2016 movies

Film Review: THE APOLOGY (Canada 2016) ***

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the_apology_movie_poster.jpgTHE APOLOGY

Director: Tiffany Hsiung
Writer: Tiffany Hsiung

Two important reasons why a documentary should be made are the uniqueness of the subjects or stories that need be to told. For THE APOLOGY, the subjects are – as the titles inform at the start of the film – ‘grandmas’ or ‘comfort women’. These are the young Asian girls (Chinese, Korean, Filipino) who are forced into the sex slave trade by he Japanese during the Japanese occupation. The Japanese are clearly the hated villains in the piece. Hsiung makes sure the point gets across. Unrepentant, the Japs, especially the politicians claim that the trade was necessary and show no remote sign of remorse.

The director of this importance piece, a NFB (National Film Board) production is appropriately Asian – Tiffany Hsiung, who will be present to take questions from the audience in Toronto on December 6 and 8, with Q&As at both Toronto and Vancouver screenings as well.

THE APOLOGY follows the personal journeys of three “grandmothers” (almost equal screen time devoted to each) — Grandma Gil in South Korea, Grandma Cao in China, and Grandma Adela in the Philippines. Some 70 years after their imprisonment in so-called “comfort stations,” the grandmothers face their twilight years in fading health. As former “comfort women,” they were among the 200,000 girls and young women kidnapped and forced into military sexual slavery by the Imperial Japanese Army during World War II. After decades of living in silence and shame about their past, they know that time is running out to give a first-hand account of the truth and ensure that this horrific chapter of history is not forgotten. Whether they are seeking a formal apology from the Japanese government or summoning the courage to finally share their secret with loved ones, their resolve moves them forward as they seize this last chance to set future generations on a course for reconciliation, healing, and justice.

Hsuing occasionally resorts to sentimentality when she choses to film the tears of the grandmothers or their family or even the audience listing to the stories during press conferences. There is no need to. The stories are strong enough.

There is always something very moving about watching elderly ladies on the screen (especially when they are laughing) or on stage. Their craggy features and deep voices relay that these are human beings with important stories to tell from their experiences. When they are especially older, with ailments that inhibit their ability to walk or hear or see, the effects are even greater.

Will the grandmothers win their much sought of apology at the end? The fact that the Japanese are so stubborn is a curiosity. They have committed so much bad deeds during the World War II and in the past, much worse in Asia (according to many Asians) than the Nazis, that apologizing would only show them to be a more sympathetic race and not hurt their reputation.

THE APOLOGY is a deeply moving documentary that was both the the runner-up for the important audience Award at the 2016 Toronto Hot Doc Fest and the Winner of the Cinephile Award for best Documentary a South Korea’s Busan’s International Film Festival.

Trailer: https://vimeo.com/159796075
 

 

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Film Review: OFFICE CHRISTMAS PARTY (USA 2016)

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office_christmas_party_movie_poster.jpgDirectors: Josh Gordon, Will Speck

Stars: Jason Bateman, Olivia Munn, T.J. Miller, Jennifer Aniston, Kate McKinnon, Vanessa Bayer

OFFICE CHRISTMAS PARTY, the comedy, about an office party gone haywire is not novel in its idea or conception. The office here is some software tech called Zenotek. The CEO Carol Vanstone (Jennifer Aniston) tries to close the branch of her hard-partying brother Clay (T. J. Miller). Clay and his Chief Technical Officer, Josh Parker (Jason Bateman) must rally their co-workers and host an epic office Christmas party in an effort to impress a potential client, first name Walter (Courtney B. Vance) and close a sale that will save their jobs. It is not a revolutionary storyline, but one that has potential for high jinx comedy. Directors Speck and Gordon (BLADES OF GLORY and THE SWITCH) has fashioned this office party comedy using all means they can get their hands on. The result is them getting their hands too full.

OFFICE CHRISTMAS PARTY will be inevitably compared to other party comedies like the teen PROJECT X and the Blake Edwards/Peter Sellers collaboration THE PARTY. Like both films, OFFICE CHRISTMAS PARTY is about the party that escalates slowly out of control. Here, a dressed up Jesus rides a white horse right down the office cubicles. The building high rise windows get smashed and almost every male gets a blow job.

