Month: May 2018

Film Review: THE CHILD REMAINS (Canada 2017)

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The Child Remains Poster
An expectant couple’s intimate weekend turns to terror as they discover their secluded country inn is a haunted maternity home where infants and mothers were murdered.

Director:

Michael Melski

Writer:

Michael Melski

Stars:

Suzanne Clément, Allan Hawco, Shelley Thompson

 

The words ‘Inspired by True Events’ splashes on the screen at the film’s start.  This of course, can mean very little these days but here this means something as the film’s plot is actually based inspired by the early 20th century “Butterbox Babies”.

The story centres on a couple, Rae (Suzanne Clément) and Liam (Allan Hqwko).  Hawko is a music songwriter trying to make it in the music business while Rae is an expecting journalist suffering from Post Stress Traumatic Disorder (disorder that develops after exposure to a traumatic event or experience with symptoms that may include flashbacks, nightmares and intense feelings of fear or horror).  Their intimate weekend turns to terror as they discover their secluded country inn is a haunted maternity home where infants and mothers were murdered.

The film has a slow and moody first half.  Not much happens and what transpires on screen is predictable.  All that happens is  the discovery of the Inn being the former Mercy home by the pregnant guest where babies are taken away unknowingly from unexacting unwed pregnant mothers.   Director Melski uses the screen time to create a menacing atmosphere for the visiting couple.  The woman is a journalist (how appropriate as this allows her to have an investigative nature as well access to archive news) who suffers from PSTD (how appropriate as this allows her to have hallucinations)

Shelley Thompson from ‘The Trailer Park Boys” deserves credit for her role as the inn’s manager, Monica.  She is always cheery, appearing at times when least expected or when most inconvenient to her guests.  There is always something creepy about a person who always has a wide smile on her face, and Thompson nails this creepiness 100%.  Multiple Award winner Quebec actress Suzanne Clément, best known for her roles in Xavier Dolan’s films is also a pleasure to watch as the tortured character.

The film contains an unexcited twist in the plot at the end (when the audience realizes what the title of the film refers to – quite clever).  Trouble is that it is quite unbelievable for the reason that for it to happen, it will be too much of a coincidence.  The film, besides being a psychological thriller is also a ghost story so one also has to believe that ghosts not only exist but come out of the woodwork to harm the characters.

Despite all that is going for Melski’s film, THE CHILD REMAINS fails to engage the audience in its tale for a number of reasons.  The first is credibility.  The two items of  supernaturally and true events do not go together.  The other is Melski’s display of his protagonist, Jen’s character. In one scene, she is shown handing over the ointments in her room because they are chemical, which is a rude gesture.  She could have just left the ointments in the room.  In another, shed closes her lap top when Shelly is looking at the image of her baby in her womb, which is another rude gesture.  She also snaps he boyfriend and nags once too often, which makes one wonder the reason he is still putting up with her, and especially when she has PSTD.  If Melski wants the audience to route for his heroine, he should have her display a more likeable personality.  When all the plot points are finally revealed, Melski unfortunately turns his film into a horror slasher flick.

The film sends a a new meaning to the words “Inspired by True Events”.   The story may be inspired by true events but it may be totally hokum!

Trailer: https://www.youtube.com/watch?v=cqtjq51pLzw

 

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Film Review: ANOTHER KIND OF WEDDING (Canada 2016)

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Another Kind of Wedding Poster
Trailer

A fractured family is forced to confront what tore them apart at the eldest son’s wedding.

Director:

Pat Kiely

Writer:

Pat Kiely

Stars:

Kevin Zegers, Jessica Paré, Kathleen Turner

 

Close on the heels of the French WEDDING comedy C’EST LA VIE (LE SENS DE LA FETE) arrives another, thankfully with a slightly different take on weddings.  ANOTHER KIND OF WEDDING (formerly entitled SOMEONE ELSE’S WEDDING) combines the wedding romantic comedy with the dysfunctional comedy/drama genres with an all-star ensemble cast headed by Kathleen Turner, who in her glory days captured the hearts of moviegoers with her best films like PEGGY SUE GOT MARRIED, BODY HEAT and WAR OF THE ROSES.   Pat Kiely directs from his own script.  Here, she is still her fiery self, spouting strong language.  Her date at the wedding is played by Wallace Shawn (THE PRINCESS BRIDE, MY DINNER WITH ANDRE) who looks better with age.

