Movie Review

1997 Movie Review: FROM DUSK TILL DAWN (1997)

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FROM DUSK TILL DAWN (1997)
Classic Movie Review
Directed by Robert Rodriguez
Starring George Clooney, Quentin Tarantino, Harvery Keitel, Juliette Lewis
Review by Jared Bratt

SYNOPSIS:

On the run from “Johnny law”, Seth (George Cloony) and Ritchie (Quentin Tarantino) Gecko, two newly escaped convicts, hot off the heels of their most recent bank heist, abduct a family of innocent commuters as they proceed to evade the authorities by fleeing across the U.S. border, into Mexico, so that they can rendezvous with their foreign criminal counterparts at a local dive bar known as the “Titty Twister”. Using their freshly acquired hostages as collateral, so as to ensure the stability of their otherwise expendable lives, the two ruthless brothers force the family’s father, Jacob, a faithless preacher, (Harvey Keitel) and his two kids, his son, Scott, and his daughter, Kate, (Julliette Lewis) to accompany them into the excited bar while they wait to meet up with their Mexican affiliates. Unbeknownst to them, however, is the fact that the seedy establishment actually serves as a well-disguised feeding ground for a bloodthirsty cult of famished vampires lead by their equally ferocious queen, (Salma Hayek) who slyly masquerades as the joint’s main attraction, a seductive stripper who opportunely diverts the club’s clientele from realizing the absurd, horrific horrors that lie ahead.

REVIEW:

From Dusk Till Dawn is one of those movies that appear to always be playing on T.V. throughout all hours of the night. Essentially two films for the price of one, the movie accounts for an extremely distinctive blend of the taught “70sesque” crime-caper, exploitation film meets the comically grounded, gratuitous gore fest of an Evil Dead picture. Both these genres are wrapped up even further in, what you could say, accounts for the film’s third genre known as “Tarantinoism”.

Director Robert Rodriguez makes sure to keep that well known brand of Tarantino madness in tact while he still keeps things fresh, bringing to the table, his own unique eye for a quick cut, spaghetti western, John Woo “shoot ‘em up” style of filmic execution. Essentially, Rodriguez applies the same acclaimed style that initially propelled him to become one of the most innovative filmmakers of his generation to the horror genre. Working from a screenplay written by Tarantino himself, Rodriguez creatively retains that “no-holds-barred” sense of horror movie-making aesthetic. Harkening back homage to the great, grotesque gore-fests of the 60s, 70s and 80s, From Dusk Till Dawn’s own 1996, release, unfortunately, didn’t quite generate nearly half as much the buzz as anyone of those eras, yet since then, it undoubtedly has gone on to be hailed as an innovative cult classic.

The film kicks off with a drop kick to the face that sets the viewer in check reminding us to acknowledge the fact that this is indeed a movie based on all things Tarantino. We are immediately introduced to the movie’s abundant amount of “badassery” from the second the actors start to retort Tarantino’s unique brand of unconventionally witty dialogue.

Michael Parks’ first screen incarnation of Texas Ranger Earl McGraw initially warms us up to the film’s crime-caper element while setting us up for the ridiculously cool, deadpan cast that is to follow directly after his own arrival into the picture. He enters a local convenient store, wandering into a classic Tarantino monologue ranting politically incorrect obscenities with his old-fashioned, raspy voice and squinting Dirty Harry mannerisms in the store clerk’s direction. Park’s screen time, here, is brief, nevertheless, he truly owns every second of it. He is magnetically charismatic in a John Wayne type of way while his poised delivery of Tarantino’s “talky” dialogue alone is enough to make you believe the film itself revolves around his character That is until he is shot dead, with a bullet through the head, by the cold-blooded Geckos. The brothers then proceed to shoot up, and burn down, the convenient store, adding more corpses to their rapidly escalating body count, while the film’s tone is deceivingly established as reflecting yet another exercise in post Pulp Fiction crime lore. Nevertheless, midway though what appears to be a predictable ride, Rodriguez brilliantly shifts his movie into Desperado horror movie mode as the film devilishly reveals its true identity; the local “barflys” populating the film’s sleazy bar setting unexpectedly reveal themselves to be well disguised vampires equipped to feast on anyone unlucky enough to be trapped within their horrific, evil domain.

Once this brilliant shift in genres occurs, From Dusk Till Dawn truly alters into something shockingly different. Not only does Cloony’s anti-hero protagonist become the guy the audience is ultimately rooting for but also the movie itself takes on an exceptionally absurd sense of style and filmic execution. Rodriguez uses the action spawned switch, within the story, as a well advised cue to up the stakes as he takes the opportunity to run creatively rampant shooting every type of gratuitous gore gag in the book. Gone is the downcast, moody, angst filled suspense pacing of the film’s first half and, while the tension is indeed still apparent, accompanying it, is a slyly comedic pastiche blend of “in your face” action and squirting blood and guts-carnage. All of this is eccentrically strung together by an underlining sense of campy hilarity that seems to get stronger as the film’s action scenes grow gorier and more graphically excessive in nature.

