Film Review: THE FAVOURITE (UK/USA 2018) ****

The Favourite Poster
Trailer

In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah.

Director:

Yorgos Lanthimos

Lanthimos’s latest film after DOGTOOTH, THE LOBSTER and THE KILLING OF A SACRED DEER is his most extravagant, with a period setting in a castle with royalty as its subject.

It is the early 18th century when England is at war with the French though the film opens oddly enough with royalty involved with duck racing and pineapple eating.  The poor are taxed and the poor go to war.   A frail Queen Anne (Olivia Colman) occupies the throne and her close friend Lady Sarah (Rachel Weisz) governs the country in her stead while tending to Anne’s ill health, temper and sexual desires .   When a new servant Abigail (Emma Stone) arrives, her charm endears her to Sarah.  Sarah takes Abigail under her wing and Abigail sees a chance at a return to her aristocratic roots.   Abigail schemes to fill in as the Queen’s companion. Their burgeoning friendship gives her a chance to fulfil her ambitions and she will not let woman, man, politics or rabbit stand in her way.

THE FAVOURITE stands as a film that those familiar with Lanthimos will find quite similar to his last movie THE KILLNG OF A SACRED DEER.  As in both films, the status quo of a family is challenged (Farrell’s in DEER and Queen Anne’s in FAVOURITE).  Both sees the arrival of a stranger who is revealed to have closer connections with the family that will shake formalities and turn the family upside down for better or for worse.  Though Lanthimos’s favourite actor Colin Farrell is not in this film, one can see him inhabiting a similar character now taken on by Nicholas Hoult.  THE FAVOURITE also contains Lanthimos’s odd pounding soundtrack and his fade outs to black.  

Lanthimos sees that the audience takes the side of Emma Stone from the very start when she falls flat with her face onto the mud on arrival at the castle.  She can do no wrong, compared to Lady Sarah that the script by Deborah Davis and Tony McNamara ensures the audience dislikes from start to finish.

Both films contain odd dialogue that are funny because they can occur at the least likely moment.  THE FAVOURITE’s best line is when Queen Anne rebutting Lady Sarah when asked to dismiss Abigail: “I will not, I enjoy having her tongue inside me.”  Those unfamiliar with Lanthimos previous films (and better still if the trailer is not seen beforehand) will likely find THE FAVOURITE more amusing, shocking and refreshing while those who are will find him doing the same tricks in a different setting.  All the main actors  Weisz, Stone and Colman have been in Lanthimos past films.  Surprises  are no more surprises if they are expected to occur.  One can say the same for a Lanthimos film – to expect surprise after surprise.  It would be a surprise if his films did not shock or surprise. Still. Lanthimos’s The FAVOURITE succeeds well in its ambitions.  But the dialogue (in literally the Queen’s English) – except one would imagine the words ‘cunt’ and ‘fuck’ were not used in those times – is sped up several notches compared to the slow dialogue in Lanthimos’s other entries.

THE FAVOURITE arrives after the Venice International Film Festival with favourable reviews.

Trailer:  https://www.youtube.com/watch?v=SYb-wkehT1g

Film Review: WIDOWS (USA 2018) ***1/2

Widows Poster
Trailer

Set in contemporary Chicago, amidst a time of turmoil, four women with nothing in common except a debt left behind by their dead husbands’ criminal activities, take fate into their own hands, and conspire to forge a future on their own terms.

Director:

Steve McQueen

Writers:

Gillian Flynn (screenplay by), Steve McQueen (screenplay by) | 1 more credit »

Drama heavyweight director of critical hits like HUNGER and 12 YEARS A SLAVE attempts an action packed pyro-technics thriller WIDOWS with quite an impressive cast of heavyweights headed by Viola Davis.

WIDOWS is that rare action movie centring on women proving that they too can carry an action film.  The script is by GONE GIRL author Gillian Flynn.

Veronica (Davis) lives an idyllic life in Chicago, ensconced in the loving arms of her husband, Rawlins (Liam Neeson), and in their luxurious condo.  But Rawlins bought that cushy life robbing people, unknown to Veronica, a teacher in the Chicago education system.  (There is no scene of Veronica at her work.)   When a job with his gang goes fatally wrong, Veronica’s life falls to pieces.  With a local crime lord (Brian Tyree Henry) and his muscle (Daniel Kaluuya) pressing her to pay Rawlins’s $2 million debt,  Veronica realizes her late husband’s shady business sees only one option: round up the three other women who had slept for years next to these seasoned criminals, and make a plan left by her husband to win their lives back.  There is also a side plot involving the crime lord running for office against another crooked white politician Tom Mulligan (Colin Farrell).  

The film’s most interesting character is Tom Mulligan.  Tom exerts a power both within and beyond the law, pushed by his father (Robert Duvall).  Tom appears to be a worthy candidate but deep inside, he is fed up of the father’s dynasty in Chicago and wants out.  It is not surprising that the film is at its most interesting when McQueen deals with the drama rather than the action as in the film’s best scene – the confrontation between Farrell and Duvall.

To make the heist film more personal, the film interweaves the lives and hence, problems of the 4 widows that undertake the heist.  Each have their own burdens.  The other three are played by Michelle Rodriguez, Cynthia Erivo, and Elizabeth Debicki all of whom shine in their roles.

McQueen has achieved the rare feat of being able to elicit unforgettable performances – not from a  few but from his entire cast.  The best two performances belong to Farrell who is aided by the most intriguing written character and GET OUT’s immediately recognizable Daniel Kaluuya who demonstrates how smooth violence can be executed.

As this is McQueen’s first action flick, one can see him trying too hard at times.  The romantic scenes are a bit too livid for comfort, all the kissing scenes involving the tongue.  This results in the kissing scene (mixed race) between Viola Davis and Liam Neeson that would make quite a few quite uncomfortable.  Credit for trying.

As a thriller, WIDOWS contains quite a few plot twists.  Well written and inserted into the storyline, they serve to enrich the drama rather than just being there for the sole purpose of surprise, a tactic that seems now too common in most Hollywood thrillers.

WIDOWS premiered successfully at the Toronto International Film Festival to general favourable reviews.  WIDOWS should not only please McQueen’s fan base but extend his career into the Hollywood mainstream.

Trailer: https://www.youtube.com/watch?v=nN2yBBSRC78

Reel Asian Film Festival 2018 Review: TOMORROW IS ANOTHER DAY (Hong Kong 2017) ****

Tomorrow Is Another Day Poster
Mrs. Wong knows her husband is carrying on an affair, but for the sake of their marriage and autistic son, she has chosen to silently endure. However, the mistress comes to disturb them, …See full summary »

Director:

Tai-lee Chan

Writers:

Tai-lee Chan (screenwriter), Nicholl Tang (screenplay consultant)

Don’t let the ordinary sounding title fool you.  This one is the best of the films I have previewed at Reel Asian 2018.  Mrs. Wong (Teresa Mo) knows her husband, a driving instructor (Ray Lui) is having an affair, but for the sake of their marriage and their autistic son (Ling Man Lung), she chooses to silently endure his infidelity for the time being. What follows is an extremely realistic, heartfelt drama of a working-class woman struggling to breakthrough her midlife crisis. 

 One cannot help but feel for the central character, Mrs. Wong.  Director Chan lets us into the reason she persists.  Two reasons, one which is her son who occasionally shows how loving he is  The other is that she has little other alternatives.  TOMORROW IS ANOTHER DAY and there is nothing one can do about it.  At the film’s mid-point, the film turns into a suspense thriller as Mrs. Wong decides to stab the husband’s mistress to death.  Besides  the compulsive storyline, Chan’s camera also shows the beauty of Hong Kong as a city as well as the terrible gossip that exists in every neighbourhood in such a closed community as Hong Kong.  

Teresa Mo and Ling Man Lung both win acting honours at the Hong Kong Film Awards.

Trailer: https://www.youtube.com/watch?v=8FF-BiUHpUc

Film Review: DOLPHIN MAN (L’HOMME DAUPHIN)

Dolphin Man Poster
Trailer

Dolphin Man draws us into the world of Jacques Mayol, capturing his compelling journey and immersing viewers into the sensory and transformative experience of free-diving. From the …See full summary »

The title DOLPHIN MAN belongs to the legendary free-diver Jacques Mayol whose life became the inspiration for Luc Besson’s cult-movie THE BIG BLUE (LE GRAND BLEU) .  The bio doc is narrated by Jean-Marc Barr who played Mayol in THE BIG BLUE.

Free diving is as the name implies, diving deep into the ocean without any breathing aid. Lungs get compressed and without oxygen, if the diver faints, he or she will be unable to re-surface which implies certain death.  Mayol is world famous as a free diver having broken his own records of depth free diving many times.

Mayol achieved fame in 1976 when he became the first free diver ever to descend 100 metres.  This legend of the sport spent his life setting records and going beyond what was considered humanly possible.

Charitos’s bio plays safe and covers all aspects of the diver’s life from his childhood, to his philosophy (of being one with the ocean), to his lifestyle and finally to the legacy he leaves behind.

His childhood is narrated with archive footage of China.  Mayol was born and lived as a child in Shanghai as his father was a French architect there.  Mayol loved the sea and when he was old enough took off to travel the world.  He married and settled in California with a Dane.  They broke up.  Before attaining fame, Mayol worked all kinds of jobs including the chauffeur of Zsa Zsa Gabor.  (Wish there were shots of him and Zsa Zsa together.)  But always broke, he used to stay at friends’s places for free.

The title Dolphin Man comes from Mayol’s fascination of the mammal.  He was nicknamed the French Dolphin by the Japanese.  He preferred a world of dolphins without humans.  In a way, Mayol has led his life similar to the dolphin’s.  The film reveals Marol’s first sight of the creature while on a ship as a child.

The bio finally rests on the diving.  Mayol is shown in many segments, diving into the waters for various purposes – treasure hunting; lobster fishing or breaking new records.

The film includes interviews with friends, family and free-diving champs like William Trubridge and Mehgan Heaney-Grier, and the vast beauty of the ocean is explored through fascinating archival footage and breathtaking present-day underwater cinematography.

Chartos’s film diverts a bit to the subject of breathing, as breathing is an important element in free diving.  His camera takes the audience to India to meet Yoga Masters that tag the wart of breathing or non-breathing.  The film also diverts to other free divers who are also champions in the field.

Every subject in a doc would have a downturn in his or her life.  For Mayol, one downturn was the death of his true love Gerda.  Gerda was the love of his life, loving the same things he loved like animals, eating the same food and sharing the simple pleasures of his life.  Gerda died in his arms – though the reason is not given in the film.  Mayol, described as a lolly man by nature, goes into deep depression as a result.  Another time was when he was shooting a film when he descended the deep too quickly bursting an ear drum.  The footage shows Mayol much older and obviously not the young athlete he was.  Again, Mayol went into depression.

Director Chartos uses Mayol’s depression to lead the film towards its sad conclusion that nevertheless provides the audience with some valuable insight on life – distinguishing DOLPHIN MAN from the run-of-the-mill bio documentary.

Trailer: https://vimeo.com/237685725

ReelAsian Film Festival 2018 Review: DEAR EX (Taiwan 2018) ***

Dear Ex Poster
When Sanlian’s ex-husband passes away, she discovers he has altered his insurance policy, cutting out their son in favor of a stranger named Jay. Outraged, Sanlian decides that she and her …See full summary »

Directors:

Chih-Yen Hsu (as Kidding Hsu), Mag Hsu

Writers:

Mag Hsu (screenplay), Shih-yuan Lu (screenplay)

This gay positive Taiwanese entry arrives timely at ReelAsian just in advance of same-sex marriage becoming legal in Taiwan in May of 2019.  Taiwanese director Tsai Ming-Liang has championed the gay art house movie with films like VIVE L’AMOUR but DEAR EX is yet another worthwhile entry, looking at the gay lifestyle from a lighter though still quite serious view.

  The film follows three people who are linked by fate because of love and family. Adolescent Song Chengxi (Joseph Huang) loses his father Song Zhengyuan (Spark Chen) to cancer, but instead of having time to mourn, Chengxi finds himself caught in a feud between his widowed mother Liu Sanlian (Hsieh Ying-xuan) and his father’s gay lover Jay (Roy Chiu). 

 As Liu fights Jay for Song’s insurance money,  though it is never clear what had happened to the money.  Each of three subjects are super-hyper and when they get together, there is now hostage of shouting and fighting, driving not only the other crazy but the person him or herself.  

It is comical to see the three interact and what is the final outcome of the film.

Trailer: https://www.youtube.com/watch?v=r94pd519Jf4

ReelAsian 2018 Review: HOUSE OF THE RISING SONS (Hong Kong 2018)

Hing daai baan Poster
The musical biography of the 1970s Hong Kong rock band The Wynners. Starting with their humble beginnings as band causing noise in the neighborhood, through to their career of massive stars throughout Asia.

Director:

Anthony Chan

Who else best to make a movie of the band The Wynners, a Hong Kong pop sensation of the 70’s than a member of the band himself?  Anthony Chan started the chart-topping pop band The Wynners, the band inspired by The Beatles’ visit to Hong Kong. 

 The film traces the band’s formation.   Despite opposition from their parents, five young men form a neighbourhood band called The Loosers to play music and rebel against the staid conformity of their traditional upbringing.  

As they began to pursue their dreams, they find that the journey to stardom is never easy.  Armed with grit, perseverance and raw talent, the band weathers the strain brought on by creative conflicts, personnel shake-ups and their rapidly growing popularity to become The Wynners and establish themselves as true musical legends.  The cliche-ridden film is a breezy easy-going comedy that is often all over the place.   This is no BOHEMIAN RHAPSODY, but a teen flick where teens can do anything while the elders are the ones who always look silly and do everything wrong.   

Though touted as a bio of the band, the film feels less so.

Trailer: https://www.youtube.com/watch?v=Z3HQSJcLAMU

Reel Asian Film Festival 2018 Review: WISH YOU WERE HERE (China/Japan 2018)

China, Japan 2018 Rated PG 113:00 Mandarin, Japanese with English subtitles North  

“What’s kept hidden has its own power on us.”

On the eve of her latest fashion showcase in Beijing, successful entrepreneur Yuan Yuan is approached by Keiko, a mysterious young Japanese woman. An admirer of Yuan Yuan’s career, Keiko has learned Mandarin and fashion design for a chance to speak with her idol. As Yuan Yuan takes Keiko under her wing, long suppressed memories begin to surface of her time in Hokkaido and the husband she’d left behind.

Yuan Yuan finally builds up the courage to visit the small town she left behind more than 20 years ago in order to confront her past decisions and face her deepest fears. A journey of forgiveness and reconciliation, Wish You Were Here marks Kenneth Bi’s return to Reel Asian. His latest feature, a co-production between China and Japan, is an examination of a woman traversing through modernity and tradition; youth and maturity; past and future. -KE

 

Directed by Kenneth Bi

Kenneth Bi’s third film follows the tone of his early films THE DRUMMER an RICE RHAPSODY – slow and pensive.  I am not really a fan of Bi as his films require a bit of patience to reap their rewards. 

 On the eve of her latest fashion showcase in Beijing, successful entrepreneur Yuan Yuan is approached by Keiko, a mysterious young Japanese woman.  An admirer of Yuan Yuan’s career, Keiko has learned Mandarin and fashion design for a chance to speak with her idol.  As Yuan Yuan takes Keiko under her wing, long suppressed memories begin to surface of her time in Hokkaido and the husband she’d left behind. 

 Yuan Yuan finally builds up the courage to visit the small town she left behind more than 20 years ago in order to confront her past decisions and face her deepest fears.  A journey of forgiveness and reconciliation, his latest film is an examination of a woman traversing through modernity and tradition; youth and maturity; past and future. 

 The closing night film.

Film Review: CLARA (Canada 2017) ***

Clara Poster
An obsessive astronomer and a curious artist form an unlikely bond which leads them to a profound, scientific discovery.

Director:

Akash Sherman

Writers:

Akash Sherman, Akash Sherman (story by) |1 more credit »

CLARA is a rare science fiction romantic drama made in Canada’s own Toronto that disguises the fact quite well, passing of as an American film in an unnamed city and in unnamed university.  Lots of references to NASA gives the impression that CLARA is an American made movie.

The film opens with Dr. Isaac Bruno (Patrick J. Adams) delivering a lecture on astronomy to an auditorium full of eager students.  He is quizzed by one who challenges his disinterest in the field.  It is here that Isaac draws a parallel between finding true love (L=0), which equates to a zero to finding life in the other parts of the universe.  

In the next scene, Isaac is fired from the Faculty by the dean (Jennifer Dale) for – it all sounds really funny – “misappropriating telescope time’.   Obsessed with his work, he decides to conduct studies on data on his own and seeks the help of an outsider who turns up to be his romantic interest. Clara (Troian Bellisario) is a sort-of free-spirit who shares Isaac’s fascination of the wonders of the universe.  Their unlikely collaboration leads to a deep connection and a profound astronomical discovery as they detect patterns in stellar data.  She also opens Isaac up to the outside of space research and data.

CLARA contains spots of uplifting moments.  One cannot go wrong with the music of Bob Dylan as Clara picks one Dylan’s vinyls and plays it.  The lyrics: “She once was a true love of mine” also tells the story of Isaac.

The script, also written by director Akash Sherman often falls into cliched territory.  Like the line spoken by Clara; “Do you want something more than all this, for the universe to surprise us?”  Clara and Isaac then kiss for the very first time.  The script also plunges the audience into the here and now of its two characters.  But nothing is known of the two characters’s past backgrounds.  

At one point, the free spirited Clara appears to be a character just out to change the life of another subject and then move on to another.  This premise made a very interesting movie in the 70’s called SWEET NOVEMBER in which Sandy Dennis picked a character every month to change a life for the better.  November was played by Anthony Newley who falls in love with her but she moves on.  CLARA sort of follows this story as Clara thus moves on while Isaac gets on with an improved life.

CLARA has an ending (unfortunately unable to be revealed here as it would be a massive spoiler) that badly undermines whatever message the film intended to portray, thus betraying the entire movie. 

CLARA is a sad film about two lonely people who eventually find each other, only to find that fate is not on their side, despite the good connection.  It is a sad premise lifted by the story’s setting in the wonders of space.  The resulting film is, as expected, a mixed bag of tricks, with some good moments as well.

Trailer: https://www.youtube.com/watch?v=7eIbm4cfA8M

ReelAsian 2018 Festival Review: MIRAI (Japan 2018) ***

Mirai Poster
Trailer

A young boy encounters a magical garden which enables him to travel through time and meet his relatives from different eras, with guidance by his younger sister from the future.

Director:

Mamoru Hosoda

Writer:

Mamoru Hosoda

Director Mamoru Hosoda’s (he started his own animated studio Studio Chizu) MIRAI is his third feature after his studios’s WOLF CHILDREN and THE BOY AND THE BEAST.  Again his interest in children and their fantasies are under consideration in his latest tale from the point of view of young Kun, the elder son in a typical Japanese family.  When the film opens, Kun is greeted with the arrival of a new born baby sister.  Things around the house are altered, as father now tends to the household chores of cleaning and cooking while mother goes on full time work.  

Emotions like jealousy and anger start to emerge.  Kun fantasizes meeting his sister when she is grown up as well as his dog, humanized while shown how to ride a bike by his late great grandfather who was in the Japanese navy.  The film’s animation is somewhat similar to Studio Ghibli’s in look and feel, especially since both studios are fond of animal creatures and Japanese folklore.  

MIRAI is simplistic in its theme, just about a boy growing up, and it is this simplicity that the film works its charm.

Trailer: https://www.youtube.com/watch?v=6d-lsJZgmJs

Film Review: TAKE LIGHT (Canada 2018) ***1/2

Take Light Poster
Trailer

TAKE LIGHT is a look at the tangled wires of Nigeria’s electricity crisis, told through the everyday trials and tribulations of a charismatic electrician.

Director:

Shasha Nakhai

A web of corruption and anger leaves 50% of Nigerians without electricity in Africa’s largest energy-producing country.  The film opens saying that Nigeria produces more gas than any state in Africa.  Yet 50% of the population are without electricity and those who are with have it for a few hours at most.  The film blames the corrupt post-colonial Government.  These are everyday stories of people connected to the grid.

Being an electrical engineering by profession who got a job at Singapore Power but did not work there as I just got my Canadian immigration approved at that same time, I take special interest in the technical portions of the film – like how the control room at the power plant operates.  The director keeps the engineering jargon at a minimum so that the layman can understand the basic principles of power generation, such as the reason blackouts occur.  The reason is attributed to two causes.

Despite the grim subject, the director does not fail to provide some needed humour.  The film also tracks the PHED workers as they cut off electricity supply to the cities that default on their payments.  The PHED is the new name for the Government Power Supply company though every Nigerian still insists on the old name – NEPA (acronym: Never Expect Power Again).  In a humours spill, they say that the are the most hated employees in Nigeria.  Everyone also thinks they are corrupt.  One swears that on the job application form, one has to declare that one is corrupt.  Also interviewed are James and Harry, in the words of Harry: “We are James and harry, two angry men on YouTube.”  They complain about the dwindling value of the currency.

A few reasons to see TAKE LIGHT:  one is that few films provide a glimpse inside the country of Nigeria and her people.  The second is a fairly understandable examination of the workings of a electricity power plant.  The third is to witness how the Nigerians deal with public corruption.

One of the film’s most intriguing segments shows Godwin, a illegal Nigeria electrician at work.  He studied electrical in school, is smart and works under the cover of darkness.  “We youth are tired of empty promises,” he says.  “We are smarter that PHED and we move fast, without safety measures.”

The film shows two sides of the argument.  The camera follows the citizens complaining about power outages.  The PHED or NEFA CEO, Jay McCowsky is interviewed mid-point during the film.  The film also includes a very disturbing image of from space, at night. Nigeria is awash in light.  But the glow almost entirely flares from oil and gas wells – accelerating global warming and polluting the planet.  The country, with the world’s largest proven oil reserves, leaves half its population without electricity, and the rest with erratic service.

Before its opening run, TAKE LIGHT has a Special Event Screening on October 29,  2018 at the Hot Docs Ted Rogers Cinema where director Shasha Nakhai, Cinematographer/Editor Rich Williamson, Producer Ed Barreveld (who also narrated the doc) will be in attendance and holding a Q+A following the screening.

Trailer: https://www.youtube.com/watch?v=9eu1ToXEvtA