In THE PARTY a painted elephant gets washed with bubbles everywhere while all the surrounding trees and electricity poles get wrecked outside the party house in PROJECT X. But the problem with OFFICE CHRISTMAS PARTY is that just when the party gets funny, right after Walter accidentally gets coked up, the film is taken out into the open where an unfunny car chase takes place ending with the car racing to make a drawbridge – a stunt that is does not come off that funny.

The Russian mafia takedown does not generate much laughs either.
The script takes the plot of saving the company too seriously. The audience is supposed to believe that Josh’s romantic interest, Tracey (Olivia Munn) has invented some internet communications portal. Who really cares? If one can remember, THE PARTY hardly and any plot but an Indian actor accidentally invited to a Hollywood party and accidentally causing havoc.

The cast contains some bright talents – some funny but some not. Saturday Night Live’s Kate McKinnon (she played Hillary Clinton on SNL) is winning as the politically correct HR person, thought the script has to rely on her sex and fart jokes. (She is called the farty lady). Courtney B. Vance is also a scream. Bateman and Munn have straight roles while Miller is not funny at all. Jennifer Aniston is quite game for anything and she does the Meryl Streep role in THE DEVIL WEARS PRADA. Her character makes two grand entrances (remember Streep’s unforgettable 10 minute entrance to the Prada building at the film’s start?) to the brother’s company.

Considering the cast and talent involved in OFFICE CHRISTMAS PARTY, the film could have come up with a higher hit and miss laughter ratio. Still, my bet is the film doing well at the box-office, with a film milking the perfect festive holiday theme of an office party.

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

 

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Film Review: THE FOUNDER (USA 2016) ***

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the_founder_movie_poster.jpgDirector: John Lee Hancock
Writer: Robert D. Siegel
Stars: Linda Cardellini, Nick Offerman, Michael Keaton

 THE FOUNDER an American biographical drama that tells the story of of Ray Kroc, the self-claimed founder of McDonald’s. Whether he is the true founder or not, it is up to the audience to decide, but the film written by Robert Siegel and directed by John Lee Hanccock tries to reveal the real story, warts and all.

Just as THE FOUNDER could serve as an educational film on business success strategies, it could also be a classroom model for ethical practices.

The film follows the trail of Ray Kroc (Michael Keaton), a salesman for milkshake mixers to restaurants – indeed a hard sell. After receiving word that a small diner is ordering an unusually large number of milkshake makers from his company, Ray decides to go visit the enterprise in question. What he finds is a highly popular diner by the name of McDonald’s. Ray is immediately struck by the fast service, the high-quality food, the novelty of disposable packaging (versus cutlery) and the family-focused customers who regularly consume the food.

Ray meets with the two brothers who own and operate the diner. Maurice “Mac” McDonald (John Carroll Lynch) is elder and more simple-minded but extremely hard-working. Richard “Dick” McDonald (Nick Offerman) is younger and known for being an ideas man. Ray is given a tour of the kitchens and immediately is struck by the strong work ethic displayed by From them, Kroc acquires the fast food chain, growing it to a full state business to much more. His marriage to Ethel Fleming (Laura Dern) eventually lands in divorce with him marrying one of his franchise owners.

The film takes its time to get the audience on the side of Ray Kroc. Ray is depicted as a hard-working salesman with initially good honest practices with solid family values like caring for his loving wife. As greed gains control over Ray with the McDonalds empire expanding, Ray resorts to unethical tactics to take control over the two brothers. His marriage ends as well though the details are not shown on screen. He learns more about the dirt in the business and in his own words, he would drown a competitor by sticking a hose up his mouth. So, director Hancock slowly shifts sides as Ray’s good side eventually erodes when he finally cheats the brothers out of their agreed 1% stake in the business.

Michael delivers another outstanding performance as Ray Kroc, a man that the audience can both admire and despise. Patrick Wilson is largely wasted in a small role as the husband of the girl Ray stole to be his second wife. Offerman and Lynch play the brothers perfectly.