Starring in his first screen role post E.R. fame, George Cloony deserves major “cred” as the brothers’ hard-bitten, yet persistently professional, leader; enthusiastically playing the movie’s anti-hero as if he were the rejected reservoir dog cousin of Snake Plisken. Cloony’s Seth Gecko seems bound to leap off the screen, destined to shove a 357 magnum down the throats of the film’s collective viewers. Indeed Cloony stylishly brings a certain amount of suave charm and charisma to the role; however, he fuses these likable traits with such a towering level of contrasting toughness that his performance truly shines as this constant, indestructible force of brooding male machismo. Almost as equally impressive as Cloony’s unconventional acting is Tarantino’s own subdued portrayal of a sex addicted rapist. Atypically restraining his well-known flamboyantness, Tarantino opts to portray Ritchie Gecko as a disturbingly reserved individual with a clear sense of pent up sexual rage. Essentially, Tarantino makes his role work because he plays it straight while, for the most part, cleverly managing to avoid slipping into just another self-referential caricature of himself.

Also, adding to the list of actors playing against type, the great, and underused, Harvey Keitel is featured, here, as a swift speaking, holy man with a shattered belief in god and himself. Keitel humbly downplays his obvious command until it ‘s tonally time for him to digress the faithless preacher persona into a vampire slaying, scripture citing badass. Keitel plays his role with such prevailing and convincing delivery that even when the movie drastically transforms into a surrealistic horror-action-comedy, his performance, and ultimate unflinching dedication to the role, never once seems false.

From Dusk Till Dawn is a volatile burst of creative oomph. While, admittedly anyone looking for an award friendly crime picture will most likely leave with a bad taste in their mouths, Tarantino enthusiasts, action junkies, and horror freaks alike should rejoice in seeking this flick out … and grab a beer.
from dusk to dawn

 

1997 Movie Review: THE FIFTH ELEMENT, 1997

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THE FIFTH ELEMENT, 1997
Movie Reviews

Directed by Luc Besson
Starring: Bruce Willis, Gary Oldman, Ian Holm, Milla Jovovich, Chris Tucker, Luke Perry
Review by Emma Hutchings

SYNOPSIS:

A former government agent grudgingly sets out on a quest to save the world from an ancient evil after the only hope of thwarting destruction falls into the back seat of his cab.

OSCAR NOMINEE for Best Effects, Sound Effects Editing

REVIEW:

The Fifth Element is Luc Besson’s big budget futuristic blockbuster, which, at the time, was the most expensive film ever produced outside of Hollywood. Besson again called on the might of Gary Oldman to play the bad guy, following his fantastic performance in Léon (1994). Besson helped out as producer on Nil by Mouth (Oldman’s hard-hitting directorial debut), which was also released in 1997 and also starred Charlie Creed-Miles (Cornelius’ protégé David in The Fifth Element and Billy in Nil by Mouth).

This film is a visual extravaganza. The rich and vibrant colours ensure that the future is a bright and appealing one, not bleak and dystopian, as in so many futuristic films. Besson said that he wanted to show a vision of the future that wasn’t dark and dangerous. Mark Stetson, the Special Visual Effects Supervisor on the film, who had previously worked on Blade Runner, said “One of the most gratifying aspects of working with Luc on this picture is the fact that it’s not another Blade Runner. The look of this film is very different and fresh.” What comes across most about the visual effects is the amazing attention to detail. The shots of 23rd century New York are some of the highlights. Leeloo’s POV shot when she sees the skyline for the first time is remarkable. The skyscrapers, packed closely together, ascend high into the clouds, with subways zooming up and down their sides and the areas in between packed with flying cars. The quirky, original costumes were designed by Jean-Paul Gaultier, who even checked over the extras individually before scenes to make sure they were looking their best. Two famous French comic book artists, Jean Giraud and Jean-Claude Mézières developed the production design. They were responsible for much of the iconography of the film; the vehicles, spacecrafts, buildings, human characters and aliens.

There are references to other films in The Fifth Element. Although described as the Anti-Blade Runner, the cityscape with enormous advertising screens and the flying cars are definite similarities. Brion James (who plays General Munro, Korben’s former commanding officer) played the character of Leon in Blade Runner. The machine that regenerates Leeloo is very similar to the one used to create the robot in Metropolis (1927). The thermal bandages that are strapped to her are reminiscent of the metal bands covering Maria when the Man-Machine is converted into her.

The story boils down to a straightforward good vs. evil narrative. A huge, dark sphere of absolute evil attempts to destroy Earth every 5,000 years and five elements are used together to stop this happening. Earth, wind, fire and water, along with the Supreme Being; an ultimate warrior created to protect life. A simple but effective technique used a number of times throughout the film is cross-cutting. Used to switch between action taking place in different locations at the same time, it is cleverly used here because characters often finish each other’s sentences. For example, when Zorg meets with Aknot (leader of the Mangalores) to exchange crates of weapons for the case of stones, he shuts the lid and then states “This case…is empty.” The scene then cuts to Leeloo laughing and Cornelius asks “What do you mean, empty?” Cut back to Zorg, who tells his lackey “Empty. The opposite of full. This case is supposed to be full! Anyone care to explain?” Cut back to Leeloo, explaining in the divine language that they gave the stones to someone they could trust. Cornelius says “We’re saved” and then a final cut back to Zorg, who says “I’m screwed.” This is an intelligent use of dialogue and editing that is both interesting and efficient.

