THIS WEEK IN MOVIES: The Last Duel

By Jorge Ignacio Castillo

Even though his name commands respect in most circles, Ridley Scott is not an easy guy to trust. For every The Martian (a perfect popcorn movie) there is a pretentious award-chasing flick, most recently All the Money in the World; for every masterpiece (Alien, Blade Runner), a bloated mess (Kingdom of Heaven, Exodus: Gods and Kings). One thing is undeniable: His craftsmanship is always aces.

The 84-year-old Brit is as active as ever: this year alone he has two movies on deck, both studio films with decent budgets and Academy Awards ambitions. The first one, The Last Duel, was written by Matt Damon and Ben Affleck (alongside Nicole Holofcener) in their first script since winning an Oscar for Best Original Screenplay 23 years ago for Good Will Hunting. Ridley’s other film, House of Gucci (a sudsy drama starring Lady Gaga) is expected for the end of the year. 

Based on actual events—the last officially recognized judicial duel fought in France—the incident doubles as proto #metoo: At the very end of the 14th century, knight Jean de Carrouges (Matt Damon) accused squire Jacques Le Gris (Adam Driver) of raping his wife (Jodie Comer, Killing Eve). There were no witnesses—it was her word against his—and at the time, a woman’s testimony only meant something if there was a husband with property to back her up. 

Scott tells the story Rashomon-style. First we are introduced to Jean de Carrouges, a chip-on-the-shoulder kind of guy. He and Jacques Le Gris start as brothers-in-arms, but the relationship deteriorates because of perceived slights. Later we witness the same events from Le Gris’ perspective: Carrouges comes across as callous and moody, while Le Gris sees himself as a fair man who happens to be irresistible to women. The third POV, Carrouges’ wife’s, is the closest to the truth. Without going into spoilers, I’ll just say the two men have inflated opinions of themselves.

Ridley Scott avoids being repetitive by unveiling information strategically. He’s so good at it, the film is at its best when setting up the action. However, when focusing on the subjects that make The Last Duel current, the film becomes clumsy and broad. The script shoves in lines destined to make you think “things haven’t change all that much, have they?”

The movie picks up again towards the end for the actual duel. Scott, who knows a thing or two about gritty and gnarly violence (see Brad Pitt’s gory death in The Counselor). Impeccably planned, the fight to the death is brutal, with both parties on top at different stages (avoid Wikipedia if you don’t want to know the result).

The unexpected MVP of The Last Duel is Ben Affleck, the actor, not the scriptwriter. As nobleman Pierre d’Alencon (he was originally slated to play Le Gris), Affleck approaches the role as a man who doesn’t believe in divine right, but is happy to exploit it, as well as every advantage that comes from being born a lord in the Middle Ages. 

While well intentioned and entertaining throughout, The Last Duel would have benefited from less moralizing. The point would have come across and more effectively without having to spell it out for the general public. Sometimes they need it, but not here. 3.5/5 stars

The Last Duel is now playing.

THIS WEEK IN MOVIES: Mogul Mowgli

By Jorge Ignacio Castillo

While Hollywood is still trying to figure out Riz Ahmed (often wasted in tentpole films like Jason Bourne and Venom), the British actor/rapper has indie cred to spare. His turns in Nightcrawler and Four Lions were eye-opening, not to mention his Oscar nominated performance in Sound of Metal.

His involvement in Mogul Mowgli goes beyond acting. Ahmed wrote and produced the feature, which showcases his not small musical abilities. The film is limited in scope, but ambitious all the same. 

Mogul Mowgli isn’t entirely dissimilar to Sound of Metal. Zed is an up-and-comer hip-hop artist who, ahead of a career-making tour, decides to make a pitstop at the family home in London. His relationship with his parents is cordial, but distant, undercut with Zed’s complicated relationship with his religion.

While a bit of tension hangs in the air, it has nothing on a degenerative condition that manifests at the worst possible moment and threatens to wreck Zed’s big break. Stuck between dream space and reality, Zed is confronted with the limits of his will power, the lasting impact of his religious upbringing and his own misapprehensions regarding his situation.

Ahmed threads the needle between likeable and full of himself brilliantly. Unfortunately, the film leans too much on him and not enough on the plot, even as barebones as this one is. Mogul Mowgli is at its best whenever not taking itself all too seriously (the terrible rapper replacing Zed on the tour is a highlight). Three (out of five) stars.

Mogul Mowgli is now playing.

THIS WEEK IN MOVIES: Candyman

By Jorge Ignacio Castillo

Perhaps the biggest surprise about Nia DaCosta’s Candyman is how respectful is of the 1992 original. While hardly a box office smash, the Tony Todd-Virginia Madsen starrer got decent reviews and reverberated through the years by having more of a social edge than your average slasher. Unlike the likes of Freddy Krueger or Jason Vorhees, Candyman didn’t start a monster, but was turned into one by others.

DaCosta and writer/producer Jordan Peele (Get Out) build on the first Candyman, by focusing on how the violence against the African-American community echoes through time. Injustice creates boogiemen.

The new Candyman opens with a sadly recognizable tableau: a group of policemen try to apprehend a black suspect and end up killing him. The setting is the Cabrini-Green project, the same area that three decades ago witnessed the events of the first film.

Cut to several years later. The social housing area has been gentrified. Anthony (Yahya Abdul-Mateen II, Aquaman), a visual artist struggling for inspiration, is told about the Candyman legend and decides to makes the ghostly killer his next project. Let’s just say he gets more than he bargained for and there’s no shortage of people willing to repeat the vicious spirit’s name five times in front of a mirror.

The movie is heavy on allegories, chief among them how black pain echoes through generations to become anger. The fact the movie suggests the possibility of multiple versions of the same legend fits the narrative. To a lesser degree, the film is critical of gentrification and harsh on the art scene for commodifying black suffering. There’s enough material here for a couple of movies, alas Candyman clocks 90 minutes sharp, a welcome rarity after so many bloated tentpole films.

