TIFF 2017 Movie Review: APOSTASY (UK 2017) ***

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

 APOSTASY.jpgA faithful Jehovah’s Witness is forced to shun her own sister because of a religious transgression. As the separation draws out, she starts to question the meaning of God’s love.

Director: Dan Kokotajlo
Writer: Dan Kokotajlo
Stars: Siobhan Finneran, Robert Emms, Sacha Parkinson

Review Gilbert Seah

APOSTASY is a term for the formal abandonment of ones faith, regardless of what the faith might be. In this minimalist family drama set in Manchester, England, the faith of a family is put to the test. The family concerned is the mother, Ivanna (Sobhan Finneran) and her two daughters, 20-year old Louisa (Sacha Parkinson) and 18-year-old Alex (Molly Wright).

They are Jehovah Witnesses, who are rigorously devoted to their religion. They also take their religious mission door to door amongst a large Pakistani community in Oldham of Greater Manchester.

Alex has already received a blood transfusion at an early age, dictated by the hospital to save her life but a definite no-no in the belief of the faith. When Louisa gets impregnated by a non-believer, she is dis-fellowshipped by the Elders of the church. Not only that, but her mother and sister are disassociated and not allowed to see her.

All three main actresses are nothing short of superb. Director Kikotajlo is fond of using close ups to show the emotions of his characters’ faces. APOSTASY is a small budget film that dramatically achieves its aim of revealing the truth and hardships of a religious belief.

Trailer: (non available at time of writing)

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TIFF 2017 Movie Review: COCAINE PRISON (Bolivia/Australia/France 2017) ***

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

COCAINE PRISON.jpg
From inside Bolivia’s craziest prison a cocaine worker, a drug mule and his little sister reveal the countries relationship with cocaine.

Director: Violeta Ayala
Writers: Violeta Ayala (story),
Stars: Daisy Torres, Hernan Torres, Mario Bernal

Review by Gilbert Seah

Shot in Bolivia — including inside the notorious San Sebastian prison — over five years, Violeta Ayala’s COCAINE PRISON takes a close look at two subjects – the cocaine trade and the conditions of the prison.

What the audience sees is definitely shocking in this engaging film. The film follows Hernan and his sister Deisy, two Bolivian teenagers going to high school in Cochabamba with dreams of starting a band. Hernan gets caught and put to jail after attempting to carry two kilograms of cocaine across the border to Argentina.

He is sent to San Sebastian prison, a scarcely staffed open-air facility where the prisoners make most of the rules. Prisons in Canada, in comparison look like a summer relax camp. In San Sebastian, inmates have to cough up US$2000 to buy a cell in the prison grounds or sleep outside with the risk off getting mugged.

Director Ayala also follows the drug trade emphasizing the workers harvesting the leaves to the mules like Hernan who get imprisoned while the real drug dealers go free.

There is a sort of happy ending for Hernan as he gets pardoned but things on the whole do not look good for anyone else, including Hernan after he is released. Director Ayala taught English in the prison, which gave her access to filming inside it.

Trailer: https://www.youtube.com/watch?time_continue=14&v=WgZJWuFgMew

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TIFF 2017 Movie Review: CALL ME BY YOUR NAME (France/Italy 2017) **1/2

CALL ME BY YOUR NAME.jpgSummer of 1983, Northern Italy. An American-Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

Director: Luca Guadagnino
Writers: James Ivory (screenplay), André Aciman (based on the novel by)
Stars: Armie Hammer, Timothée Chalamet, Michael Stuhlbarg

Review by Gilbert Seah

The gay coming-out story CALL ME BY YOUR NAME arrives at TIFF after rave reviews from its Sundance and Cannes premieres.

It boasts the direction of Italian auteur Luca Guadagnino ( I AM LOVE and A BIGGER SPLASH) and a script by James Ivory. The film explores the tender, tentative relationship that blooms over the course of one summer between a 17-year-old boy on the cusp of adulthood, Elio (Timothée Chalamet) and his father’s research assistant, Oliver (Armie Hammer).