If Ray was depicted totally as a scheming unethical cheat, the film would turn away both its audience and McDonald’s customers. McDonald’s has become an American icon and Hancock is smart enough to treat the material as well as the character of Ray Kroc with respect. Besides Kroc has also demonstrated that the American dream can be achieved from pure persistence.

Trailer: https://www.youtube.com/watch?v=AX2uz2XYkbo

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Film Review: THE OTHER HALF

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the_other_half_movie_posterDirector: Joey Klein
Writer: Joey Klein
Stars: Tatiana Maslany, Tom Cullen, Diana Bentley

Review by Gilbert Saeh

THE OTHER HALF is a Canadian romance drama between one grief-stricken man and a bipolar woman suffering from Rapid Cycling Bipolar 1 Disorder.

Chosen to open the Rendezvous with Madness Film Festival in Toronto this year, which serves as a warning that the film is not an easy watch, the film shows no attempt at easing the audience towards its subject. The result is therefore, yes – a film that is not an easy watch.

The film features two prominent TV actors, Tom Cullen (2016 SAG winner/ensemble cast – TV’s Downton Abbey) and Tatiana Maslany (2016 Emmy winner/lead actress – TV’s Orphan Black). The two actors also serve as executive producers which implies the film being a love project for the two. The film’s simple story follows the couple, Nickie (Cullen) and Emily (Maslany) from the time they first meet (it is love at first sight), to their brief separation to the romance at the end where something happens (not revealed as would be a spoiler). They meet at the same time as another couple (Mark Rendall and Deragh Campbell), who interesting enough, face problems as well but for other reasons. The romance is not helped by Emily’s parents (Henry Czerny and Suzanne Clement). They believe the couple should separate and perhaps try again once Emily is normal. Clement is the actress featured in many of Xavier Dolan’s mentally disordered dramas (LAURENCE ANYWAYS, I KILLED MY MOTHER, MOMMY).

The film’s message is simple enough. Love conquers all. But as it is a fiction film, anything goes.

In a way too, THE OTHER HALF is a personal film with the director’s friends and family helping out. Klein’s father, a doctor with a background in English literature, advised on the script. Klein’s sister, a psychiatrist, helped prep Maslany before the shoot. His brother did Emily’s paintings.

The film, shot in Toronto, feels like Toronto from the familiar streets and the signature streetcars that often come into the frame.

For a film featuring mental disorder, the film contains many disturbing club scenes, shot in dim lighting with strobe lights, lasers and annoying sounds and music.

For a couple with disorders (Nickie also loves to fight), it is surprising that the couple never gets into any heated fights – only into minor arguments that are easily resolved. The one scene in which Emily freaks out at home and has to be handcuffed by a cop is the most effective one showing realistically, the mental anguish. Other than that, the film falls into the same story line about troubled couples – the parents refuse to help, the couple struggles on their own, and final survives.

THE OTHER HALF is an ok film with performances and everything passable in all departments. Yet, there is nothing that will draw a crowd to see the film. Who really wants to watch a film of a a troubled couple with mental disorders? The film also provides no insight about the disorder or how a couple can manage through the difficulties.

Trailer: https://www.youtube.com/watch?v=lvPHGgZB5ys

 

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Film Review: JACKIE (USA/Chile/France 2016)

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jackie_movie_posterDirector: Pablo Larraín
Writer: Noah Oppenheim
Stars: Natalie Portman, Peter Sarsgaard, Greta Gerwig

Review by Gilbert Seah

Chilean director Pablo Larrain has made a name for himself with critical hit films like NO and TONY MANERO. But he is an odd choice for the English speaking film biography of the true American icon JACKIE, based on the life of Jackie Kennedy just after her husband, John F. Kennedy’s assassination in 1963.

The story follows the events immediately following the assassination. Jacqueline Bouvier Kennedy (Natalie Portman) is being interviewed by a reporter, Theodore H. White (Billy Crudup) for Life Magazine. The film plunges the audience into the devastation using a series of finely crafted flashbacks that cover the fateful day in Dallas, Jackie’s return to the White House, arrangements for the President’s funeral, and her time spent accompanying her husband’s coffin to Arlington Cemetery.