Candyman doesn’t forget this is a genre picture (it makes effective use of body horror, pushing the envelope enough to make you squeamish), but there’s something perfunctory about the horror sequences. Ironically, the most disturbing scenes come in the form of shadow puppets, used to contextualize the plight of the Cabrini-Green dwellers. Not something you would like to see as live action. 3/5 stars.

Candyman is now playing in theatres.

THIS WEEK IN MOVIES: Free Guy

Free Guy (USA, 2021): There is a good movie inside Free Guy, one that takes place entirely inside an open-world video game and digs deeper on the ontological conundrum of discovering you’re a supporting player in someone else’s existence.

Unfortunately, Free Guy wraps that idea on a pedestrian intrigue and an uninspired love story. The outcome is predictably uneven, a mix of Ted Lasso-like earnestness and ostentatious demonstrations of corporate synergy.

Free Guy is a rarity by a number of standards: An original creation not opening simultaneously in streaming services that was developed by Fox before it was acquired by Disney. The high-concept comedy not only survived that, but also three postponements due to the COVID pandemic.

Ryan Reynolds lends his off-kilter charm to Guy, a non-playable character in a Grand Theft Auto-like videogame called Free City. Guy is content with his never-ending, cyclic existence until his path crosses Molotov Girl (Jodie Comer, Killing Eve), a striking player visiting his corner of the game. Inspired by her, Guy starts acting independently and gains fans from across the globe while at it.

Meanwhile, in the real world, Molotov Girl a.k.a. Millie is engaged in a covert campaign to demonstrate Free City not only is based on a game she developed, but her code was stolen by the nefarious Antoine (Taika Waititi), an entrepreneur bro that embodies the worst traits of the gaming subculture.

The setting allows for Looney Tunes violence and cameos galore, absurdist and undeniably entertaining. The problems begin whenever the movie steps out of the video game. Millie’s investigation is dull and wastes Taika Waititi considerable comedic chops in a character both over the top and archetypical.

Granted, nobody is going to watch the movie because of the plot, but Free Guy’s resist no analysis. Never mind the winks to gamers, I’m not sure the writers have ever written a line of code in their lives or know how computer servers work. I’m not asking for social realism but a little verisimilitude. As a piece of entertainment is fine, but the potential it hints at goes unrealized. 2.5/5 stars.

Free Guy is now playing in theatres.

THIS WEEK IN MOVIES: Jungle Cruise

By Jorge Ignacio Castillo

Jungle Cruise (USA, 2012): Four-quadrant movies these days are reaching peak levels of constrains. You can forget of any resemblance of edge over the fear of cancel culture or bad publicity (The Goonies would’ve never been greenlit today). International markets, particularly China, must be ok with the content or it’s goodbye to hundreds of millions of dollars.

Even though there’s a particularly glaring example of trying to appease everybody (you’ll know it when you see it), Jungle Cruise does a fairly good job keeping things entertaining, mostly by relying on the utterly charming Emily Blunt and Dwayne Johnson.

A combination of The Mummy with pieces of the Indiana Jones saga set in the early 20th century, the film follows the pursuits of Lily Houghton (Blunt), a British socialite with a philanthropic streak and the soul of an adventurer. In pursuit of a mythical tree with healing properties said to be in the middle of a family-friendly Amazon jungle, Lily hires a riverboat captained by Frank (Johnson), who can barely keep his business afloat. Cue callbacks to the Disney parks ride.

The mismatched couple (she’s intrepid but clumsy, he’s wary of the jungle but good with his fists) turns out to be the ideal combination to fend off a greedy German prince (an amusing Jesse Plemons) and undead conquistadors, because why not.

There’s a dash of Aguirre, the Wrath of God in Jungle Cruise which is never a bad idea (also, Paul Giamatti looks like Klaus Kinski in Fitzcarraldo), but for the most part, every set piece is run-of-the-mill. The stakes are mild at best and it goes for way too long. There’s little chemistry between Blunt and The Rock, although both are good sports.

The most intriguing part is how Jungle Cruise, a movie with state-of-the-art CGI and a considerable budget, fails to dethrone the more modest yet more satisfying The Mummy. My money is on the script. While Jungle Cruise feels like a bunch of action sequences stitched together (much like the ride that inspired it), The Mummy has a simple, yet propulsive storyline that peaks at the climax. It’s scriptwriting 101. 2.5/5 stars.

Jungle Cruise is now playing in theatres and Disney+ Premier Access.

THIS WEEK IN MOVIES: Peter Rabbit 2

By Jorge Ignacio Castillo

While they work as standalone films, at a meta level, you have to have seen the first Peter Rabbit movie in order to fully enjoy the second one. See, in the original, instead of rooting for the title character, you hope by the end Peter becomes stew. The once beloved literary figure became unbearable thanks to an out-of-tune script and a grating vocal performance by James Corden.

Amazingly, Peter Rabbit 2 turns the franchise around by acknowledging the criticisms and addressing the main character’s flaws.

After Peter’s failure to break up farmer McGregor (Domhnall Gleeson) and Bea (Rose Byrne) in the previous episode, we reencounter them happily married. Bea has started to write illustrated stories about her rabbits (in case you haven’t figured it out, Bea stands for Beatrix Potter). In the books, Peter comes across as naughty, but good hearted when push comes to shove.

Enter corporate interests in the form of the suave Nigel Basil-Jones (David Oyelowo). Not only they influence Bea to change her light, picturesque little books into product-placement nightmares, they depict Peter as a straight-up villain. Worse, the rabbit starts believing the depiction is accurate and starts acting the part. Peter joins a gang of ne’er-do-well critters bent on filling their pantries via theft.

In addition to taking the weaknesses of the original and turning them into strengths (except for James Corden’s voice, there’s no way to fix that), the movie has a more interesting message for kids than your standard “be yourself” or “family matters most” (oh, wait, that’s F9): you’re not defined by what others think of you, but what you think of yourself. As for parents, it’s absurdist enough to be tolerable. Who knew foxes doing CrossFit would be so funny. 3/5 stars.