The father is American professor Perlman (Michael Stuhlbarg) and each summer, the professor invites a doctoral student to visit and help with his research. While Elio has a beautiful girlfriend who takes up most of his emotional time, he also finds a growing physical attraction to the visitor.

The film is a major disappointment being all good-looking on the outside and feeling like a fairy tale, neglecting the downers of coming-out gay. Things never turn out this perfect in any gay coming-out story. The film feels even more awkward as Elio looks way under below the age of 18.

Trailer: https://www.youtube.com/watch?v=3AMgliTBFKU

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TIFF 2017 Movie Review: DON’T TALK TO IRENE (Canada)

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

DON’T TALK TO IRENE.jpgWhen Irene – the fattest girl in high school – gets suspended, she must endure two weeks of community service at a retirement home.

Director: Pat Mills
Writers: Pat Mills
Stars: Michelle McLeod, Anastasia Phillips, Scott Thompson

Review by Gilbert Seah

Irene Willis (Michelle McLeod) lives in a town of a small fictional town of Parc supposed to be just north of Toronto. 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 role 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!”

She rounds up her new-found circle of elderly friends in a senior home into an unlikely dance troupe. The film has the age old story which audiences have seen time and again.

Despite the story’s limitations, the film benefits for the sly humour of its writer/director Pat Mills. 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. 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.

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TIFF 2017 Movie Review: LOVELESS (Russia/France/Germany/Belgium 2017) ****

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

 loveless.jpgA couple going through a divorce must team up to find their son who has disappeared during one of their bitter arguments.

Director: Andrey Zvyagintsev
Writers: Oleg Negin, Andrey Zvyagintsev
Stars: Maryana Spivak, Aleksey Rozin, Yanina Hope

Review by Gilbert Seah

Russian director Andrey Zvyagintsev’s latest film of a boy gone missing, is one that appears simple on the surface but is in reality an extremely powerful film on the tragedy that emerges from the result of a lovelessness. When the film begins, Boris and Zhenya are in the midst of a nasty divorce.

They still live together which makes matters worse. In one of their fights, they argue that their 12-year old boy, Alyosh was a mistake. Neither one wants custody of the boy and the father remarks that he best be sent to boarding school, in preparation for the army afterwards.

She says she never wanted him in the first place. The boy, meanwhile, in the film’s most moving scene is shown crying his eyes out, after hearing what has been said by his parents. He is clearly, in his opinion unloved. He disappears. Boris and Zhenya are forced to come together to search for their missing son.

One can only wonder where their love (if ever they had any) had gone. Zvyagintsev explains in one scene that this love never existed in the first place. Meanwhile Zhenya has another man while Boris another woman. They do not find the boy but life must go on.

LOVELESS is a powerful film that instead of showing the power of love, shows the opposite, how life cannot survive with love.

A terrific movie that won the Jury Prize at Cannes!

Trailer: https://www.youtube.com/watch?v=mLegoO4NdD8

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TIFF 2017 Movie Review: THE RIDER

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

THERIDER.jpgAfter suffering a near fatal head injury, a young cowboy undertakes a search for new identity and what it means to be a man in the heartland of America.

Director: Chloé Zhao
Writer: Chloé Zhao
Stars: Brady Jandreau, Tim Jandreau, Lilly Jandreau

Review by Gilbert Seah

The film centres on a rodeo hopeful’s life after his dreams are dashed following a serious rodeo accident.

The audience sees the pain right at the very start when Brady Blackburn, a South Dakota cowboy (Brady Jandreau) manually takes off the medical staples from his wounds. Zhao emphasizes the claustrophobic life of Brady, despite having the open ranges.

He lives with his often drunk and gambling father and mentally challenged sister, Lilly (Lilly Jandreau). His few friends provide him a drinking outlet but it is the rodeo that makes Brady, the man.