ANOTHER KIND OF WEDDING follows a fractured family as they are forced to confront what tore them apart at the eldest son’s wedding.  Matthew (Jacob Tierney) and Louisa (Jessica Parker Kennedy) are about to celebrate the biggest day of their lives, but fate has something else in store – the perfect venue in Montreal to hash out all family conflicts.  Matthew’s good looking, sleeping around stepbrother Kurt (Kevin Zegers) has gone to bed with a lot of ladies including the bride.  Trouble follows and stays!  As the film progresses, more skeletons come out of the closet.  Then, there is also enmity between the two mothers of the groom and bride.

It is good that Kiely’s script celebrates Canada in this Canadian film as opposed to many other Canadian films that pretend that it is set in the States for a larger target audience.  The wedding is held in Montreal and there are lot of Montreal streets and shops on show.  (The film is shot largely in Montreal.)  The script also pokes fun of the lesser known cities (“Who would want to spend a whole week in Kingston?) while praising others like those around the Georgian Lake area.

The film unfolds backwards occasionally to explain a set of circumstances.  Whether this tactic works depends on the individual.

The film’s comedy is not all that funny.  Quite a lot of the humour is laid on the Kathleen Turner character, with her rebuttals supposed to be biting, sarcastic and clever.  These do not always work.  The romantic comedy element does not work either, coming across as predictable as a Harlequin novel.  Of course, all works out at the end with the wedding as its climax.

The cast is diversified enough with Kathleen Turner getting top billing.  But she is reprising what she is famous in, from her past films, and she is clearly past her prime.  Kevin Zegers does a good though predictable turn as the wedding party’s main ass-hole, the one who has had a relationship, unknown to his brother with his bride earlier.

ANOTHER KIND OF WEDDING fails to be either a drama on the dysfunctional family or a romantic wedding comedy.  The film lingers in between both resulting in a mediocre forgettable film.

Trailer: https://www.youtube.com/watch?v=sc2RHludA6c

 

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Film Review: POPE FRANCIS: A MAN OF HIS WORD (Germany and other Countries 2018) ***

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Pope Francis: A Man of His Word Poster
Trailer

Director:

Wim Wenders

Writers:

Wim Wenders (screenplay), David Rosier

Stars:

Pope Francis, Recep Tayyip Erdogan, John Kerry

 

Right hot from the Cannes 2018 premiere, Wim Wenders’ POPE FRANCIS: A MAN OF HIS WORD arrives in Toronto.  Watching the film in the comfort of Toronto without the hassle of going to a too-busy film festival at Cannes is my personal preference.

German director of fictional films and documentaries, Wenders  has made docs like THE BUENA VISTA SOCIAL CLUB, PINA and SALT OF THE EARTH that are most remembered.  As in all his films, Wenders films are beautifully shot.  

It should be noted that POPE FRANCIS: A MAN OF HIS WORD is not a biography of Pope Francis.  Nothing is mentioned of his background (except that he came from South America), his education, learning, childhood or family.  Instead, as Wenders must have been given Carte Blanche access to the pontiff’s interviews and journeys, the audience is given the freedom and opportunity to make up their minds for themselves with regards to his aspirations from the footage seen on screen.  At times, Wenders allows Pope Francis to deliver almost an entire sermon on film, thus forcing the audience to feel exactly how his Catholic congregation would have felt in a church. The camera also lingers on the congregation from the little poor people to the congressmen – and how they are mightily moved by his sincere words.  The Pope is shown not to be a great orator, but one who carefully chooses his words.  His sincerity and speech content make the difference.

Unlike other Popes in the past who are almost too frail to make an appearance or travel around the world to inspire, Pope Francis is clearly aware of the current world affairs.  His commitment to saving the Planet Earth is observed in many instances.  He travels to the Earth Conferences around the world and speaks some powerful words.  “The poorest of the poorest is Mother Earth,” he preaches in one of the film’s most moving segments.  “She has been plundered.  She has been abused.”  On other matters such as homosexuality, he is unfortunately, less firm.  He gives an ambiguous reply saying that: “if a gay man does no wrong, who is he to judge?”

Among the Pope’s trips, the audience gets to see a Pope’s eye view of a Brazilian street mass, a Central African Republic children’s hospital, a Philadelphia prison, a Greek migrant camp, the UN, a joint session of Congress and a Jerusalem Holocaust remembrance ceremony.  The most moving of these is the segment of the Greek migrant camp, whee he goes about kissing individuals as they reach out to touch him in response. 

Wenders’ doc POPE FRANCIS proves that more can be learnt about the Pope by following the person during his meetings, speeches and journeys than from his background or interviews of his friends and family.  In this doc, one cannot help but admire Pope Francis not only as a Pope who has inspirational ideas but one that is intent to make a difference in the world from his holy position.

Trailer: https://www.youtube.com/watch?v=MOmY8i-uBcY

 

 

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Film Review: BREAKING IN (USA 2018) ***1/2

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Breaking In Poster
Trailer

A woman fights to protect her family during a home invasion.

Director:

James McTeigue

Writer:

Ryan Engle

Stars:

Gabrielle Union, Billy Burke, Richard Cabral

 

BREAKING IN is a confidently executed action thriller written by Ryan Engle and directed by Australian James McTeague, best remembered for his action flick V FOR VENDETTA.  The film centres on a mother who uses her wits to outsmart the home invaders and save her kids, the film arriving appropriately timed for Mother’s Day.

The film opens with an older black jogger taking to the streets for his local exercise.   It is quite clear from the way the camera works that something nasty is going to happen, which predictably would be him being hit by a car.  When this occurs, the shock and rise in volume of the soundtrack is enough to jolt even the least suspecting from their seats, this followed by a gruesome crunch by a foot of the man’s face lying on the road.  The first thing that comes to mind is whether all this violence is necessary.

Necessary or not, the next scene shows the jogger’s daughter, Shaun (Gabrielle Union) taking her two children to the dad’s mansion out in the country in preparation for the house’s sale.  But burglars creep in, looking to robe the safe for a ton load of cash (the American dream, in the words of one of the burglars).  They have no qualms of murdering the children and the mother who must protect them, which makes good thriller fodder of fans of this genre.

Despite the simple story, the film turns out pretty well with nail biting suspense from start to finish with hardly a dull moment.  The script which contains minimal dialogue is smart enough when it wants to.  The mother who does not know how large an acre is (when questioned by her son) turns out pretty smart when she has to protect her kids. “I am your mother, it is my job to worry about you!”, “You broke into the wrong house!” are examples of simple yet effective no-nonsense dialogue.  The only thing unexplained in the film is how mommy knows all those martial-arts moves.  (The promo screening was preceded by a martial-arts demonstration by a local martial-arts club.)  The script also capitalizes on the current female/male issue of equality rights and harassment.  “There is nothing you can do, you are a woman,” yells one of the burglars, Eddie (Billy Burke) to Shaun.   Shaun later demonstrates that he is as then a man at the mercy to a woman, to the cheers, even by the men in the promo screening.  It is also good to see coloured good guys and the whites as the villains.

The cinematography by Toby Oliver is impressive especially the exterior shots in the night when Shaun is outside the mansion.  Lighting is often just sufficient to see the figures moving about,  The mansion interiors are also well-shot revealing the vastness of the modern design.  The soundtrack contains a neat, pulsing beat to the action and includes a catchy tune when the drones are activated by the son, Glover.

The choice of having the hispanic looking psycho as the last surviving killer is a good one.  Richard Cabral (playing Duncan) is perfect as the psycho villain with his huge eyes. lean totally tattooed body and weird accent.  Duncan clearly derives more pleasure in slaughtering the children then getting the cash.