Peter Rabbit 2 is now available in digital and VOD.

THIS WEEK IN MOVIES: Here Are the Young Men

By Jorge Ignacio Castillo

Here Are the Young Men (Ireland, 2020): The ability of British films to deliver coming-of-age stories far edgier than their American counterparts can’t be underestimated. Part of this can be traced back to a willingness to stick with their characters’ narrative even when it’s unpleasant. Hollywood’s idea of teens in crisis is Booksmart. 

The leads of Here Are the Young Men definitely fit the bill. Matthew (Dean-Charles Chapman, Game of Thrones), Kerney (Finn Cole, Peaky Blinders) and Rez (Ferdia Walsh-Peelo, Sing Street) are done with school and ready for a summer of debauchery. Their plans are derailed after witnessing a deadly car accident they had nothing to do with, for a change.

Since not a single one of the teens has the emotional tools to deal with trauma, their reactions are extreme and run the gamut. Matthew gives responsibility a go, Fez falls in a deep depression and Kerney becomes the poster boy of toxic masculinity.

Throughout the film’s 96 minutes, the trio bounces off each other and Jen (the excellent Anna Taylor-Joy), Matthew’s love interest and the only member of their circle with clear goals and accurate sense of self. But as the summer progresses, their diverging reactions to the accident drive a wedge between the titular young men and send a couple into a dangerous tailspin. 

Here Are the Young Men is very critical of their subjects, their lack of substance and warped vision of their circumstances. The barely-there parental figures are never singled out, but their responsibility is clear: Matthew’s mom gives the teen a modicum of conscience, while Kerney’s dad provides zero guidance or support. The obviously talented lead performers keep the characters watchable even at their worst. The conclusion works as a moral litmus test, but it’s not as compelling as everything that preceded it.

There’s however a narrative device that quickly becomes grating: Kerney likes to imagine himself the guest of a talk show in which his increasingly boorish and violent behavior is celebrated (think The Tonight Showhosted by Jordan Peterson). The amusing bit quickly overstays its welcome and eventually takes you out of the movie. Regardless, on account of its boldness in holding a mirror to wayward youth, Here Are the Young Men is worth watching. 3/5 stars.

Here Are the Young Men is available on VOD/digital, DVD and Blu-ray. 

REVIEW: Badsville Is Actually Okaysville

April Mullen’s entry in the biker-gang subgenre packs quite a few punches.

By Jorge Ignacio Castillo

THE PLOT: Badsville revolves around a greaser gang, the Kings, and their presumed leader, Wink (newcomer Ian McLaren). Following the death of his mother, Wink begins to consider leaving town. After all, there is no much of a future in a place called Badsville.

Wink’s decision doesn’t sit well with the rest of his posse, particularly with his lieutenant, Benny (Benjamin Barrett), who harbors an ill-advised crush on him. The arrival of Suzy (Tamara Duarte) pushes Wink’s plans into high gear, but a rival gang and the scorned Benny are likely to get in his way.

CRITIQUE: Another pulpy concoction by April Mullen (closer to 88 than to Below Her Mouth), Badsville is a fun genre entry that shows growing confidence and skill. The script (by McLaren and Barrett) follows traditional biker-gang-movie beats for the top half, but from midpoint on, it stubbornly refuses to obey expectations.

While the setup is not particularly original, Badsville is coherent and cohesive. At 97 minutes long, there is not enough time for world building. The rival gang feels underwritten, although a terrific turn by Robert Knepper as the Aces’ patriarch almost makes up for it.

WHAT WORKS:

·      Simone Cilio’s score is rich and wide-ranging, perfect for the seedy mise-en-scene.

·      For a first-time feature lead, Ian McLaren delivers a confident, strong performance. Barrett, Duarte and Knepper also strike the right notes given the hyper-reality setting.

·      The characters’ quirks (and there are plenty) bring something to the table, as opposed to oh-so-many-movies in which the weirdness feels fake and distracting.

WHAT DOESN’T:

·      The hardboiled dialogue is awfully close to parody, and every “daddy-o” pushes it closer to the edge.

·      The relationship between Suzy and Wink is extremely rushed. This would be fine if the filmmakers weren’t expecting the audience to believe this is a true romance (see what I did there?).

·      While there is a clear effort to create an emotional connection with the characters, it never quite gels. Thankfully, the film is entertaining enough it doesn’t matter.

RATING: ***

RATING (CANADIAN CURVE): ***1/2

Badsville opens this Friday, January 26th, at the Carlton (Toronto). Available on VOD February 6th.

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TIFF '17 Day 9: The Lightning Round

By Jorge Ignacio Castillo

When a movie falls through the cracks, The Canadian Crew catches it in a yearly section called The Lightning Round.

Disobedience (UK, 2017): Understated drama about two women coming to terms with their sexuality within a Jewish Orthodox community. It doesn’t obey any of the clichés this subgenre has us used to.

Downsizing (USA, 2017): By far director Alexander Payne’s worst film to date, it has plots for about five movies, all undercooked.

Oh, Lucy! (Japan/USA, 2017: Slight and tonally awkward. I wasn’t expecting Josh Harnett (of all people) to pop up in a Japanese movie.

The Crescent (Canada, 2017): Imagine The Others, but boring and badly acted. It looks otherworldly, but desperately needed a better plot to go with the visuals.

The Summit (Argentina, 2017): There are two plots in this film: Political intrigue among Latin American countries, and the daughter of a president acting crazy. The former is far better than the later, but the movie focuses on the wrong one.

Cocaine Prison (Bolivia, 2017): Underdeveloped country chooses to punish drug traffic small offenders over the infinitely more powerful kingpins. It personalizes the problem without forgetting the context. Not bad.

Princesita (Chile, 2017): Twelve year-old girl lives in a cult, gets a taste of the outer world, wants out. Noteworthy allegory of the oppression of the patriarchy, with a truly horrifying, artfully shot sexual violence sequence.