Korben Dallas is rather a reluctant hero. He was living a lonely, uneventful life before Leeloo crashed through the roof of his cab. At the beginning of the film he says he wants to meet the perfect woman. He hasn’t had very good experiences with women; his wife left him for his lawyer and his mother continuously calls him just to moan at him. He is laconic and very humourous at times. When sent in to negotiate with the Mangalores, he casually strolls in and shoots their leader in the head asking, “Anyone else wanna negotiate?” It is interesting that our hero Korben and the villain of the film, Zorg, never meet or communicate with each other. Usually there would be an epic battle at the end where they would fight until the villain was killed. However, they narrowly miss bumping into each other as Korben gets into an elevator and Zorg leaves the one next to it, ultimately getting himself blown up by the Mangalore’s bomb. There is a connection between hero and villain though; Zorg gets rid of 1 million people from one of his smaller companies, a cab company, and in a later scene Korben gets a message telling him he’s fired. The name ‘Zorg’ is clearly visible at the bottom of the message.

Leeloo is the heroine of the film. Beautiful and very strong, she is often referred to as ‘perfect’. She is a fast learner, able to absorb large quantities of information; she learns 5,000 years worth of Earth’s history from a computer in a very short amount of time. She is kooky and has lots of funny moments in the film, usually when she is trying to understand certain words in the English language (“Big ba-dah boom”, “Auto-wash”, “Mul-ti-pass”). The ‘divine language’ spoken by Leeloo has 400 words and was invented by the director and Milla Jovovich. Jovovich stated that she and Besson wrote letters to each other in the language as practice and by the end of filming they were able to have full conversations.

The number 5 is a recurring motif in this film. Apart from the obvious 5 elements there are also lots of other notable occurrences. Evil returns every 5,000 years, Korben has 5 points left on his licence, the Council asks Zorg to fire 500,000 people, and Korben says to General Munro “Nice to see you in the 5,000 block”. The bomb in Fhloston Paradise has around 5 minutes left when Ruby notices it, Zorg stops it with 5 seconds remaining and the Mangalore’s bomb counts down from 5 seconds. Ruby’s radio show starts at 5, Korben says “If we don’t get these stones open in 5 minutes, we’re all dead.” Ruby says “”Every 5 minutes there’s something, a bomb or something!” and right at the end the scientist says “They’re not ready. They need 5 more minutes.”

Any observant viewers (actually that should be listeners) may notice two occurrences of the infamous ‘Wilhelm Scream’, a distinctive sound effect that has found a following with many sound editors and movie fans. First used in Distant Drums, a 1951 film starring Gary Cooper, it was later adopted by sound designer Ben Burtt who named it after the character of Pvt. Wilhelm in The Charge at Feather River (1953) who screams when he is shot in the leg by an arrow. Burtt included it in many of the films he has worked on including the Star Wars and Indiana Jones films. It grew in familiarity and continues to be heard in new productions released every year. In The Fifth Element it can be heard when Zorg blows up Right Arm at the airport and during Leeloo’s fight with the Mangalores, as two are sent flying out of the Diva’s suite (turn the volume up for this one).

The film ends after the world is saved by the power of love. Leeloo finishes learning all about Earth on the computer and becomes particularly disturbed by W for War. She watches all of the images flash by of chaos and destruction and she despairs at how people could do such things to each other. She tells Korben, “Everything you create, you use to destroy” and he replies “Yeah, we call it human nature.” Her faith in humanity needs to be restored in order for her to save them, Korben must show her the world has some good and there are beautiful things worth saving, like love. She doesn’t know love, she says “I was built to protect, not to love”. She needs him to tell her that he loves her, this empowers her and she draws on the other four elements and destroys the ancient evil. Earth is rescued from annihilation and the two of them can live happily together (he’ll need to get another job though). I highly recommend this film. It has a great cast of actors all having a good time, the visuals are fantastic and it’s very enjoyable as long as you don’t take it too seriously.

THE FIFTH ELEMENT
 

1997 Movie Review: FACE/OFF, 1997

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FACE/OFF, 1997
Movie Reviews

Director: John Woo

Stars: John Travolta, Nicolas Cage, Joan Allen, Alessandro Nivola, Gina Gershon, Dominique Swain, Nick Cassavetes, Colm Feore, Colm Feore, John Carroll Lynch

Review by Matthew Toffolo

SYNOPSIS:

A revolutionary medical technique allows an undercover agent to take the physical appearance of a major criminal and infiltrate his organization.

REVIEW:

There is a creepy feeling when watching Face/Off. The main theme of this action packed drama is about dealing with loss and death as Travolta’s character is having an extremely difficult time getting over the murder of his son. Of course fiction became truth later on as Travolta lost a son in real life. So when you’re watching these scenes you can’t help but feel for the real life actor who is crying on screen for his son’s loss, even though it hadn’t happened yet.