If a cowboy cannot ride, then what good is he? These be Brady’s own words. With his injury his brain is sensitive and riding rodeo might be the end of him. Zhao builds good characterizations. The father is not a one sided cardboard has been.

Despite his constant arguments with his son, it is shown at the end that he understands Brady and his decisions. Brady’s anguish, anger and decisions are also well displayed. The horse training and rodeo segments are effectively shot and exciting enough.

Joshua James Richards captures the landscape of the open areas of the west, where horses run free. Simple storytelling, a good human story and one dealing with nature always make a good film.

Cannes Clip: https://www.youtube.com/watch?v=DbhO6MkO78U

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TIFF 2017 Movie Review: BLACK KITE (Canada/Afghanistan 2017)

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

BLACK KITE.jpgAgainst oppression, change, and seismic political shifts, a father and his daughter find solace in the seemingly clandestine act of kite flying, in the latest by Afghan filmmaker Tarique Qayumi.

Director: Tarique Qayumi
Writer: Tarique Qayumi

Review by Gilbert Seah

When Taique Oayunmi’s film, BLACK KITE opens, the audience witnesses a a political judgment/verdict of the violent chopping off of his hands of Arian (Haji Gul) which is then expanded to an execution the next morning.

In the prison that night, Arian almost dies of thirst but offers to tell his story in exchange for a drink of water from his fellow inmate. But the story that unfolds is a different one. The next scene is one with a little boy fascinating with kite flying.

The boy is Arian who learns both how to make and fly kites from his uneducated father. It is never clear exactly the reason Arian is to be executed in the morning. The only hint is that the enemy suspects him of sending messages to the resistance by his kites, but then why offer him pardon at the end of the film instead of execution.

The film incorporates some animation that appear at various points throughout the film for no apparent reason. As a result the animation appears out of place and totally unnecessary. It also tends to become a distraction of the events that are taking place.

Instead of a political tale, Qayumi’s film ends up trivializing the events to the story of a man in love of the flying of kites.

Clip: https://www.youtube.com/watch?v=A8odaf9TqC8

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TIFF 2017 Movie Review: HAPPY END (France/Germany/Austria 2017) ****

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.

HAPPY END.jpgA drama about a family set in Calais with the European refugee crisis as the backdrop.

Director: Michael Haneke
Writer: Michael Haneke
Stars: Isabelle Huppert, Jean-Louis Trintignant, Mathieu Kassovitz

Review by Gilbert Seah

HAPPY END can be seen as a film that infuses many of the traits of Haneke’s previous films. When the film opens, the audience sees what is happening though the recording on a cell phone, the routine of a 12-year old (Fantine Harduin) similar to the video surveillance in Haneke’s film CACHE (HIDDEN).

This 12-year old is not one to be tampered with. She has a mean streak, spying on her father’s (Matthieu Kassovitz) computer and discovering his affair. This is reminiscent of the power of children in Haneke’s THE WHITE RIBBON. The family is held together by Anne Laurent (Isabelle Huppert), the father’s sister. But suicide is in the mind of Anne’s father, Georges (Jean-Louis Trintignant).

In Hanake’s first film, THE SEVENTH CONTINENT, the whole family committed mass suicide after a banquet meal. The dysfunctional family is all reminiscent of FUNNY GAMES in which a family is disrupted by a home invasion. All the events are seen from the point of view of the 12-year old, which brings the film to a good focus.

The ending is just as funny and shows that life goes on, happy or not. What constitutes a HAPPY END, is the question Haneke poses.

Trailer (en Francais): https://www.youtube.com/watch?v=W0hv8I9YbDk

TIFF 2017 Movie Review: SAMMY DAVIS, JR.: I’VE GOT TO BE ME (USA 2017) ****

Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2017. Go to TIFF 2017 Movie Reviews and read reviews of films showing at the festival.
sammy davis jrA star-studded roster of interviewees (including Jerry Lewis, Whoopi Goldberg and Billy Crystal) pay tribute to the legendary, multi-talented song-and-dance man.