Let the Corpses Tan (France, 2017): The story of a robbery gone wrong embodies everything wrong with the Midnight Madness program this year. Weird for weird sake, barely competent filmmaking and ultimately, a pointless enterprise.

mother! (USA, 2017): Masterpiece. We’ll be talking about it for years.

Happy End (France, 2017): Michael Haneke’s weakest effort in years. Family alienation was better dealt with in Caché.

Jim & Andy: The Great Beyond (USA, 2017): A glorified behind-the-scenes doc from the time Jim Carrey interpreted Andy Kaufman in Man on the Moon, this doc has great footage but loses its way trying to pretend is deeper that it actually is.

The Shape of Water (USA, 2017): A beautiful, dark fairy tale from Guillermo del Toro featuring a man-fish and Sally Hawkins. It certainly has its virtues, but I was less blown away than most people here.

Three Billboards Outside Ebbing, Missouri (USA, 2017): Martin McDonagh relies less on his sharp dialogue and more on his character building skills in this black comedy with a heart. Frances McDormand and Sam Rockwell use their well-honed personas to great effect.

The China Hustle (USA, 2017): Apparently, investing in China is a terrible idea. Dense but important doc.

Borg/McEnroe (Sweden, 2017): In theory opposites, the cool-as-ice Swede and the hothead American came from the same place. Well-made and ntertaining, although I ended up wanting to watch a Vitas Gerulaitis biopic.

Revenge (France, 2017): We live in 2017, do we really need to take ideas from I Spit in Your Grave? This is not feminism, it’s exploitation disguised as feminism.

TIFF 2017 overall: Three stars. The movies were average, but the parties were fantastic.

TIFF ’17 Day 8: The Death of Stalin, Professor Marston and the Wonder Women, Pyewacket

By Jorge Ignacio Castillo

The Death of Stalin (UK/USA, 2017. Dir: Armando Ianucci): Wondering what would be of Armando Ianucci after leaving Veep? Look no further. The brain behind The Thick of It and On the Loop, is back to mercilessly mock a new institution, in this case, the Communist Party leadership and their power squabble following the passing of Comrade Joseph Stalin.

The best positioned to replace the mustached genocidal maniac is Lavrently Beria (Simon Russell Beale), chief of the secret police apparatus. Beria’s callous behavior rubs the rest of the Stalin administration the wrong way and soon a team of rivals targets him, although inner struggles make the task more difficult than it should.

While the plot sounds serious and the body count is considerable, Ianucci’s scalpel-sharp dialogue and some brilliant slapstick makes The Death of Stalin the funniest film of the festival by a mile. Actors not known for generating laughs like Steve Buscemi and Jason Isaacs demonstrate killer comic timing, supported by experts in the field Jeffrey Tambor and Michael Palin. Everything about this movie works, particularly depicting the dictator’s inner circle as a frat house. Hilarious and unsettling. Four planets/dogs/stars. Distribution: Presumably theatrical.

Professor Marston and the Wonder Women (USA, 2017. Dir: Angela Robinson): This is the year of Wonder Woman: Never mind the two DC Comics film with the Amazonian at the forefront, here comes a biopic about her creator and the two women who inspired him.

William and Elizabeth Marston (Luke Evans and Rebecca Hall) are a couple of academics focused on the female mind. Rational to the extreme, their relationship is tested when William becomes infatuated with Olive (Bella Heathcote, The Neon Demon), his teaching assistant. Olive is not your average college student. Her open mind and sweet disposition soon turns her into a component of the Marston family. As they explore the limits of their polyamorous bond, the idea of a powerful woman with superpowers and a taste for bondage begins to take shape.

Professor Marston is an effective feminist film that benefits from strong turns by Evans, Hall and Heathcote. That said, it tends to state the obvious, as everybody feels the need to verbalize their feelings at all times. Regardless, it’s worth your time. Three planets/dogs/stars. Distribution: Opens October 13th.

Pyewacket (Canada, 2017. Dir: Adam MacDonald): Pyewacket is the kind of movie that makes you wonder why would Telefilm support this (shades of the unwatchable Teen Lust). Reportedly a horror flick, Pyewacket is at heart a film student short stretched into 90 minutes. And that’s the least of its problems.

A goth teen who dabbles in witchcraft (Nicole Muñoz, in a less than stellar turn) gets mad at her grieving mother (Laurie Holden, The Walking Dead) and conjures a demon to get her killed. Eventually (and much later than you would think), the daughter-of-the-year comes back to her senses, but undoing the spell may be more difficult than expected.

I don’t know what I found more annoying: The cliché dialogue (teen angst has never been this flat), the across-the-board terrible acting (Laurie Holden excepted, despite her character’s inconsistency), the belief inexplicable sudden noises are scary per se, or the silly conclusion. Pyewacket is a step back for Backwoods director Adam MacDonald. One star. Distribution: Presumably theatrical.

TIFF '17 Day 7: Suburbicon, Eye on Juliet

By Jorge Ignacio Castillo

Suburbicon (USA, 2017. Dir: George Clooney): There is no way Suburbicon could be considered an average film. It’s topical (fear of the “other” prevents us from noticing the true monsters in our society) and is directed by proven commodity George Clooney, from a script from the Coen Brothers. In spite of it all, it doesn’t add to more than the sum of its parts.

Matt Damon taps into his dark self as Gardner, a presumably average suburban dad in the 50’s. His home is invaded by a couple of thugs and his wheelchair-bound wife (Julianne Moore) is an unintended casualty of the break-in (or is she?). Meanwhile, their entire neighborhood is up in arms because a black family has moved in, oblivious to the horrors taking place a few doors down.

The film could be described as a mix of Fargo and Blood Simple by the way of Tim Burton. It’s undeniably entertaining but is hard to shake the feeling we have seen all this before. Furthermore, Clooney’s films are often staged to a fault and this one feels particularly airless. Oscar Isaac as a wily claims investigator provides the one breath of fresh air in this otherwise hermetic cautionary tale. Three stars. Distribution in Canada: Theatrical.