BREAKING IN proves that a simple premise can still turn out to be fantastic entertainment.  The Super Mom in this movie is just as exciting as any Marvel super action hero.  The film also has an important message: “Don’t mess with Mom!”

Trailer: https://www.youtube.com/watch?v=DsDVOt3M7OM

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Inside Out LGBT Film Festival 2018 Toronto: OCATVIO IS DEAD! (Canada 2018) **

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Director:

Sook-Yin Lee

Writer:

Sook-Yin Lee

Stars:

Sarah Gadon, Rosanna Arquette, Raoul Max Trujillo

Sook-Yin Lee, best known as the actress in the hit HEDWIG AND THE ANGRY INCH directs this odd film produced and starring Sarah Gadon who broke into fame with David Cronenberg’s COSMOPOLIS.  Gadon plays, Tyler the daughter of an obsessive over-spirited mother (Rosanna Arquette).  She decides to leave her mother for Stelton City (Ontario’s Hamilton standing in for the city) to learn about the father she never met.  She discovers his ghost, trapped and unable to escape his apartment.

They forge an uneasy bond, but by communicating with him, and learning about his tumultuous and secret past, Tyler discovers new ways to engage with the world, to seek love in unexpected places, and to explore life in new and unfamiliar territories.  Love is discovered in death!  She falls for the cute blonde student that had an affair with his father, who she learns left both her mother and her because he was gay. 

 The supernatural angle fails to blend with the coming-of-age drama.  Nicely shot, but the film fails in that it leads nowhere and turns terribly annoying Lee’s attempt to create a moody atmosphere.  

 

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Film Review: LE REDOUBTABLE (GODARD MON AMOUR) (France 2017) ***

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Godard Mon Amour Poster
Trailer

During the making of one of his films, French film director Jean-Luc Godard falls in love with 17-year old actress Anne Wiazemsky and later marries her.

Director:

Michel Hazanavicius

Writers:

Michel Hazanavicius (script by), Anne Wiazemsky (adapted from the novel “Un an après” by)

Stars:

Louis Garrel, Stacy Martin, Bérénice Bejo

 

The film GODARD MON AMOUR (American title) /LE REDOUBTABLE (French title) that premiered in Cannes last year, a loose chapter in the biography of Nouvelle Vague director Jean-Luc Godard and directed by Michel Hazanavicius who made THE ARTIST is one anticipated by many especially cineastes.  

During the making of one of his films, French film director Jean-Luc Godard (Louis GarreL) falls in love with 17-year old actress Anne Wiazemsky (Stacy Martin) and later marries her.

The film is shot in the style of many Godard films – the way and mannerisms the characters speak, the large word title, the colourful huge lettering, clothes and so on.

In the film Godard is shown to be quite the oddball occasional jerk when he is on his politics activist side.  Anne, in one scene claims she married Godard the film director not the activist.  It is clear what Anne thinks, as the film is adapted from her novel “Un an après”. Anne dislikes any political activism.   This is emphasized in a street demonstration scene when a activist/marcher Jean-Jock laughs at a film critic/director that his film is to be played at Cannes.  “With what is going on, who is going to Cannes?”, he remarks and laughs controllably.  Not much else needs to be said as it is clear that Jean-Jock is the total idiot.  Films, as everybody knows can influence what people think, hence any political activity can be affected by film.

Though the film might look trivial on the surface, there is much going on that can be read between the lines.  This is a chapter of the life of Godard as seen from Anne’s point of view, not a biography of Godard.  Nothing is mentioned of his early life, background or life.  But the film does illustrate Godard’s need to be politically involved, perhaps he has the need to feel important that he can make a difference.  The Godard character does not like films, thinking that they are trivial.  Even when activists criticize him and his movies, Godard takes their side.  Godard has to decide to be a filmmaker or a revolutionist.  He tries both and fails.

Hazanavicius film on Godard will obviously be frustrating as it is unclear his aim of making it.  Hazanavicius shoots with the occasional humour of his OSS 117 and THE ARTIST though the humour is much less.