The film is a slow count of what happens. It is the coping of a violent death of a loved one. The film is very American despite being directed by a non-American. The sequences complete a moving portrait of a grieving woman — a widow and mother struggling with overwhelming tragedy and attention. Yet the core of the film is formed by quiet, profoundly intimate moments: Jackie’s conversations with her children, her brother-in-law Robert Kennedy (Peter Sarsgaard, also at the Festival in The Magnificent Seven), one of her aides (Greta Gerwig), journalist White (Billy Crudup), and a Catholic priest (John Hurt). Larrain loves the close-ups of Jackie. The scenes between Jackie and the priest are done in a flashback within a flashback.

Portman does a fine job as Jackie Kennedy. She often looks aloof though she says that she is not and concerned about the children and the funeral procession. I don’t recall how the real Jackie spoke, but Portman always speaks with her mouth wide open, which I gather is the way the real Kennedy spoke.

For a non-American, the tasks offered to the former First Lady of restoring the artefacts of the White House may seem trivial. Jackie often moves around the different rooms drowning vodka or popping one of her colourful pills, always with a cigarette in one hand. She might not seem convincing when she says she cares so much for the children, but that is the way she was in real life during those times. Non-Americans might either find everything totally boring for incidents portrayed that do not concern them or be totally in awe of anyone being so involved in Americana.

One of the tasks Jackie was in charge of was looking after the White House. In the film’s best segment, an inspired one no doubt, Jackie is seen moving about the house, cigarette in one hand, popping pols, pouring drinks or arranging letters to the tune and lyrics of the song CAMELOT. Camelot, the perfect place to be is Jackie’s White House.

JACKIE emerges as a rare film about America as seen through the eyes of a foreigner. It is a queer piece which alternates between looking really artificial and surreal, but that might be Larrain’s intention.

Trailer: https://www.youtube.com/watch?v=pZTXv5NpgaI

 

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Film Review: SADIE’S LAST DAYS ON EARTH

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sadies_last_day_on_earth_movie_poster.jpgDirector: Michael Seater
Writer: Michael Seater
Stars: Helene Joy, Munro Chambers, Ricardo Hoyos

Review by Gilbert Seah

SADIE’S LAST DAYS ON EARTH is advertised as a teen comedy – a genre of film many moviegoers tend to avoid. To be fair to this genre of films, there have been many classics like FERRY BUELLER’S DAY OFF, SIXTEEN CANDLES or even exceptionally funny ones like LICENCE TO DRIVE and WEIRD SCIENCE. The key to teen comedies is to have a very identifiable teen like a loser trying to break out of his or her mould in a very identifiable situation that every adult has been in.

In SADIE’S LAST DAYS ON EARTH, modern teenage anxiety and the universal desire for acceptance from others and ourselves are explored through the protagonist Sadie. The teen in this story appears to be driving herself into a secluded mould of loneliness.

Sixteen-year-old Sadie Mitchell (Morgan Taylor Campbell, SPOOKSVILLE, THE KILLING) is convinced the world is about end. The script does not go into detail where she gets her source or the reason she is so convinced. This is obviously a big flaw as the whole film’s credibility hinges on this fact. Undeterred by the naysayers, Sadie has two weeks to ready herself for the coming apocalypse. The film goes with the titles counting down the last days of earth – as if it was going to happen. Sadie has a list of things she needs to master (a sort of bucket list); survivalist cuisine, knitting, but there are other things…personal things; go to a high school party, kiss a boy, and most importantly, get her best friend Brennan (Clark Backo, SHOOT THE MESSENGER) back. These are silly items, unfortunately only important to Sadie, and not to the audience or anyone else in the film for that matter. Within the first few minutes of the film, the audience is quickly detached from the heroine as well as the film. Armed with survival supplies, blueprints and escape routes, Sadie finds an unlikely ally in Jack (Ricardo Hoyos, DEGRASSI: THE NEXT GENERATION) who shows her that her last days on Earth might not be so bad after all.

Just one day before Sadie’s predicted last day, the town suffers a minor earthquake. Suddenly, the entire town believes Sadie’s prediction of Earth’s Last Days. There is of course, such a thing as a minor earthquake happening, so it is ridiculous to see the entire town turning into Chicken Littles.