Eye on Juliet (Canada, 2017. Dir: Kim Nguyen): After the hard-hitting Rebelle and the fierce Two Lovers and a Bear, it’s no surprise writer/director Kim Nguyen has chosen a gentler piece as a follow-up. Eye on Juliet is a romantic drama in which technology acts as an accessory to amorous pursuits in unexpected ways.

Recently dumped by his girlfriend, Gordon (Joe Cole, Green Room) is on the brink of a nervous breakdown. His behavior has started to affect his job operating security robots remotely. In the midst of his pity party, Gordon becomes smitten with a young Arabic woman who hangs out near the pipeline his bots are protecting. The girl’s parents have arranged her wedding, unaware that she has a boyfriend and hopes to escape to Europe with him. Particularly susceptible to love stories, Gordon attempts to help them, but his involvement causes more trouble than good.

Even though the premise has potential and the visuals rise to the occasion, Eye on Juliet leans heavily on narrative clichés and corniness. The “growing tension” hardly registers and the final five minutes are blatantly borrowed from a 90’s travelogue classic. The film is not without merits, but it could have used a better story. Two and a half stars. Distribution in Canada: Theatrical.

TIFF ’17 Day 6: A Fantastic Woman, The Disaster Artist

By Jorge Ignacio Castillo

A Fantastic Woman (Chile, 2017. Dir: Sebastián Lelio): One of the two films Chilean filmmaker Sebastián Lelio is presenting at TIFF, A Fantastic Woman is an intimate portrait of three particularly bad days in the life of Marina (star-making turn by Daniela Vega), a transgender singer.

Orlando, Marina’s much older partner, has died of an aneurysm, but she is not allowed to grief. Marina must face mistrust and prejudice at every level, as if she was responsible for Orlando’s death.

A Fantastic Woman is a superb character study and a severe indictment of a society that’s more hypocritical than open-minded. The film does falter every so often (I call for a moratorium of sex dungeons in movies), but overall it underlines Lelio’s talent to write female characters. Considering Gloria, A Fantastic Woman and the upcoming Disobedience, the Chilean director is poised to give Almodóvar a run for his money. Four stars. Distribution: Theatrical.

The Disaster Artist (USA, 2017. Dir: James Franco): A dramatization of the behind-the-scenes of The Room (the infamous cult classic renown only by its awfulness) is a minefield of outlandishness: If the subject itself is already laughable, how could you top it? Can you impersonate The Room star/writer/director Tommy Wiseau without turning him into a caricature?

Director James Franco doesn’t quite succeed at turning The Room into a triumph of the human spirit, but damn if he doesn’t come close. The Disaster Artist approaches the figure of Tommy Wiseau sideways, through his sidekick (and the author of the book that inspired the movie) Greg Sestero. Originally struggling actors from San Francisco, Tommy and Greg decide to try their luck in L.A. After a number of discouraging encounters and Tommy’s desire to be cast as the hero, not the villain, Wiseau decides to make his own movie. This, in spite of being a terrible actor, writer and not having directed a thing in his life. The rest is movie history.

The film doesn’t even try to respond the most pressing questions about Wiseau (first of all, where does he get the money from). Instead, it focuses on the friendship of Greg and Tommy. Wiseau is strange, difficult and prone to outbursts, and Greg enables him for longer than expected. The film (and The Room itself) hints at a history of betrayal that explains Wiseau’s behavior, but doesn’t dig further. The Disaster Artist is undeniably fun, but just skin deep. Three stars. Distribution: Theatrical.

TIFF ’17 Day 5: Breathe, You Disappear

By Jorge Ignacio Castillo

Breathe (UK, 2017. Dir: Andy Serkis): Another one of the many films about physical disabilities in this edition of TIFF, there is nothing intrinsically wrong about Breathe. It’s just that it plays it way too safe and doesn’t break any new ground. One doesn’t have to look further than The Theory of Everything to find the same old beats.

At least Breathe covers the getting-to-know-you portion of the story in the first few minutes. Robin (Andrew Garfield, The Social Network) and Diana (Claire Foy, The Crown) are an adventurous couple who can’t be constrained by walls. Unfortunately, Robin gets polio in Africa and loses all mobility and the capacity to breath on his own.

The once outdoorsy Brit falls into a depression that forces his wife and friends to extreme efforts to give him at least a semblance of a normal life. It’s the beginning of a journey that would lead to the invention of the Cavendish chair, a conception that improves the quality of life of extremely disabled patients to unheard degree.

Andy Serkis’ first directorial effort is traditional to a fault. His sole focus seems to be to move the plot forward, in circumstances the best moments of Breathe take place whenever he takes the foot off the gas. The cinematography is disproportionally superior to the story, not a surprise since Robert Richardson (Scorsese and Tarantino’s go-to guy) is behind the camera. It’s a good movie to take your grandma, but that’s about it. Two and a half stars. Distribution: Theatrical.

You Disappear (Denmark/Sweden, 2017. Dir: Peter Schønau Fog): The embodiment of the ‘brainy’ movie, You Disappear uses procedural tropes to explore the eternal conflict of free will versus determinism.

The film uses a fragmented timeline to tell the story of the Hallings, a marriage enduring one crisis after another. First Frederik (Nikolaj Lie Kaas, Angels & Demons) is diagnosed with a brain tumor, which may or may not be affecting his behavior. Not much later, he is accused of embezzlement. His defense argues temporary insanity due to impulse control disorder, but the condition is extremely difficult to prove.

The narrator in You Disappear is Frederik’s wife, Mia (Trine Dyrholm, The Commune), often the victim of Frederick’s misbehavior. Her voiceover focuses on the undependability of the human brain (reality vs. perception), and it’s as dense as fascinating. The kicker is that Mia herself may not be the most reliable of witnesses.

The obvious intelligence that went into the script also creates certain distance between the film and the viewer. In spite of the cast’s efforts to humanize the proceedings, You Disappear remains a high density enterprise. A rewarding one though. Three stars. Distribution: TBD.

TIFF ’17 Day 4: The Square, Brad’s Status, A Worthy Companion

By Jorge Ignacio Castillo

The Square (Sweden, 2017. Dir: Ruben Ostlund): The winner of the Palm D’Or is more often than not a TIFF staple. The Square is a comedy brimming of novel ideas and topics, so much so that after a while the richness becomes counterproductive. Still, the Swedish flick is years-light ahead of your average Hollywood comedy.

At the center of The Square lies Christian (Claes Bang), the chief curator of a modern art museum in Stockholm. Christian must juggle several crises simultaneously, chief of them all, the need for funding and attention. A personal hiccup (a robbery) sends his carefully balanced existence into a tailspin

Christian’s woes are just an excuse for director Ruben Ostlund (Force Majeure) to explore the growing distance between the elites and the common man. The film also tackles the perennial matter of what constitutes art. Ostlund doesn’t venture an answer, but has a good time mocking the question.

The Square is a bit too cynical for its own good, but reaffirms my belief that the future of cinema can be found in Scandinavia. Three and a half stars. Distribution in Canada: Theatrical.

Brad’s Status (USA, 2017. Dir: Mike White): Once could easily dismiss Brad’s Status as a white privilege dramedy unaware of how conceited it is. Alas, the film touches on a number of topics that ring true.

The Brad in question (Ben Stiller) is a middle age Gen-Xer embarking on a college tour with his teenage son. The occasion becomes a dark night of the soul for Brad, as he reminisces about his own days as a student and how much better his then friends have fared in life.

Easily Mike White’s best since Chuck and Buck, Brad’s Status rings true more often than not, and even dares to offer answers to middle age ennui. It’s also kinder to Gen-Y than most films attempting to portrait millennials. Definitely an indulgent experience, but a satisfactory one. Three and a half stars. Distribution in Canada: Theatrical.

A Worthy Companion (Canada, 2017. Dir: Carlos Sánchez, Jason Sánchez): Not a fantastic crop of Canadian films this year at TIFF. A Worthy Companion at least has an intriguing premise, mangled by a script stripped of all common sense and an over-the-top performance by Evan Rachel Wood.

The Westworld lead is Laura, a troubled woman with more issues than the Encyclopedia Britannica. She is an accountant/cleaning lady who becomes obsessed with a bookish teen girl for some reason (I’m not being glib, there isn’t anything special about their relationship).

Laura convinces the teenager in question, Eva (Julia Sarah Stone, Wet Bum), to run away from home and move in with her. After about a hundred red flags, Eva realizes there may be something seriously wrong with Laura, but just as she is considering escaping, the Stockholm syndrome kicks in.

A Worthy Companion is so obsessed with being edgy, it forgets to build mildly cohesive characters. Chief among all is Eva, whose behavior defies basic self-preservation (Julia Sarah Stone looks lost through the entire movie). Not only Evan Rachel Wood chews scenery like is nobody’s business, her character’s psychological issues are not even consistent with one another. Overall, the film has train wreck qualities that make it watchable, if just barely. Two stars. Distribution in Canada: Likely theatrical.

TIFF ’17 Day 3: The Children Act, The Ritual, Porcupine Lake

By Jorge Ignacio Castillo

The Children Act (UK, 2017. Dir: Richard Eyre): Based on a novel by Ian McEwan, The Children Act is not only a thorough character piece about a judge whose rigidity renders her unable to deal with life’s curveballs. It’s also a fantastic showcase for Emma Thompson, too long stuck in supporting roles or as the love interest of some old fogey (often Dustin Hoffman).

Thompson is the Honorable Fiona Maye. Her specialty are medical cases that require an speedy process. Her job is fascinating but has taken a toll on her marriage to Jack (Stanley Tucci). The same week Jack announces his intention to have an affair, Fiona must rule on a case that pits the parents of a teen with leukemia against the hospital he is held at. Their religion forbids transfusions, even though the kid desperately needs one. Fiona’s job begins to bleed into her personal life and vice versa in unexpected ways.

Adapted to the screen by McEwan himself, The Children Act is predominantly a character study with a captivating plot lurking underneath. Dialogue and subtext are a delight, reminiscent of also superb 45 Years (heartbreak happens at every age). Tucci’s part is somewhat underwritten and the third act abandons the sobriety that makes the piece so compelling, but overall is a very relatable piece. Three and a half stars. Distribution in Canada: Theatrical.

The Ritual (UK, 2016. Dir: David Bruckner): Modeled after The Wicker Man and, to a lesser degree, The Blair Witch Project, The Ritual stands slightly above films with similar influences on the strength of the acting and psychological undertones.

Following the violent death of the leader of their pack, four friends decide to honor his wish of spending the holidays hiking the Northern Sweden highlands. The already harebrained idea (all four are city folk) becomes deathly when the group becomes the target of an unseen forest dweller.

The film is at its best when dealing with the unraveling psyche of the foursome. The main focus is on Luke (Rafe Spall, Roadies) who nurses a massive case of survivor’s guilt (their friend’s death was partially his fault). The Ritual is not nearly as effective when the force stalking them goes from abstract to all too real. Two and a half stars. Distribution in Canada: Likely theatrical.

Porcupine Lake (Canada, 2017. Dir: Ingrid Veninger): Ingrid Veninger’s most traditional film to date is a coming-of-age story that unfolds during the dog days of summer. City girl Bea (Charlotte Salisbury) is the dutiful daughter to a couple on the verge of breaking up. In dire need of a friend her own age, Bea connects with Kate (Lucinda Armstrong Hall), a townie with her fair share of issues at home.

The girls become fast friends and find solace on each other’s company, to the point of tentatively exploring their sexuality. It doesn’t reach Heavenly Creatures territory, but comes close.

Despite the stilted dialogue and some less than polished performances, Porcupine Lake is a charming flick that captures the hazy transition from childhood to puberty, as well as the horrifying realization that adulthood can be pretty ugly. Worth a look. Two and a half stars. Distribution in Canada: Likely theatrical.