I remember when this film came out in 1997 and how much I enjoyed it as a 20 year old kid. My friend Wes Berger and I were what you call teenage idealistic film buffs as we used to go to the movies weekly and see as many foreign and independent movies as we could living in the Niagara Region. To some we were also film snobs, looking down on all of the shoot em up blockbusters that were beginning to hit its peak. But we weren’t ashamed to admit that we both liked Face/Off enormously because it seemed to have a nice psychological edge to it while filled with incredibly unrealistic but exciting action moments.

This was also the time when both Travolta and Cage were at their peaks professionally. Cage in particular was coming off his Oscar win for Leaving Las Vegas as was considered one of the best actors on the planet. That comment seems kind of silly in present day, as Cage is considered kind of a hack, as he continues to do about 3-4 poor films a year. In 1997 Cage had his whole career ahead of him and was in considerable demand in Hollywood. So having Travolta and Cage in this action romp in 1997 caused a lot of attention for me and my friendly film snobs. Perhaps John Woo’s film was more than just blow em up!

There are some interesting moments in Face/Off as Woo sure is a fine director who makes a lot of unique choices to heighten the excitement and emotions in the film. The only thing I remember talking about with people afterwards was the key question – Was Cage better at playing Travolta? Or was Travolta better at playing Cage?

Questions like this is what 20 year olds growing up in the Tarantino generation discuss. Even though in hindsight these are wasted conversations, at the time I do remember having fun with it. My friend Wes was on team Cage as I was on team Travolta. And the circle talk of meaninglessness began for hours on end. Both actors really chew up the scene as they seem to be acting in a strange land of over-the-top-ness while the other actors around them are grounded in reality. The performance of Travolta’s wife (who became Cage’s wife but was actually Travolta – it was confusing!) in particular stands out. Joan Allen pulls off a fantastic performance in the film without anyone really realising it. I remember even at age 20 how pulled in I was by her character. Perhaps today that role would of went to some 30s supermodel who would only be capable of just playing the beats in the script and nothing more.

Face/Off is a fun film even today as I really was impressed how much it stands up. That same year Cage acted in another action film, Con Air, that really doesn’t stand up at all and is almost laughable in its action executions to today’s 21st century world.That says a lot about John Woo. In Face/Off, Woo directs all of the action sequences with the emotions of the character’s angst and inner conflicts. So when Travolta for example is involved in a boat chase with Cage, we as the audience are hooked in because we just previously saw a scene of his struggles to survive the pains of his son’s death. So there is context in the action without just having the action. So his films hold up generation after generation because we feel while the guns are a blazing across the screen.
face off

1997 Movie Review: THE DEVIL’S ADVOCATE, 1997

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THE DEVIL’S ADVOCATE, 1997
Movie Reviews

Directed by Taylor Hackford

Cast: Al Pacino, Keanu Reeves, Charlize Theron, Connie Nielson, Jeffrey Jones, Craig T. Nelson,
Review by Surinder Singh

SYNOPSIS:

Hotshot lawyer Kevin Lomax (Keanu Reeves) accepts an invitation to join a prestigious New York law firm notorious for it’s track record of getting its guilty clients cleared of all charges. Lomax is drawn in by the money and power that comes with the job; a seduction cleverly orchestrated by the firm’s boss John Milton (Al Pacino). But as Lomax delves deeper into the firm’s legal dealings he discovers there’s more to Mr. Milton’s success than meets the eye…

REVIEW:

It’s fair to say that Pacino did his share of mentoring during the nineties. As well as winning his Oscar and churning out some great central performances, he also played a number of supporting roles aside the new generation of leading men. In Donnie Brasco (1997) he supported Johnny Depp and with Any Given Sunday (1999) he did the same for Jamie Foxx. It’s always important for a screen-acting veteran to take stock in the new generation because it gives them the chance to see how good they really are! Perhaps one of the greatest tests for any upcoming actor is: “can I hold my own against Al Pacino on screen?”

As Kevin Lomax, Keanu Reeves was offered the challenge! Reeves arrives on screen looking suitably sharp and suave, he oozes confidence as soon as he enters the courtroom. We are shown someone so ambitious that he’ll happily tear up a poor young girl on the witness stand to win his case. It’s not long until he attracts interest from like-minded people in his field. As the film’s title suggests we’re witnessing someone on a moral journey in a job that continuously puts morality up for question. Reeves plays Lomax brilliantly as a man who is quite comfortable with drawing a line of professionalism between himself and the case. At this point in his journey it’s not important whether his client is guilty or not, only that he wins!

The film really gets going once Lomax is in New York and poised to begin his case with the new law firm. Enter Al Pacino: in a wonderful scene on top of the huge sky-rise looking down at the world below, Milton acquaints himself with his new employee Lomax. Director Taylor Hackford does a great job of balancing a realistic drama set against a modern day New York with the supernatural and mythic elements at play. The scene is totally plausible but at the same time positions Pacino’s Milton as the Master of the Universe. He’s more than just a successful man; his power clearly reaches further than Lomax is presently aware of.