Louis Garrel (THE DREAMERS) does an almost perfect Godard, capturing all his mannerisms and quirkiness.  Hazanavicius’s wife Bérénice Bejo has a supporting role as Godard’s friend.  It is simply hilarious Godard moves throughout the film annoyed, bewildered and manipulated by the activists.  He is also shown as an insensitive and rude person while always being an oddball.  One feels the urge to punch Godard right in the face at any time.

The film did not earn a high approval rating, likely because of high expectations, but the film may turn out to be an entertaining, light and trivial tribute to an arguably great director of the Nouvelle Vague.  On the other hand, one might end up hating this film thinking that Hazanavicius could have done a more serious piece with more insight on Godard.  It would be interesting to hear what Godard himself thinks of this film.

Trailer: https://www.youtube.com/watch?v=Nh2zKF6Ucv8

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Read Poem: Behind Closed Eyes by Cameron Miller

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poetryfest's avatarPOETRY FESTIVAL. Submit to site for FREE. Submit for actor performance. Submit poem to be made into film.

When skin crawls
on the inside, and thoughts flit branch to branch
a winter brown goldfinch pecking for seed

when the longest
deepest, exquisitely practiced yoga breath
exhales an inert sigh

when it is five a.m.
with stained memories frozen
on the black box stage of emptied cranium

it is time.

It is time to step into the deepest
darkest shadow,

and discover who or what
lives there.

“Hello, anybody home?”
You say it with innocence
in case they suspect something.
Enter, shake hands
or paws
with what lives within.

If it is fierce and smelly, nod then get the hell out.
If it is seductive and smirks, be guarded.
If it is deadbeat and depressed, listen.

Behind closed eyes, in shadows
wakefulness never reaches,
skulk citizens with a vote.

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1st Scene Screenplay of BROKEN FRAME by Stephen Boncella

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1stscenescreenplay's avatarFirst Scene Screenplay Festival

Watch the winning February 2017 1st Scene Screenplay.

Winning Screenplay – BROKEN FRAME
Written by Stephen Boncella

CAST LIST:

NARRATOR – John Fray
SLEAZY MAN – Peter Mark Raphael
MIKE – Gabriel Cameron
SHERIFF BROWN – Brian Carleton
EMMA – Victoria Urquhart

SYNOPSIS:

Genre: Drama, Family

Facing life on the streets, a returning Vietnam veteran must undertake his most difficult challenge; reconcile with estranged drug-addicted sister and stop her from selling the family farm out from under him.

Get to know the winning writer:

What is your screenplay about?

On the surface it may seem like a simple “Save the farm” story, but underneath it’s a gritty tale about redemption and second chances. It may take place in the Seventies but there are elements that today’s audiences will identify with.

What genres does your screenplay under?

Drama.

How would you describe this script in two words?

Gritty, emotional.

Why should…

View original post 539 more words

1st Scene Screenplay of BROKEN FRAME by Stephen Boncella

festreviews Uncategorized

1stscenescreenplay's avatarFirst Scene Screenplay Festival

Watch the winning February 2017 1st Scene Screenplay.

Winning Screenplay – BROKEN FRAME
Written by Stephen Boncella

CAST LIST:

NARRATOR – John Fray
SLEAZY MAN – Peter Mark Raphael
MIKE – Gabriel Cameron
SHERIFF BROWN – Brian Carleton
EMMA – Victoria Urquhart

SYNOPSIS:

Genre: Drama, Family

Facing life on the streets, a returning Vietnam veteran must undertake his most difficult challenge; reconcile with estranged drug-addicted sister and stop her from selling the family farm out from under him.

Get to know the winning writer:

What is your screenplay about?

On the surface it may seem like a simple “Save the farm” story, but underneath it’s a gritty tale about redemption and second chances. It may take place in the Seventies but there are elements that today’s audiences will identify with.

What genres does your screenplay under?

Drama.

How would you describe this script in two words?

Gritty, emotional.

Why should…

View original post 539 more words