Star:

Sammy Davis Jr.

As in the words of Sammy Davis, Jr. himself, “I am coloured, Jewish and Puerto Rican. When I move into a neighbourhood, I wipe it out.”

The same might be said for this exhaustive documentary, courtesy of director Sam Pollard, notable for having worked with Spike Lee. Davis’ talent and gift are so immense, that his presence takes over the entire movie. The doc does not contain a whole list of interviewees but just the most important ones – all being comedians including the recently deceased Jerry Lewis, Whoopi Goldberg and Billy Crystal.

All pay tribute to the legendary, multi-talented song-and-dance man, in this exhilarating documentary which is part of the American Masters series. Davis is shown here as dancer, singer (including a full rendering of the songs ‘I’ve Got to be Me’ and ‘Mr. Bojangles’), impressionist, and actor of unparalleled charisma.

He broke racial barriers (including marrying a white wife) but paid a heavy price for it. Pollard’s documentary of the legend ends up both an insightful and entertaining piece. I am sure many like me, could watch Sammy Davis, Jr. for hours.

Trailer: https://www.youtube.com/watch?v=qu8AV81ANTw

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Film Review: SWISS ARMY MAN (2016) “Gems you may have missed!”

SWISS ARMY MANA hopeless man stranded on a deserted island befriends a dead body and together they go on a surreal journey to get home.

Directors: Dan Kwan, Daniel Scheinert
Writers: Daniel Scheinert, Dan Kwan
Stars: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead

by Kierston Drier

This issue of Gems You May Have Missed is all about unlikely heroes, psychological breakdowns and dead bodies with magical boners. Yes. I said that.

SWISS ARMY MAN is a rare beast of a film. Written and directed by Daniel Kwan and Daniel Scheinert, and released in early July 2016, this piece requires commitment to your distension of disbelief. But if you can jump that hurdle, the film pays off big in the realm of emotional dividends and offbeat humor. Really offbeat.

Hank (Paul Dano), a nondescript everyman with a healthy dose of melancholia acts as our unlikely hero, when we find him at the opening of the film, stranded and starving on a desert island. He is about to hang himself when Manny (Daniel Radcliff) washes up on shore. Desperate for human contact of any kind, Hank forms an emotional and slightly creepy attachment to our dead friend. Believing that the appearance of Manny must be a sign, Hank drags the corpse off the beach and begins the long trek to seeks help and a way home.

The film starts on a dark note but quickly spirals through dark comedy and into a strange, but loveable hybrid of genre all its own, when Radcliff’s character Manny begins to talk. Not only talk, but also perform life saving tricks for Hank- like gush fresh water from his mouth, use his erection as a north-pointing compass, and, wait for it, fart so powerfully that he can work as a human motor boat. Hank and Manny form a bizarre bond of friendship, compassion and an utterly fresh take on instrumental friendship, as they must work together to get back to civilization.

It is hard to explain what makes SWISS ARMY MAN such an incredible cinematic experience. It boasts gorgeous, lush cinematic visuals, beautiful art direction and breathtaking cinematography. It is also largely a two-hander which means huge applause must go out to both Dano and Radcliff for engaging and grabbing performances. While both actors do a fantastic job in their roles, a special nod must be given to Radcliff who, has the added challenge of conveying a depth of character while still managing to pull of character that is, well, dead. The script is quirky, emotional and vibrantly original. But what makes SWISS ARMY MAN a real gem, is how startling unique it is. There is simply no film quite like it.

A viewer can watch this movie and feel a vast array of feelings- confusion, absurdity, hilarity, sorrow, compassion, concern and disbelief all within an hour and half. We never really know if we are watching a metaphor, one man’s delusion, or a strange world where anything-can-happen. But we feel something. The feeling may be complex and confusing but it is undeniably authentic. You may need to let go of logic and reason and strap yourself in for this roller-coaster of a film, but it is worth every minute of the ride.