  The film tells the story of Garner Lodge (Matt Damon), a family man who lives with his wife, paralyzed as a result of a car accident, and adolescent son.  When a home invasion turns tragic, the Lodge family is thrown into turmoil.  However, as the truth begins to reveal itself, the family—and the neighbourhood—begins to unravel in unexpected ways.

Written by Joel and Ethan Coen, Suburbicon is filled with their signature brand of dark humor and violence yet Clooney very much puts his own stamp on the film as well.  Through his use of framing and lighting, the film might be the best example of 50s-style film noir in years.  What’s more, he wisely remains behind the camera for this film, resisting the obligatory cameo.  In doing so, he allows the script and cast to bring the film to life on their own, which they do so successfully.  Damon hasn’t appeared this menacing since The Talented Mr. Ripley while Moore plays the stereotypical housewife with a subversive edge.  (Meanwhile, Oscar Issacs almost steals the film in his brief cameo as an insurance adjuster.)

Clooney portrays Suburbicon as a city of ‘diversity’, yet the set design and entirely Caucasian cast remind us of the myth of that claim.  (This reality is emphasized from the very beginning through the film’s opening credit sequence, which hilariously mimics classic promotional films.)  This town is one that believes it has ‘bettered itself’ and has ‘opportunities for prosperity for all’ yet refuses to recognize its unspoken flaws.  Image is everything in Suburbicon but what happens when the seething cesspool of injustice and murder underneath begins to bubble to the surface?

In fact, one of the most interesting facets of Suburbicon is its interest in exploring racial tensions, without that narrative becoming the primary focus of the film.  By focusing on the gradual destruction of the Lodge family, Clooney somehow manages to allow the racial issues to gain prominence.  In other words, through its emphasis on the murderous intrigue, it is a reminder of how often the real social injustices of our culture get either swept aside or misplace blame.  Although it takes place in the late 50s, there is a timeliness and urgency to Suburbicon that give it a much-needed satirical bite.  It’s hard to watch Suburbicon and remain comfortable, which is to its credit.  The film knows what it wants to say and it does so efficiently and effectively.

But, if you decide to move there, just don’t drink the tea.

This year, ScreenFish was invited to the TIFF17 press conference for SUBURBICON! Narrated by George Strombolopolous, this revealing conversation includes director George Clooney, writer Grant Heslov, and stars Matt Damon, Julianne Moore and Karimah Westbrook.  You can stream the audio from the event here: