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where faith and film are intertwined

Zac Efron

TIFF ’22: The Greatest Beer Run Ever

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Set in 1967, The Greatest Beer Run Ever tells the true story of John ‘Chickie’ Donohue (Zac Efron), a young New Yorker who loves his boys, his beer and his country. As the Vietnam war continues to escalate, Chickie and his friends at home are sitting in a bar, talking about what they can do to support the troops. Then, in a drunken dare, his friends challenge him to go overseas and send their friends a message of support from home in the form of some American beer. Fearing that they’ll think him a failure, he accepts and sets out across the ocean, with his cargo in tow. What Chickie  doesn’t anticipate, however, is the horrors of war that await him. Teaming with Coates (Russell Crowe), a photographer on a mission to tell the truth, Chickie soon realizes that the troops are going to need a lot more than a few brews to survive this tragedy.

Directed by Peter Farrelly, The Greatest Beer Run Ever may live up to its name, but that doesn’t mean that it isn’t entirely worth the trip. Throughout the film, Farrelly goes out of his way to both support the troops and deny the war by highlighting the men who sacrifice their lives on behalf of the cause. (It’s worth noting that there are no women in the military on this Beer Run.) However, at the same time, Farrelly also wants to show the violence and horrors of war in ways to changes Chickie’s mind along the way. 

But that may be the problem. Despite his growing skill behind the camera, Farrelly still leans into the humour as opposed to the horror. As a result, despite the opportunity to show the true damage of war, Farrelly pulls his punches when the film approaches difficult social issues. While violence and gore are not essential in a war film, Farrelly seems to hold back the worst aspects of war, allowing the audience to feel safer in the conversation than had it been left in the hands of another filmmaker. As a result, Beer Run is held back from becoming something truly memorable, despite its intriguing premise and some enjoyable performances. 

The Greatest Beer Run Ever premiered at TIFF ’22. For more information, click here.

Gold: Gripping What Glitters

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While the cost of gold is high, watching Gold is worth it.

In the not-to-distant future, a man (Zac Efron) in search of a fresh start. Not much is known about his mysterious character (simply known here as ‘Man One’), other than that he is trying to get away from the life he knew. As he ventures into the desert, he enters into a vast wasteland looking for anonymity and new beginnings. However, when he stumbles across a massive golden nugget, he and his driver are left with a decision: let it go and survive the desert or leave a man behind and fight for their claim.

Directed by Anthony Hayes (who, incidentally, also plays ‘Man Two’), the film is an intense experience exposes the corruption of man and wrestles with what’s important. Without question, Hayes wants the viewer to feel the heat as much as his lead. Bleaching the screen from all colour, Gold absolutely burns off the screen. Although Efron lives in the vast open space, there is a claustrophobic atmosphere to the film which makes everything feel tight. With every step, we feel like it could be his last.

Gold

As such, Gold becomes Efron‘s entry into the survivalist genre in the vein of Castaway  and 127 Hours. It’s also some of his best work. For a man best known for his roles in R-rated comedies and musicals, Gold forces him to get by on the strength of his performance. Stripped of his traditional boyish charm and good looks, Efron portrays his character with grit and fierce determination. There is a focus and intensity within his performance that shows how far he has come as an actor.

At its heart, Gold becomes a film about discovering what matters most. The discovery of the enormous nugget feels like a life-changing moment for the two men. After all, if they can somehow remove it from its sandy grave, a world of immeasurable wealth awaits. But, so too does it become an incredible burden as well. Facing the wild beasts of the desert, wandering interlopers and the beasts of the desert, Efron battles the elements that beat down on him, ranging from a sandstorm to the wild beasts of the desert.

In a strange way, Gold almost has the feel of a one-act play featuring two (or three) primary actors. With each passing moment, Efron’s ‘Man One’ becomes more introspective as he’s forced to grapple with the deepest of questions. Although he sees the immense value of his prize, but at what cost? Is a future of wealth worth fighting for? What about murdering outsiders to protect it?

Is it worth losing his own life?

Furthermore, as Efron faces challenge after challenge, so too does the golden treasure seem to get smaller and smaller. As dust begins to cover the massive treasure, it feels like it’s about to slip through his fingers yet he remains relentless. Clutching the gold in his blistered, dry hands, Efron refuses to let anyone or anything separate him from what’s rightfully his, even death itself. As he slowly wastes away, the initial enthusiasm for his discovery seems less important. Nevertheless, he remains determined.

With fire and fury, Gold is something to behold. Anchored by a strong performance by Efron, this unexpected gem is a powerful metaphor for man’s desire to hold on to wealth and possessions. In other words, Gold proves that all that glitters is not necessarily all it matters.

Gold is available on VOD, Blu-ray and DVD on Tuesday, March 22nd, 2022.

The Greatest Showman: What Do You See?

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P.T. Barnum watched his father toil in poverty, the family suffering in the shadows of the rich Hallett family. With love for Charity Hallett, and a desire to show the world a vision of joy that they hadn’t seen before, Barnum works hard to embrace a new life for his family. With starts and stops, Barnum gradually builds what will become Ringling Brothers Barnum & Bailey Circus in Hugh Jackman’s The Greatest Showman.

For the record, I can’t stand musicals. I think it’s ridiculous in general that a human being would spontaneously break out in song, and that another person would patiently wait to hear what they had to say until the stanza was over. I’ve sat through exactly two musicals that I ever really cared for – The Phantom of the Opera and Rent – which have spectacular stories about what it means for outsiders to become insiders, to find their place in the world. And now,I’ve found a third in Showman, which ironically also includes a strong story about seeing the world, and the people who inhabit it, differently from the way the rest of the world does.

I’ll leave a standard evaluation of Showman to others, in terms of what it means to integrate the vision and music with the story – although I will see that it’s visually stunning, and transports one to the sights and smells of the circus. Instead, I’ll focus on a few of the ideas that made me sit up and take notice.

Barnum’s belief in those who are overlooked by everyone else – the bearded lady with the voice of an angel, the incredibly witty dwarf, the thief-turned-magician, the African-American brother-and-sister trapeze artists – is built on his own recognition of his position as an outsider. It’s beautifully captured in an early scene where Barnum is stealing to find something to eat, when he’s surprisingly offered kindness by a deformed beggar. It shows up again when Barnum recruits the uppercrust Carlysle (Zac Efron) to cross the lines of economic expectation, to be part of something more. It made me wonder what the world would look like if we each remember the times we were once left out, and the way that we were included and brought in from the outside. 

I long for the vision that Barnum had, of a place, a family, a community, where everything would be transformed into something new and brilliant. I believe in the power of that vision – a representation of the kingdom of God on Earth – but I know from experience that it takes energy, faith, and work to see the vision into reality. Barnum’s focus on bringing joy unites and inspires those he calls on to join him – even the skeptical Carlysle. It’s Field of Dreams without the baseball, but it also shows the power of inspiration to help others see the vision, too.

Thanks to the film’s ability to see the rise and fall (and rise) of Barnum, we see the business success and personal failure of his partnership with the Swedish Nightingale, Jenny Lind. While the real-life Barnum was a success on a multitude of levels (business, politic, philanthropy), the focus on his circus years shows the depth of his vision – and the way that his Jenny Lind musical tour distracted him both personally and professionally from what he was meant to be. While providing an entertaining diversion – and the ‘third act’ tension required of a dramatic story arc – it also serves as a reminder that we should beware the pitfalls mixed with success, ambition, and greed. Whether we’re a business, a church, or a community, what we long for and pursue must be kept front and center in what we do.

While some of the acts Barnum collects are singularly stunning visually, there’s a reminder here that everyone has a gift, that everyone matters. It’s articulated by Zendaya’s Anne Wheeler when she admonishes Carlysle, “everyone has an act.” It combines the first few notes of the film, because the focus has been so heavy on the visual ‘freaks’ that somehow threaten the townies, as Carlysle becomes the one who needs a place, who finds a home, who recognizes his gift. This is church – where the message is for everyone, the blood, sweat, and tears have been shed for all, and the places at the table are available to all.

Yes, Barnum may have been the greatest showman, but the film is so much more than entertainment.

Baywatch: The Rock Saves the Bay

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In Baywatch, Lt. Mitch Buchannon (Dwayne Johnson) and his team of lifeguards, including second-in-commmand Stephanie Holden (Ilfenesh Holden) and veteran C.J. Parker (Kelly Rohrback), protect the beaches and the bay in Emerald Bay, Florida. Having made over 500 rescues in his career, Mitch is beloved by the community, to the annoyance of local beat cop Garner Ellerbee and Mitch’s superior, Captain Thorne. Mitch and his team view themselves as the Bay’s last line of defense, risking their and even solving major crimes.  After adding newcomers to their squad, including reckless Olympian Matt Brody (Zac Efron), they soon find themselves in too deep when a nefarious landowner (Priyanka Chopra) begins to stir up trouble and they also discover a potential new drug that threatens their entire beach and its patrons.

Running from 1989-2001, the original Baywatch quickly became one of the most watched television series of all time, becoming known for its emphasis on tanned beach bodies and, yes, slow-motion running.  Reigniting the career of 80s star David Hasselhoff (Knight Rider) and helping Pamela Anderson to become a household name, Baywatch appeared to take itself seriously as an intense drama about saving lives.  (The problem with this approach is that more people were watching for the bikinis—and, yes, slow-motion running—than the dramatic tension.)

The reboot, however, wisely sidesteps the show’s false sincerity by constantly winking at the camera.  (“This all sounds like the plot of a cheesy, old tv series,” Efron muses.)  Attempting to enjoy the same success as the recent 21 Jump Street series, Baywatch has marketed itself as a fun, action adventure which, for the most part, it seems to be.  While the script lacks the sharpness of the Jump Street films, the film’s desire to poke fun at the show’s (and genre) conventions and the light-hearted atmosphere on set helps Baywatch to stay afloat.

Holding it all together, though, is Johnson himself.  It is no coincidence that he is the centrepiece of all promotional materials.  In fact, a film like this is a reminder of why he is the highest paid actor in the business today.  The man has such charisma that he seems able to elevate any material that he’s given.  A fault line destroying the coast in San Andreas?  Sure!  Stalling franchises like Fast and the Furious or GI Joe?  Send him in!  (For crying out loud, news of a potential presidential bid was circling the internet last week… and people loved the idea!)

In this regard, Baywatch is no different.  Despite the fact that the jokes don’t always work and the material is lacking at times, Johnson’s ability to display both bravado and self-deprecation simultaneously draws you in.  Perhaps the best example of this comes in the film’s title card reveal.  Johnson emerges from the waters with fire in his eyes, carrying the body of an injured swimmer.  Suddenly, the title emerges from the horizon in grandiose style, filling the rest of the screen behind him.  It’s a scene that received giggles from our audience… but, given the over-the-top nature of the visuals, we also know that we’ve been invited to do so.  (Incidentally, those giggles soon turned to cheers, as well.)  In moments like this, we can see that he’s having a blast, so we’re willing to hop on the ride as well.

Usually at this time, I would shift the conversation to discuss some of the more theological themes that break into the film.  While I could easily delve into ideas about the nature of sacrificing our lives for others or the public’s responsibility to care for one another, honestly, that’s not what this film is about.  While Mitch is definitely a community example in the way he conducts himself, the film, ultimately, concerns itself most with its desire to satirize its own genre.  (Although, to be fair, Mitch’s objective standard of doing what is right does shines a light on his entire community and calls them all to a standard higher than their own… hey, look!  I did it!)

Eventually, there will come a time where Johnson’s star is not the center of Hollywood’s universe.  It happens to everyone and, at some point, his films will eventually lose their sheer sense of glee.

But Baywatch will not be that film.

Special features on the Blu-ray combo pack include “Meet the Lifeguards” and “Continuing the Legacy,” while deleted and extended scenes add to the behind-the-scenes look at the stunts and training to make the film work. 

 

Adventures in Sand and Snow: An Interview with Amin Joseph (Baywatch, Snowfall)

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Amin Joseph likes a challenge.

Whether it’s going toe-to-toe with a former WWE Champion in Baywatch or delving into a character drama like Snowfall, Joseph seems to thoroughly enjoy being pushed in ways that further him as an actor.

Says Joseph, “[They’re both] completely different.  I still bring my sensibilities to things so it always feels like a continuation of my craft and whatever I bring to each project.”

When offered the role of the villainous Frankie in the reboot of the Baywatch franchise, Joseph jumped at the prospect. When asked what attracted him to the project, Joseph quickly asserts that, ultimately, it all came down to the quality of the script.

“What initially drew me to the script was that this was a different take on the original installment,” he begins.  “It skews towards comedy and action, [and] has the sexy [element, too]. It doesn’t take itself as seriously as the original. So, that was the first thing. We’re taking the franchise in a different way and everyone was kinda enthusiastic about that…  It’s not just going to be about abs and the perfect swimming form on the beach. Then, when I found out about The Rock and just how much physicality was going to be involved, I really took a liking to it.”

Playing henchman to the villainous Victoria Leeds (Priyanka Chopra), Joseph also appreciated the fact that the script broke several stereotypes in the genre as well.

“It was kinda cool working with Priyanka Chopra and [she] wasn’t the stereotypical villain.  She’s the kinda upscale villain [and I’m] not your quintessential henchmen but it is more like the Bond thing, where they’re kind of well-dressed. It’s only because of the circumstances that makes them villains at all.  To see a woman play the main villain is quite interesting too.”

Of course, one of the more unique opportunities in a film like Baywatch was the chance to square off in a fight scene with co-star Dwayne ‘The Rock’ Johnson.

“We worked on the choreography… for quite a while,” he remembers.  “It just makes sense some time to do your own stunts because you don’t have to cut away.  So, I did a lot of those stunts.  I also had a stunt performer.  I think it’s great to rely on your stunt performer to do certain things and also be a physical actor…  You don’t have to take every fall.”

Furthermore, Joseph argues that the process of developing such a scene is incredibly complex, involving everyone from screenwriters, to stunt performers and the film’s stars.  However, he also believes that the best action sequences feel natural to the script and enhance the overall story itself.

“I believe that every fight has their own choreography and tells their own story within the larger story of the film.  That’s what the writer is trying to convey,” he argues. “Then, the stunt unit comes in and tries to bring whatever that writer put on paper into the real world.  In there, there’s a lot of interpretations of how that should be seen.  Then you have the star of the film that’s probably done a hundred or more… Let’s just think about how many fight sequences Dwayne has done in his career… and I’ve done several… It’s all of these different variables.  How big is the space?  Is this a scene where we’re kicking?… All of those things together… it’s sort of like watching something organically happen even though it might seem like it would be paint by numbers.”

Of course, despite the rigorous physical challenges of his role at times, Joseph maintains that the atmosphere on set was a lighthearted and fun experience.

“It was easy.  I mean, it can’t get too hard when you’re working with beautiful people on a beach.  Who am I to complain?  (laughs) Everyone had a warm disposition and you’re working with some of the most charismatic people in the business.”

“I think they did a great job of the casting because there’s a lot of newcomers…,” he continues. “The zingers that Rock and Zac share is just a lot of funny stuff.  Even my character had some moments of levity, some comical moments.  The fact that you have that already written there and that you give us an opportunity to play in between things, it makes it all the more fun and laid-back type of experience.”

Moving on from the beaches of Baywatch, however, Joseph opted to choose a wildly different experience for his next role by joining John Singleton’s upcoming FX series, Snowfall.  Taking place in 1983, Snowfall tells the story of the rise of the crack epidemic in Los Angeles. A fictitious story in a historical setting, Joseph believes that having the option to create new narratives allows them the opportunity to explore some deeper themes.

“This story of Franklin Saint is an original story in a historical period where a lot of things ring true.  But I think it gives the story a little bit more life being able to show things that didn’t happen in one particular person’s story but to be able to expand and show how this drug [was] coming in and this drug trade sponsoring wars. To be able to embellish a bit.”

Nevertheless, Joseph also notes that the real heart of Snowfall lies within the journeys of the young families within the story, as opposed to the larger scope of the drug trade itself.

“It’s one thing to say all drug dealers are bad… but how does that look when you’re dealing with a family?… It’s just interesting to see those stories in a very small way as part of a larger story.  I think Snowfall does a remarkable job of that and I’m pretty proud of that obviously.  When I first read the pilot, I wasn’t able to see that.  It seemed like everything was compartmentalized and you see all these different sects: Israeli mobsters, CIA, etc… and to see that all come together and paint a story that feels like nobody is being demonized.  Even with the CIA, you realize the humanity of people just working their jobs and just trying to better their lives.  It’s just really interesting.”

Of course, one of the great challenges in a role like this can be inhabiting a character that you cannot always relate to their backstory or history.

“With this particular piece, the difficulty [lay] in that I was not from Los Angeles,” he reflects.  “And, being a period piece, because the audience has seen films like Boyz N The Hood, we’ve kind of seen what that stereotypical guy from South Central Los Angeles looks like and acts like—whether or not he actually acts like that or not. To start from the ground up with a character, we got to think of the history of this character.  Where did they migrate from?… What can you kind of infect into these people that gives them an authenticity, bring some things that we haven’t seen before.  Bring some specificity.”

Of course, it is also in these moments where series producer Singleton could most demonstrate his value to his crew.  Having grown up in South Central Los Angeles, Singleton’s years of experience helped him mentor his young team in ways that would help bring some authenticity to the world they were creating.

“John is a stickler. As an EP, he was always in our ear, giving us advice,” Joseph muses gratefully. “He grew up in South Central.  This is his place. I remember on my first day of shooting, John walked up to me and said, ‘Hey man, I know you’re from New York but some of my guys around here are gonna be mad if you don’t get this right.’ I was like, ‘Thank you, John.’ (laughs)… He was always around giving little details… To me, it’s almost like a treasure chest of information. You know, to have someone that really rolls around in those times.”

For Amin, despite the fact that two experiences may have been wildly diverse, both have helped him continue in his development as an actor.  In any case, both Baywatch and Snowfall have allowed Joseph to enjoy his moment in the sun.

To hear the full audio of our interview with Amin, click the link below.

Baywatch is in theaters now.

Snowfall will air on FX starting June 5th, 2017.