Many actors in the past have played the Prince of Darkness: Jack Nicholson in The Witches of Eastwick (1987), Robert De Niro in Angel Heart (1987) and of course Tim Curry in Legend (1985). By default, any actor who takes on such a notorious character will be compared to the previous incarnations. Pacino is charismatic and carries his character with a sense of cool that draws you in from the moment you meet him. Pacino may be a small guy but in The Devil’s Advocate he owns every space he walks into and everyone in it! Pacino’s Milton is by far the most contemporary and convincing incarnation of Satan for many years.

Like he did in Donnie Brasco, Pacino plays a mentor and takes Keanu Reeves’ Lomax under his wing. Milton explains his philosophy leaving his new apprentice in awe: “Look at me! Underestimated from day one. You’d never think I was a master of the universe, now would ya?” Rather than exert superhuman physical powers, Milton is the puppet master who prefers discretion: “I’m the hand up Mona Lisa’s skirt. I’m a surprise, Kevin. They don’t see me coming!” Lomax sees this simply as advice to help him progress as a lawyer. All the while his new mentor who is ten steps ahead is manipulating him!

The movie is full of devilishly splendid set pieces. Lomax is advised to seek out a man named Moyez (Delroy Lindo) a witchdoctor who’s on trial for the ritualistic butchering of animals. Moyez offers Lomax a helping hand (via a strange ritual with a decapitated tongue) and sure enough the prosecution cannot get a word out in the following trial. The scene gives supernatural depth to the power of Milton and his associates, showing the unsettled Lomax the extent to which his “unfaltering success” is being secured. Perhaps the greatest set piece is the killing of Eddie Barzoon (Jeffery Jones). As he jogs through Central Park we hear Pacino’s piercing voice off-screen, the feeling of an impending doom takes over until we see the poor Barzoon fall to his bloody fate.

Like most films about the Spirit of Evil (walking amongst us in modern times) The Devil’s Advocate is essentially a story about someone saving their soul from Evil. The idea that through all Evil’s temptations we eventually choose the path to light and salvation. On reflection this movie is unlike the others in the way it delivers the age-old story to you in a fresh, contemporary and engaging manner. The performances are strong and Pacino’s performance completely convinces you he’s the modern incarnation of the Prince of Darkness. Plus, on purely popcorn terms this movie is a solid thriller that doesn’t rest too heavily on religious fact and while the symbols of Christianity are ripe throughout they do not alienate the audience.

The Devil’s Advocate is a great movie to watch over and over. Not exactly ‘light-entertainment’ but a strong contemporary thriller that will satisfy. It also contains arguably the best portrayal of Satan on film…yet another testament to the awesome acting talent of Al Pacino!

 the devils advocate

Full Review: DON’T TALK TO IRENE (Canada 2017) ***

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Don't Talk to Irene Poster
When Irene – the fattest girl in high school – gets suspended, she must endure two weeks of community service at a retirement home. Following her passion for cheerleading, she secretly …See full summary »

Director:

Pat Mills

Writers:

Pat Mills, Pat Mills

Stars:

Geena Davis, Anastasia Phillips, Scott Thompson

DON’T TALK TO IRENE takes its cue from Woody Allen’s PLAY IT AGAIN SAM the Herbert Ross film where the Allen character takes advice from Humphrey Bogart with regards to getting a girl.  In DON’T TALK TO IRENE, the protagonist, an overweight teenage girl takes advice from Geena Davis as she follows a different goal, in this case of pursuing her passion for cheerleading.  She signs up for a talent-search reality show in order to prove that “physical perfection” isn’t everything.

Irene Willis (Michelle McLeod) lives in a town of a small fictional town of Parc supposed to be just north of Toronto.  The film was shot in Hamilton, Ontario.  It is described in the film as the worst of small towns, where Irene goes to the worst of high schools.  Her cycle of life is predictable and bland.  Fuelled by the dream of becoming a cheerleader, but constantly told by both her overprotective mother (Anastasia Philips) and classmates that she does not fit the mild of a cheerleader.  But Geena Davis, speaking to Irene via the A League of Their Own poster on her bedroom wall tells her “Never quit!”

When Irene gets suspended and is forced to do community service at a retirement home — run by Barrett (Kids in the Hall’s Scott Thompson) — alongside her bullies and her new friend, Tesh (a gender non-conforming, glitzy dreamer), an opportunity arises.  She rounds up her new-found circle of elderly friends into an unlikely dance troupe.

The film has the story of a socially unaccepted underdog doing it successfully at the end.  It is an age old story which audiences have seen time and again.  In fact this is not the first film in which seniors enter a dance competition.

But it is often the story that does not make a good film.  Despite the story’s limitations, the film benefits for the sly humour of its writer/director Pat Mills.  Mills gives himself a cameo as a drunken teacher in a few segments in the movie.  Mills, in his 2014 film, GUIDANCE, made an imprint with his dark and really funny comedy.  DON’T TALK TO IRENE is not as good as GUIDANCE but it has its moments.

The character of transgendered, smart-talking Tesh is not that funny and appears in the film to set a politically correct statement.  The mother and daughter relationship is also nothing new and the mother’s final acceptance of her daughter’s goals is predictable, if not tiresome.  The film also aims to be too smug with strong language added to create a more edgy film.  The seniors, again all try their best to show that they still have it, in terms of ingenuity, sex drive or dance skills.

McLeod is a rare find and is able to carry the film well.  The film contains a nice surprise with the actual appearance of Geena Davis.

Still everyone loves a feel-good movie.  Undemanding viewers should lap this tale up, with no problem at all.  Critics can only wince at the goings-on of this girl that finally makes good.

Trailer: https://youtu.be/56xfd8POz4c

Film Review: SAGE FEMME (THE MIDWIFE) (France 2017) ***

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The Midwife Poster
Trailer

A midwife gets unexpected news from her father’s old mistress.

Director:

Martin Provost

Writers:

Martin Provost (dialogue), Martin Provost (screenplay)

Stars:

Catherine Deneuve, Catherine Frot, Olivier Gourmet

A film with babies being brought into the world?  One cannot imagine a more euphoric subject.

Martin Provost is a French film director not that well known in North America as his films, as is the case of many French films, do not get distribution.  It is a sad thing as his film SERAPHINE that won the Cesar for Best Film and for him sharing the Best Screenplay never got here either.  I was fortunate to catch it at the Toronto International Film Festival and it is good to see a film of his SAGE FEMME finally released.

It is nothing more than spectacular to see two of my favourite French actress together in the same film.  Both Catherine Frot and Catherine Deneuve (the great Catherines) – and I can watch them forever.  Frot (the younger one), allows Deneuve to take the spotlight whenever they appear on screen together as obvious in the restaurant scene where Deneuve freaks out while Frot remains composed.

Claire (Frot) is a midwife at a Paris hospital.  In her 40’s, her life has become monotonous  and routine even though she has the exciting task of delivering babies.  Into  her life suddenly arrives Beartrice (Deneuve) who is diagnosed with terminal cancer.  Though dying, she wants to live.  The two are complete opposites.  While Claire is a vegetarian and no-drinker, Beartrice downs bottles of wine while indulging in red meat.  Beatrice is the woman Claire’s father left her mother for.  Beatrice wants closure – to make things right.  Claire initially wants noting to do with her but eventually succumbs.  Frot and Deneuve exhibit good chemistry playing contrasting confrontational personalities.  It is this chemistry that makes the film work, despite the simple plot covered by lame subplots like Claire’s son (dropping out of school; his pregnant girlfriend), Beatrice’s gambling and other bad habits and the hospital affairs.

As the subject is the midwife who delvers babies at a hospital, the film necessarily shows several of the deliveries of the just born.  It is very obvious that director Provost always hides the side of the bay and mother so that the umbilical cord cannot be seen, or that would mean the delivery of a real baby.

Though Deneuve is in her senior years, Provost does not even for once fall into the trap of cliched films about old farts.  Deneuve’s old character is portrayed as a mother dying of a brain tumour.  There is no scene of her reliving her young days, or trying to have sex or fall in love again.

Provost succeeds in the balancing comedy and drama.  Deneuve provides most of the comedy and Frot the drama.

The film suffers from a predictable plot.  It does not take a genius to guess that Beartrice will teach Claire how to live life and that Claire will eventually succumb to the charms of her suitor (Olivier Gourmet).

SAGE FEMME is a pleasant enough melodrama that will not win any awards but still should be seen for its two stars Denueve and Frot.

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

Film Review: WHITE NIGHT (Nuit Blanche) (Canada 2017) ***

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White Night Poster
Set in the sleepless night of Nuit Blanche, White Night follows five different stories of people as they weave their way through various art installations tackling the issues of, love, losses, and the inevitability of getting old.

Directors:  Sonny Atkins, P.H. Bergeron (as Philippe H. Bergeron)| 

  

Stars:

Jonathan Keltz, Sara Mitich, Natalie Brown

NUIT BLANCHE (Translated: White Night; originating from Paris and Nantes – an all night arts festival), the film traces a night in Toronto in fall beginning at sunset and going on till the early hours of dawn the next morning, where attendees can see, free of charge, art installations of various forms around the city centre.  A guide is available for choice picking.  Or one can do the random thing.  The art on display includes everything from film (like old films with piano accompaniment or French serial comedies) to paintings to music.  One can attend en seul or in a group.  In my experience it is best to decide what to visit before venturing out.  WHITE NIGHT the movie is based on this Toronto event. The film opens with a song with lyrics asking what the special night means to anyone.  It also comes with a forewarning of the unexpected and to expect the unexpected.

Set in the sleepless night of Nuit Blanche, White Night follows six different stories of people in transition. As they weave their way through various art installations they are forced to tackle the issues of, love, loss, aging, and the ever important question; is it art?

Emily is an artist. She has an installation. But does she have anything to say?  She is shown at the start of the film lugging her boxes, assuming containing her installation, to the right while the camera pans to the left.  Frank, a lawyer (with an uncanny resemblance to Ben Affleck) who initially is working late on unit blanche, he just fired. So he decides to take up a career in crime fighting. Violet and Sully are long time friends. Once young punk rockers fighting to take down the man they now face the idea of growing up.  Melanie needed change. So she uprooted her life in Quebec to start anew in Toronto. The language barrier is proving to be more difficult than she imagined.  Stacey likes to help people. While everybody else is transfixed by art she is out to find people in need.  Riley lives to capture life on his camera. He hides behind what he sees in everyone else.  The film intercuts the multiple stories in chronological order of the night as it transgresses, rather than playing them one after another.  It is not a new cinema concept but it is a suitable one for the subject.

Riley especially when on mushrooms is the funniest character.  Violet and Sully are the most boring, pretentious representing the worst of the art exhibits that are often on display.  No one wants to watch prissy, self-centred, unfunny, pretentious, people who do nothing that talk about themselves.   Characters also meet – like Riley and Emily.

The best thing about the film is the varied soundtrack from Stephen Joffe, Birds of Bellwoods and Beams also consisting of live performances.

The film has a one week (right after the 2017 Toronto event on September 30) limited engagement at the Carlton Cinemas, Toronto.  With a look! 

Trailer: https://www.youtube.com/watch?v=RjKEA4751iQ&utm_source=WHITE+NIGHT&utm_campaign=357e40b8fd-EMAIL_CAMPAIGN_2017_08_22&utm_medium=email&utm_term=0_d4877cdab0-357e40b8fd-450246757

Full Review: DO DONKEYS ACT? (Canada/Ireland/UK/USA 2017) ***

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Do Donkeys Act? Poster
Donkeys inhabit and communicate with each other – and the filmmakers – in a Sanctuary.

Directors:

David Redmon, Ashley Sabin

Star:

Willem Dafoe

It has to happen eventually – a documentary on donkeys from the donkey’s point of view.

 

One might complain as the poetic prose narrative voiced by actor Willem Dafoe.  It might seem really silly, but after a while, one might accept the directors’ decision and play along with this somewhat funny poetic play.  Sample proses:  “These donkeys have a wind of curiosity on their side.”  “When donkeys walk to a dead end… They have several ways in but no way out.”  Dafoe is the ideal choice as the narrator of such sayings/

 

The film begins with words on the screen saying how other animals communicate without words but with song or rhythm.  It then goes to say that still others communicate by gestures in the shadows – whatever that means.  So, DO DONKEYS ACT? invites the audience to “step into their shade and to listen closely” as the audience attune to a series of dramatic performances in which one can eavesdrop on donkeys speaking amongst themselves.

 

The film elicits the audience’s pity of donkeys.  The film is quick to point out that these donkeys are often abused and neglected.  One was stabbed many times be teens playing stab the donkey with a knife while another is blind.  One was shown in neglect with long curved nails ingrown due to its hoofs.  The nails are removed by cutting using clippers.  Still, the directors show that these are still beautiful creatures with their thick manes and loud and distinct braying.  Hee-haw, hee-haw!!! 

     Among the film’s highlights are:

 

the donkey at the dentist (a live dental experience like an alien encounter;)

 

a beautiful and moving sight of donkeys freely running around in the open after a long winter confinement

 

the birth of a new foal

 

the feeding of a foal

 

Directors  David Redmon and Ashley Sabin have worked before on films like GIRL MODEL and KINGDOM OF ANIMALS as well as several other documentaries.  DO DONKEYS ACT? clearly shows assured work, quirky though it may seem, but still thoroughly entertaining.

 

Though it might seem trivial to learn more about donkeys, curiosity eventually has its day in this occasionally fascinating portrayal of the neglected animal who is still part of God’s animal Kingdom.  Everything you wanted to know that happens inside a donkey sanctuary. The film was shot in several docket sanctuaries in the U.K., U.S., Ireland and Canada including the one in Guelph, Ontario.

 

The film played to rave reviews at the Hit Docs Festival this year in Toronto.

 

Trailer: https://vimeo.com/200043031

 

Film Review: THE TIME OF THEIR LIVES (UK 2017)

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The Time of Their Lives Poster
A former Hollywood star enlists the help of a new friend in order to journey from London to France for her ex-lover’s funeral, with the various mishaps en route making the trip unforgettable.

Director:

Roger Goldby

Writer:

Roger Goldby

Stars:

Joan Collins, Pauline Collins, Franco Nero

THE TIME OF THEIR LIVES is a road trip comedy starring Golden Globe-winner Joan Collins, Academy Award-nominee Pauline Collins and Italian film star Franco Nero.  Cineastes should be pleased to see there stars of the 70’s and 80’s now in their golden years.

 

Joan Collins plays a character reminiscent of one of her better known films THE BITCH while Pauline Collins one reminiscent of SHIRLEY VALENTINE. 

 

This is a film about escaping and breaking free – and how it’s never too late to have another chance at life.  Determined to gatecrash her ex-lover’s funeral on the glamorous French hideaway of Île de Ré, former Hollywood siren Helen (Joan Collins) escapes her London retirement home with the help of Priscilla (Pauline Collins), a repressed English housewife stuck in a dwindling marriage.  Helen is not shy to remind everyone she encounters that she used to be a famous star.  And she is bitchy at that and especially even more bitchy that no one remembers who she is.  Priscilla, like her SHIRLEY VALENTINE (she was in both the one-woman Scottish play at London’s west-end and in the film – both of which I and seen) character is one who has spent her entire life as a housewife looking after her husband,  She finally decides enough is enough and she has to take sometime for herself.  The plot of that film is incorporated in Goldby’s script. 