TIFF ’17 Day 2: Stronger, The Insult, What Will People Say

By Jorge Ignacio Castillo

Stronger (USA, 2017. Dir: David Gordon Green): This year’s second feature inspired by the 2013 Boston Marathon bombings approaches the matter from an individual perspective. The film zeroes on Jeff Bouman (Jake Gyllenhaal), a flaky Bostonian who loses both his legs in the blast. The film covers Bouman’s rehabilitation and his relationship with his ex-girlfriend (Tatiana Maslany), who was the reason Jeff was at the race in the first place.

Even though the direction and acting are top notch (although the Boston-personality traits border the caricature), Stronger is a very standard affair: Every beat can be seen from a mile away. The movie hints at the emptiness of platitudes like “Boston Strong”, but doesn’t have the dramatic courage to quite go there. The most subdued characters (Maslany, Carlos Sanz as the man who saved Bouman’s life) are the brightest ones.

Stronger also flirts with the notion that no matter what major event, sooner or later people return to their default settings (once a screw-up, always a screw-up). Predictably, it folds on itself by the third act. All things considered, as meat-and-potatoes dramas go, you could do a lot worse. Two and a half stars. Distribution in Canada: Theatrical.

The Insult (Lebanon/France, 2016. Dir: Ziad Doueiri): A classic festival film (a movie that thrives in this kind of environment, but is unlikely to flourish outside), The Insult deals with a specific rift in the Arab world, one that doesn’t get much attention: The strain between Christians and Palestinian refugees in Lebanon.

Tony is a mechanic with a simmering resentment against Palestinians, which flares up when an illegal contractor starts working on his block. A spat over a drain escalates when the worker insults Tony, the mechanic responds with a racial slur, and the contractor punches him in the ribs. Soon the justice system, the press and even the President of Lebanon get involved.

Despite some minor issues (the score is -to put it charitably- blunt; one of the twists is soap opera-worthy), The Insult remains firmly grounded in reality, even as the squabble spirals out of control. The approach to the matter is refreshingly earnest, even when the conflict is ripe for cynicism and irony. I was slightly distracted by the very attractive actress playing Tony’s wife (she is the spitting image of Emily Ratajkowski), but that’s on me.

Three and a half stars. Distribution in Canada: Likely theatrical.

What Will People Say (Norway/Germany/Sweden. Dir: Iram Haq): Scandinavian cinema tends to look at the subject du jour directly, never mind how controversial it may be. What Will People Say is a veritable minefield, but writer/director Iram Haq’s vision doesn’t compromise… until the last three minutes of the movie

Nisha (newcomer Maria Mozhdah) is the eldest daughter of a traditional Pakistani family living in Norway. While respectful of her heritage, Nisha has grown as an average Westerner teen. Her two worlds come into conflict when her father finds a boy in her bedroom. Shunned by her family and community, Nisha is forcefully relocated to Pakistan. Her attempts to reach out for help are regularly thwarted by her relatives and a misplaced sense of loyalty.

Regardless of the number of setbacks Nisha must face, What Will People Say never feels like misery porn. In fact, it’s gripping. Every mishap, every poor decision is firmly rooted in reality, which is why the denouement stroke me as false. On a bad movie, I wouldn’t mind. The problem is that What Will People Say flirts with greatness. Four planets/dogs/stars.  Distribution in Canada: TBD.

TIFF ’17 Day 1: Call Me by Your Name, The Killing of a Sacred Deer, Loveless

By Jorge Ignacio Castillo

Call Me by Your Name (Italy/France, 2017. Dir: Luca Guadagnino): How about a stone-cold masterpiece to kick off TIFF’s coverage this year. A filmmaker who has already shown considerable potential (I Am Love, A Bigger Splash), Luca Guadagnino finds a new gear with the thorough, compelling coming-of-age drama Call Me by Your Name.

Set in Northern Italy in 1983, the film revolves around Elio (star-making turn by Timothée Chalamet), a well-liked teen and beloved only son of an archeologist and a translator. The idyllic boredom of summer in Italy becomes disrupted by the arrival of Oliver (Armie Hammer), an American scholar in town to intern for Elio’s dad. Oliver’s presence triggers unknown feelings in Elio, who tentatively begins pursuing the American, while simultaneously exploring his sexuality with a girl his own age.

There is no high drama in Call Me by Your Name, just a teen assimilating new experiences and shaping his personality accordingly. The film (adapted by James Ivory) is beyond lovely and methodical, covering every aspect of the life of an adolescent at a critical moment of his growth. True to form, the climax is as low impact as a loving father comparing his own experiences to his son’s, and suggesting what to do of them. Think Stealing Beauty, but twice as good. Five stars. Distribution in Canada: Theatrical.

The Killing of a Sacred Deer (Ireland/UK, 2016. Dir: Yorgos Lanthimos): Lanthimos’ latest starts suspiciously like his previous film, the darkly comedic The Lobster. Colin Farrell introduces his character -a renowned cardiologist- in a monotonous, detached fashion. However, as the movie progresses, The Killing of a Sacred Deer hits a more relatable note: The costs of the greater good.

Unbeknownst to his family, Dr. Murphy (Farrell) meets with a very polite teen named Martin on regular basis. The nature of this relationship is kept in the dark for a good chunk of the film, but doesn’t appear to be very wholesome. As Martin demands more time and dedication from the surgeon, Murphy becomes spooked. An attempt to ghost him triggers a devastating reaction.

Lanthimos keeps his cards close to the chest until the second half, when the (somewhat) standard stalker drama morphs into an exercise in ethics and morals I don’t wish to spoil here. Suffice to say, the good doctor finds out there are limits to the power of modern medicine. As it’s traditional with the Greek filmmaker, the pitch-black sense of humor is perfectly calibrated. The novelty here is the sense of despair that comes with the comedy. Three and a half stars. Distribution in Canada: Theatrical.