The film’s corny message is that one should live life fully – as if the end of the world is near. Sadie also suffers from insecurity. Too many of the film’s character have to remind her that she is smart, funny and bold – which in my opinion, she is not.

Enough is enough. The film is so unwatchable and the characters so annoying (example: Sadie’s mother with an Australian accent; Sadie’s dj classmate with a fake British accent), that one soon begins counting down the minutes this film will end.

From the same director and writers of PEOPLE HOLD ON, SADIE’S LAST DAYS ON EARTH will likely be as forgettable as their first movie, which thankfully (about group of friends gathering together before a wedding ), I did not see.

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

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Film Review: SUGAR MOUNTAIN (USA 2016)

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sugar_mountain_movie_posterDirector: Richard Gray
Writers: Abe Pogos, Abe Pogos (story
Stars: Jason Momoa, Cary Elwes, Anna Hutchison

Review by Gilbert Seah

 SUGAR MOUNTAIN is the location in Alaska where two brothers device a scam in order to get the money to pay off debts and have a new go on life.

Deep in debt to a local thug (upcoming actor Jason Momoa soon to be seen on AQUAMAN and JUSTICE LEAGUE), Miles (Drew Roy) persuades his girlfriend Lauren (Haley Webb) and brother Liam (Shane Coffey) to help fake a disappearance in the Alaskan wilderness around the town of SUGAR MOUNTAIN. The plan is to sell the story. But unknown to Liam, who is the main subject of the film, Miles has also other secrets that get in the way. Worst still, Liam is in love with Lauren. While the town works together to find Miles, the local chief of police, Jim Huxley (Cary Elwes) begins to suspect foul play. As he closes in on the truth, Liam struggles to conceal the hoax, and in the process exposes a secret that rocks him and Lauren to the core. Now the two are struggling to stay one step ahead of a sadistic thug and the tenacious cops before Miles is gone for good.

Performances are believable by the relatively unknown young cast. It is good to see Cary Elwes (THE PRINCESS BRIDE) nine in the role of the cop father after a long absence in films.

Being shot in Alaska, the film is expectedly gorgeous to look at. From the first scene of Miles lost in the mountains of snow to the boat (the Viking) cruising down Alaskan waters to the mountain sides where the search for Miles is carried out, cinematographer John Garrett never fails to astound. Garrett won the 2015 Emerging Cinematographer Award recipient (American Society of Cinematographers). There is also a remarkable shot scene where the couple find themselves close up to an angry bear.

The script by Abe Pogos based on a story by Pogos and Catherine Hill is interesting enough with sufficient plot twists towards the end. But the film would have world better if it was darker and more violent. One expects these elements in a film advertised a a dark thriller. But most important is the happy ending that is credible enough. The film works best when the audience is not sure what is happening on screen is part of the plan or going on for real.

SUGAR MOUNTAIN is a tough sell being a small budget movie released in the month of December in stiff competition with the big league films like ROGUE ONE, FANTASTIC BEASTS, DR. STRANGE, MOANA as well as smaller budget critical acclaimed hits like MOONLIGHT. To be fair, SUGAR MOUNTAIN is not a bad film, but it is not that remarkable a film either. But it is an earnest film, with a lot of effort put in and is a welcome change in a month where thrillers are noticeably absent.

Trailer: https://www.youtube.com/watch?v=29KpXJVT3IM

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Film Review: SING (USA 2016) ****

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sing_movie_poster.jpgDirected by Garth Jennings

Starring: Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly

Review by Gilbert Seah

Garth Jennings, director of the not-so-successful THE HITCHHIKER’S GUIDE TO THE GALAXY and the excellent SON OF RAMBO seems an unlikely choice for director of the 3D computer-animated musical comedy film produced by Illumination Entertainment (the DESPICABLE ME films). But Jennings who also voices the old secretary Matilda, the glass-eye popping iguana in the film, proves a worthy choice.

The age-old plot of SING involves the protagonist, here in the form of a cute koala (Matthew McConaughey) putting up a show in order to save his failing theatre. He comes up with a brilliant scheme to save his stage: put audience members on it. “Real talent from real life,” Buster declares. Buster is determined to host the world’s greatest singing competition, and, given the overwhelming response to his call for participants, the show might just lay claim to that title. After an exhaustive (and entertaining) audition process, his lead contestants left are an exhausted mother of 25 piglets, a timid adolescent elephant, a porcupine with punk, a rodent con artist with Sinatra-esque chops, and a gangster gorilla eager to change careers. Each is as desperate to change their life as Buster is to rescue his business. Who will win? It doesn’t really matter as all eventually do their part to save the theatre. Jennifer Saunders of ABS FAB does the voice of ex-diva a sort-of patron for Moon’s theatre as she is rich beyond means.

SING is undeniably a feel-good movie with an extra coating of sweetness that stretches credibility to the limit. If the film was not animated, it would never get away with the premise. But animated feature are supposed to be totally crazy and not matter how unbelievable, any crazy premise will always work to its favour.

Water has always been difficult if not impossible to animate. Disney’s THE SORCERER’S APPRENTICE (from FANTASIA) with Mickey Mouse demonstrated that. But now with computer animation, all is possible. In SING, Buster Moon decides to create an elaborate lighting sequence for his show using squids in a huge water tank that ends up leaking and blowing up. All this is an excuse to showcase the studio’s impressive modern animation with computer aid using water. No complaints here, as the sequence is one of the film’s best animated, as in the time lapse rebuilding of Moon’s theatre near the end of the film. Disney and Pixar are faced with stiff competition here.

The impressive cast of actors and singers include Reese Witherspoon as Rosita, Seth MacFarlane as Mike, a small white crooning mouse with a big Frank Sinatra-esque voice and an arrogant attitude, Scarlett Johansson as Ashley, a crested porcupine punk rocker, John C. Reilly as Eddie Noodleman, a Suffolk sheep and Buster’s partner, Tori Kelly as Meena, a teenage Indian elephant with an exquisite voice, and severe stage fright,Taron Egerton as Johnny, a Cockney-accented mountain gorilla, who wants to sing and Nick Kroll as Gunter domestic pig and Rosita’s German-accented, very optimistic and bubbly dance partner.

SING is by no means a faultless feature. It falls into the trap of having too many characters for its own good and not knowing when to shorten its story. The film also hurdles at too fast a pace, as in the father gorilla escaping jail to see his son perform.

The film features more than 85 classic songs from famous artists all more than adequately performed by the animated characters as well as a few catchy original songs.

Like Moon going all out to save his theatre, one cannot help but root of writer/director Jennings in his worthwhile effort and awarding him an “A” for effort.

Trailer: https://www.youtube.com/watch?v=Y7uGHY-t80I

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Film Review: MISS SLOANE (USA/France 2016)

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miss_sloane_movie_posterDirected by John Madden

Starring: Jessica Chastain, Gugu Mbatha-Raw, John Lithgow

Review by Gilbert Seah

MISS SLOANE is a political thriller that demands the audience believe certain incredible plot points. One is that a person would serve jail time for something he or she believes in.

Directed by John Madden (SHAKESPEARE IN LOVE, BEST EXOTIC MARIGOLD HOTEL, MRS. BROWN) from a script by Jonathan Perera, MISS SLOANE the film is based on the lead character of the same name. In the high-stakes world of political power-brokers, Elizabeth Sloane (Jessica Chastain) is the most sought after and formidable lobbyist in Washington, D.C. Known equally for her cunning and her track record of success, she has always done whatever is required to win. But when she takes on the most powerful opponent of her career, she finds that winning may come at too high a price. At one point in the film when Sloane’s campaign faces a major setback, she is asked: “Why don’t you quit?” Her answer: “And do what?”
The film begins with her court case in which she is questioned on her ethical practices as a lobbyist. The senator presiding the case is corrupt Senator Sperling (John Lithgow), blackmailed to do the job by George Dupont (Sam Waterston). The film flashes back to the events leading to the inquisition and follows what happens to Miss Sloane after.

The film is quick to get the audience on Sloane’s side, no matter guilty or not. Sloane is super good at her job, dishing out her advice while tearing down her opponents without any feeling of guilt of any kind. The unfortunate victims include her team members as well, as in Esme Manuchairan (Gugu Mbatha-Raw) who at one point in the film tells Sloane as it is : You are smart enough to know that. You just don’t care.”
The film does not take sides on the issue of gun control though Miss Sloane is pro-gun control. There is also a segment in the film when the tides are turned (the attempted shooting of Esme) against Sloane’s favour. Madden never makes it clear whether the incident was orchestrated by Sloane. It looks as if it was completely planned but Madden leaves it to the audience to make up their own minds. The film also contains some false alarms such as the appearance of Sloane’s hooker, (Jack Lacy) at her trial to keep the audience on their toes.

The ultimate question on whether the film succeeds is whether the rats, in the words of Sloane, the parasites of the American democracy can be outed within the credibility of Perera’s script. The answer is barely. The film hinges 100% on the credibility of actress Jessica Chastain’s performance. Chastain is good but the plot just asks for too much credibility.

The film contains many highly charged dramatic set-ups, a few too obviously predictable for the seasoned film cineastes and the film critic. But the writing and dialogue is still good to hear. Perera writes choice quotes. Miss Sloane always has the perfect rebuttal to every argument under the sun. As Miss Sloane says in the film: “Lobbying is about foresight. It is about anticipating the moves before the opponent does.” In the same way, the film tries its best to stay one step ahead of what the audience anticipates.

Trailer: https://www.youtube.com/watch?v=AMUkfmUu44k

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SPIRITED AWAY: THE FILMS OF STUDIO GHIBLI

festreviews 2016 movies, Uncategorized ,

(Christmas at TIFF Bell Lightbox)

Spirited Away: The Films of Studio Ghibli:

Just in time for the holidays, this dazzling showcase, devoted to the legendary animation studio returns to TIFF Bell Lightbox.  The series of 23 films runs from 24th of December to January 6th 2017.

My favourites are:

SPIRITED AWAY

MY NEIGHBOUR TOTORO

HOWL’S MOVING CASTLE

PONYO

KIKI’S DELIVERY SERVICE

GRAVE OF THE FIREFLIES

Also screened is the 30-minute short preceding some screenings  called GHIBLIES Episode 2, which is pure fun.

The films screened are:

Dec 24

CASTLE IN THE SKY (Capsule reviewed below)   

SPIRITED AWAY

MY NEIGHBOUR TOTORO

KIKI’S DELIVERY SERVICE

Dec 25

HOWL’S MOVING CASTLE

Dec 26    

PRINCESS MONONOKE

Dec 27

PORCO ROSSO

THE CAT RETURNS

Dec 28

PONYO

Dec 29

THE TALE OF PRINCESS KAGUYA

ONLY YESTERDAY

WHISPER OF THE HEART

Dec 30

POM POKO
NAUSICAA  IN THE VALLEY OF THE WIND

Jan 1

THE SECRET WORLD OF ARRIETTI

GRAVE OF THE FIREFLIES

Jan 3

OCEAN WAVES’

MY NEIGHBOURS, THE YAMADAS

Jan 4

TALES FROM EARTHSEA

Jan 5

THE WIND RISES

FROM UP POPPY HILL

Jan 6

THE CAT RETURNS

WHEN MARNIE WAS HERE

Capsule Reviews of Selected Films:

CASTLE IN THE SKY (Japan 1986) ****

Directed by Hayao Miyazaki

            The CASTLE IN THE SKY is the mythical Kingdom that all the film’s characters are looking for, for different reasons.  Pazu, a farm boy is in search of it to clear his late father’s name, the air pirates led by Granny (Cloris Leachman) for riches while the villain to unveil its secret power and rule the world.  The common element in all this is a stone possessed by the Kingdom’s princess (Anna Paquin).  CASTLE IN THE SKY is more ambitious in both story and animation compared to the other Ghibli Studio films but the common elements of first and true love, fantasy and stunning graphics are still present.  Reminiscent of Hollywood epics like RAIDERS OF THE LOST ARK and STAR WARS, the film comes complete with a climax that includes a showdown between the hero and villain, a damsel in distress, a fight between good and evil with the future of the Planet at stake.

GRAVE OF THE FIREFLIES (Japan 1988) ****

Directed by Isao Takahata

The film opens on September 21, 1945, shortly after the end of World War II at a local train station.  Here, a boy, is dying of starvation.  Later that night, a janitor digs through his possessions, and finds a candy tin, which he throws away into a nearby field. From the tin spring the spirits of Seita and his younger sister Setsuko as well as a cloud of fireflies.  Seita’s spirit narrates their story alongside an extended flashback to Japan in the final months of the war.  There is not much story but in the film but what it lacks in plot is more than made up in terms of raw emotion.  The film traces Seita and Setsuko as they try to survive after being orphaned and left with no money.  But they retain their dignity never succumbing to their uncaring relatives and love for each other.   My mother, a child during WWII used to tell me stories of her running to the air shelters amidst bombing (but by the Japanese) in Singapore, so watching this film has meant much more to me.

KIKI’S DELIVERY SERVICE (Japan 1989) *****

Directed by Hayao Miyazaki

This charming tale based on a1985 novel by Eiko Kadano, an author of children’s literature tells the coming-of-age story of a teenage witch, Kiki.  At the age of 13, witches have to leave heir home and spend a year on their own.  So Kiki (dubbed voice of Kirsten Dunst in the English version) takes her broom and flies to a coastal town to find her true calling.  She starts a flying delivery service while finding first and true love a local boy. This is a splendid children’s tale full of wonderful characters that includes a talking black cat, Jiji (Phil Hartman) a kind baker who takes Kiki in and an old granny that bakes delicious pies.  A pop soundtrack helps in the proceedings that eventually aids Kiki finding herself. This is the first Ghibli film released under the partnership of Ghibli and Disney Studios.

MY NEIGHBOR TOTORO (Japan 1988) ****

Directed by Hayao Miyazaki

            Totoro is a huge smiling gremlin that only children can see, and only if they are lucky enough.  The film is a family based drama that charms on fantasy creatures, childhood memories, perfect parents and beautiful countryside farms.  A brother and his younger sister are left to tend for themselves when their father moves them to a farm while waiting for their mother to return from hospital due to an unnamed illness.   They encounter mystic creatures that include the huge Totoro of the title, who eventually helps them visit mother in hospital by loaning them a cat-bus.  The film makes living on a farm paradise.

PONYO (Japan 2008) *****

Directed by Hayao Miyazaki

A fish with a girl’s face, Ponyo escapes her father wizard in the sea and lands on land where she falls in love with a boy called Sosuke.  She tastes blood (licking the cut on Sosuke) and develops hands and feet to become a girl.  Unfortunately this causes an unbalance in nature resulting in tsunami like conditions in the fishing town.  This is an excuse for animation so stunning (and the most colourful I have ever seen) that the film won the Japan Academy Prize for animation of the year.  Miyazaki’s film is filled with emotions as the young Ponyo and Sosuke relate to the unstable marriage of Sosuke’s parents and the old folks home at the top of the hill.   Love conquers all in the end.  The English version is dubbed by the voices of Cate Blanchett, Matt Damon, Tina Fey, Liam Neeson, Betty White and Cloris Leachman.

NAUSICAA OF THE VALLEY OF THE WIND (Japan 1984) ****

Directed by Hayao Miyazaki

Based on the manga comic series that was also written by Miyazaki, this animation plays like a STARWARS episode in which kingdoms fight for survival and for unity and stabilization of their species.  Also there is a princess warrior, bad guys that look like Darth Vader and animals that could be taken right out of Episodes 1 and 2 of the STAR WARS series.  The story is set in apocalyptic Earth which has almost all of the human race destroyed due to toxic pollution.  The angry insects must be calmed or they will attack the humans.  The princess is a kind soul who is well respected by everyone and she has to prove her worth when attacked by an invading Tolmekians.  The film contains lots of galatical battles, made all the more impressive by Miyazaki’s imagination and animation.  More action and adult than the other films in the series but by means no less enjoyable.  Voices of Shia Laboeuf, Uma Thurman, Patrick Stewart and other Hollywood stars land their voice characterizations.

 

 

 

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