 

  In THE TIME OF THEIR LIVES Helen and Priscilla pool their limited resources, they hit the road like a senior THELMA AND LOUISE in a race to get to Île de Ré, becoming entangled in a love triangle with a reclusive Italian millionaire, Alberto (the still dashing Franco Nero, real life husband of Vanessa Redgrave) along the way.  On this journey, they find true friendship in one another – and of course, have the time of their lives.

 

If all this sounds exciting, the film is not.  It is ridden and bogged down by cliches of similar countless films centred on old people.  While it is tedious to watch a re-hash of the Shirley Valentine, Pauline Collins almost pulls it off.  She is one of my and many others’ favourite actresses and she still manages to elicit sympathy, respect and admiration for a familiar character.  On the other hand, Joan Collins’ Helen character is annoying and as said, bitchy. 

 

Goldby’s script includes two subplots – one involving Helen seeking her daughter and the other Priscilla’s drowned son that gets too sentimental.  The Hollywood ending is too far-fetched for credibility.

 

Writer/director Goldby falls into all the traps of films about senior where they think too much of their glorious past youth and think that they are always pretty enough.  Worst still, these films always bring the embarrassing topic of sex into the equation.  Helen and Priscilla act like teenagers most of the time, creating mischief.  Both women want Antonio, just as teens want the handsome young hunk.

 

THE TIME OF THEIR LIVES despite having three famous older stars ends up as another old farts movie.

Trailer: https://www.theguardian.com/film/video/2017/jan/27/joan-collins-the-time-of-their-lives-trailer-video

THE TIME OF THEIR LIVES

1997 Movie Review: COP LAND, 1997

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COP LAND, MOVIE POSTERCOP LAND, 1997
Movie Reviews

Directed by: James Mangold

Cast: Sylvester Stallone, Harvey Keitel, Ray Liotta, Rober De Niro, Peter Berg, Janeane Garofalo, Robert Patrick, Michael Rapaport
Review by Jarred Thomas

SYNOPSIS:

The sheriff of a suburban New Jersey community populated by New York City policeman slowly discovers the town is a front for mob connections and corruption.

 

REVIEW:

Writer/director James Mangold creates a film that examines the underbelly of corruption among New York City cops who reside in New Jersey, bending the rules to fit their needs while hiding a dark secret about a recent murder. Sylvester Stallone plays the morally straight New Jersey cop who suffered an ear injury that has relegated him to only work small time crimes. He has become something of joke among most of the residents, in particular NY cops led by Harvey Keitel who reside in the community.

Stallone’s understated performance plays against type and he does a wonderful job in his role. Stallone gained weight for the role and it adds to the character as he appears slow and out of shape. He looks like a real person and not some caricature. It’s a quiet performance unlike his previous films and one that gained Stallone critical praise from critics and peers.

Freddy Heflin (Stallone) is the sheriff of a fictional town called Garrison in New Jersey. When he was a teenager he jumped into the river to save a girl who plunged in from the bridge. In doing so, he damaged his ear making him unable to become an officer on the streets. Now, he’s relegated to perform small deeds such as preserving the peace, scolding rowdy children and check parking. His authority is limited, if he has any at all.

Cop Land is a look at big city corruption in a small town. Harvey Keitel as Ray Donlan does a nice job in his role playing a corrupt officer who acts with more authority in town then he really has, but when he speaks, people listen out of fear. Donlan has ties with the mob which have allowed him to have certain cops placed in his town, giving the name “Cop Land.” Many of the houses in town were bought through dirty money and the depravity doesn’t end there.

Ray’s nephew, Murray (Rapaport), a young cop, unintentionally kills to two black teens after his car side swipes them. Out of fear of racial incident, Ray tries to fake Murray’s suicide. However, when Moe Tilden (De Niro), an Internal Affairs investigator comes investigating, he smells a cover up. Not willing to get caught, Ray tries to have Murray killed, but the job doesn’t go as planned leading Murray to seek the help of Freddy. Can Freddy stand up against the corruption in town or is he simply out of his league?

Robert De Niro and Harvey Keitel both provide a well needed boost of energy in this film because although Stallone does a solid job as the slow witted sheriff, there’s really not much to speak of with the other actors. Liotta plays a good/bad cop whose conscience is starting to get the best of him and his loyalties come into question. But it feels clichéd like most of the other characters who hit only one note.

Cop Land has its strong moments, most coming from the three actors De Niro, Keitel and Stallone, but it’s not entirely enough. Towards the middle of the movie, it meanders a bit like Freddy does, maybe even more. Perhaps Stallone being out of his action element too draws attention to itself, and when he finally picks up a weapon the action scene is far too predictable to be even remotely believable. There’s just not enough to recommend this film despite the standout performance of Stallone.