Loveless (Russia, 2017. Dir: Andrey Zvyagintsev): By far the better known Russian filmmaker at work today, Andrey Zvyagintsev doesn’t mince words to depict a morally bankrupt society. In Leviathan, the director portrayed the political world as a haven of corruption. In Loveless, Russian middle class doesn’t fare much better under Zvyagintsev’s unflinching eye.

A couple going through the most acrimonious of divorces is forced to live under the same roof until liquidating their apartment. They have a kid, a sad boy no one pays any attention to. Their utter disregard for the child is such that, when he disappears, it takes them over a day and a half to notice. More out of obligation than genuine concern, the bickering duo must navigate the unhelpful Russian bureaucracy to get some help. Not that the disappearance puts a dent on their hatred for each other.

If you think this description is dour, just wait until you see the movie. From Zvyagintsev’s perspective, the pursuit of material riches has corrupted the soul of the country to such point, people willing to help are the exception and money is the only parameter of success. The filmmaker is thorough in his description of modern Russia’s malaise and even takes a few swipes at Putin while at it. Loveless is a bit thick to swallow, but highly rewarding. Three and a half stars. Distribution in Canada: Theatrical.

The Surrounding Game Is No Pastime

When you think of Go, think of chess in steroids.

By Jorge Ignacio Castillo

THE PLOT: A documentary about the oldest board game in the world, The Surrounding Game focuses on Go as much as on the players. In theory a very simple game (the goal is to surround and eliminate your rival’s stones), Go allows by far more variations than chess. Because of the number of possibilities, you can only plan to a limited degree and thinking on your feet is encouraged. Go is detail oriented, but the board is large and keeping an eye on the big picture is key to win.

Unsurprisingly, Go incites obsession: The more you know, the least educated you feel. Far more popular in Asia than in the Western world, the film zeroes on a handful of American players trying to break into the upper echelons of the circuit.

CRITIQUE:  Terrifically entertaining, you don’t need to know how to play Go to enjoy it (in fact, it’s very likely you’ll want to give it a shot after the doc ends). The Surrounding Game straddles the line between special interest documentary and crowd pleser. The film tries to cover the many crooks and bends of the Go culture (history, competitions, rankings) and for the most part, succeeds.

The movie’s biggest flaw is structural. Because of the all-encompassing approach, it feels episodic and the pieces don’t quite come together. A tournament to determine the US’ first certified Go professional gives The Surrounding Game a spine of sorts, but is not as interesting as the many detours the film takes. Given the magnitude of the endeavor, it’s a forgivable misstep.

WHAT WORKS:

* The interviewees are chosen wisely: The young Americans trying to break into the big leagues, the number one player who sees the game as art, the nonagenarian content with having spent big chunks of his life playing Go. All compelling.

* The film is very didactic and gets every point across with relative ease.

WHAT DOESN’T:

* The film’s top half is far more interesting than the rest. Watching other people playing Go it’s not exactly riveting.

* Similarly, the cinematography opens strong, but can’t keep it up.

RATING: ***

RATING (CANADIAN CURVE): ***½

The Surrounding Game will play this Saturday, June 10th (11.30 AM, at TIFF Bell Lightbox) as part of the Canadian Sport Film Festival.

#AnAmericanDream You Won’t Remember

Ken Finkleman tackles America’s follies and is surpassed by reality.

By Jorge Ignacio Castillo

THE PLOT: William Bowman, a happy-go-lucky kind of guy, realizes that to make it in today’s world, he has to go along with less than reputable characters. Much like Forrest Gump, William lands himself in recognizable scenarios (corporate boardrooms, reality TV, the gun control debate), which unveil the pervasive soullessness of modern America.

CRITIQUE: Through most of his later-day career, Ken Finkleman (The Newsroom, Good Dog) has traded in heightened reality and distrust of the media. #AnAmericanDream is a catalyst to his fixations. Finkleman has a dark, dyspeptic sense of humor, which I can get behind. The problem is that his brand of comedy not very funny or poignant.

The concept of “American Dream” has been mocked pretty thoroughly, and the writer/director’s observations in #AnAmericanDream are a both obvious (American legislators using religion to justify their less than humane actions is hardly ground-breaking, modern media lacks ethical or moral compass) and fail to add anything new to the debate. The film is a feel-bad journey without a payoff.

WHAT WORKS:

* 18-year-old newscaster Tally Pepper, not quite jaded to be a Fox News blonde, but well on her way to become one. Her appearances provide the funniest moments of the film, next to the prostitution-obsessed news crawl.

* The structural narrative of #AnAmericanDream feels fresh. In spite of the many elements it juggles (faux documentary, first-person perspective, episodic structure), it unfolds fluidly. It’s Finkleman’s forte.

WHAT DOESN’T:

* Jake Croker as William Bowman. Granted, the script asks for a blank-faced performance, but a little personality could have helped getting the audience on his side.

* The framing (Jake suffers a concussion that gives him a glimpse into the future) is unnecessary and the ending negates the very premise the film is built on.

RATING: **

RATING (CANADIAN CURVE): **½

#AnAmericanDream is playing at the Royal Cinema from Friday, June 2nd, to Sunday, June 4th.

HotDocs Film Festival - Day 9: Donkeyote

By Jorge Ignacio Castillo

Donkeyote (UK/Germany, 2017): Finding documentaries that make you feel good about the human condition is often challenging. Donkeyote is one of them: Manolo, a septuagenarian farmer, enjoys days-long walkabouts across Southern Spain alongside his donkey, Gorrión. His dream is to one day walk the 2200-mile Trail of Tears in the US, but not only it’s expensive, bringing Gorrión is a whole other thing.

The film follows Manolo in his efforts to put the trip together, but the campaign is just an excuse to spend time with a compelling figure, an uncomplicated man who embraces life with gusto, but slowly realizes the world may have passed him by. Donkeyote could have used a sturdier structure (towards the end, the movie feels aimless), but it’s a guaranteed good time.

3/5 stars. Donkeyote will play Sunday 7th at the Scotiabank Theatre.