Movie Review

Film Review: THE DAVID DANCE

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the_david_dance.jpgTHE DAVID DANCE

Director: Aprill Winney
Writer: Don Scime
Stars: Don Scime, Guy Adkins, Antoinette LaVecchia

Review by Gilbert Seah

THE DAVID DANCE follows the adventures of a local gay radio DJ, David (Don Scime) in Buffalo, New York.

The film tackles quite a few issues. At the film start, David listens and calls a rival radio show in which an Anita Byrant type woman, June Hendley (Jordan Baker) makes her stance against homosexuals. She is against gay marriage, gay sex and almost everything gay just like the original Byrant. An easy target no doubt, David through his show gets the better of her. David then meets his new technician Chris (Guy Adkins) who pines for him. The two have met before at one of the weddings of David’s sister, Kate (Antoinette LaVecchia). The film goes into a subplot of a sibling relationship before revealing that dear old sis has plans of adopting a Brazilian girl. She needs support that he reluctantly gives. David visits a nursery, sees a baby that smiles at him and gets all baby happy. He discusses children with Chris. David and Chris fall in love.

The film flows smoothly from one topic to another. Gay films these days have the problem of originality. In the 70’s when gay films were the rage in the business, topics like coming-out, children adoption, same-sex romance, gay marriage, rent boys were all hot topics never covered before. Now 40 years later, every gay issue has been covered and films are in need for a fresh look at used topics. Unfortunately, THE DAVID DANCE touches on too many of these topics without any fresh take. The romance between two older middle-age guys is something seldom covered, but the romance is mired in melodrama and sentimentality.

One must admire director Winney for trying hard in a small budget movie. But trying is not good enough. The film plods along just like the the film’s protagonist – without much aim and just letting things come and go. And like the protagonist, the film needs more firm direction.
The film becomes extremely self-defeating towards the half way mark. Just when things begin going great for David, such as his positivity towards his sister’s adoption, his new love and his newly found boldness, he sinks back into self pity. He tells Chris that he is not ready when asked to move in with him, starts retreating from he adoption idea and turns negative on TV. During one TV spot, he goes on and on , saying: “Why don’t people just ask gays to shut up?” Maybe the filmmakers should heed the advice, shut up about the complaining.

The film has been described by a few critics as a charming little film. But the film is riddled with cliches with the tough spots that David keep running into tiresomely put in by the manipulative script. It would have worked if they made the David character a more charismatic gay man. But the actor who plays David also wrote the script, which means he likely convinced the filmmakers to cast him in the lead role.

Director Winney takes her film outdoors as much as she can, whether in a car or on the road with some well shot scenes like the hillside cemetery that David visits.

At another point in the radio show, he condemns gays as lonely people, being out of place even among themselves. He complains that he is too unattractive to dress up or go dance and have a good time. This statement makes one wonder who the film’s target audience would be. If the filmmakers are aiming at the quiet, shy and less outlandish gays to see their film, They should realize that these are the very same people that would not dish out money to go out see a movie.

The film is lovingly dedicated to the late Guy Adkins who has passed away in 2010 from cancer.

Trailer: https://www.youtube.com/watch?v=R5SZz20YoSk

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Film Review: THE VIOLIN TEACHER (Brazil 2016) ***

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the_violin_teacher_poster.jpgTHE VIOLIN TEACHER (Brazil 2016) ***
Directed by Sergio Machado

Starring: Lázaro Ramos, Kaique de Jesus, Elzio Vieira

Review by Gilbert Seah

A Brazilian version of Meryl Streep’s MUSIC OF THE HEART?

THE VIOLIN TEACHER, which opens at the TIFF Bell Lightbox, serves both as an art house film and a crowd pleaser. From the film’s very first frame, the audience sees the protagonist, a talented but tortured soul named Laerte (Lazaro Ramos) unable to fulfil his promise during an important violin audition for the famous São Paulo Symphonic Orchestra. When he returns home disgruntled, he has a long distance telephone call with his dad where the audience sees his parents’ full support and him not reaching his full potential. The next scene ups the angst when he quarrels at his orchestra practice and his group is disbanded. To make matters worse, he has no money to pay rent and is served with an eviction notice. But lo and behold! There is hope. He has a chance to make some money by teaching a group of underprivileged violin students in the slums of Helipolis. His path is, as expected, full of difficulties but the film attempts to show that the transforming power of music and the friendship arising between the professor and his students open the doors into a new world. This is where the story is stretched a bit too far in crowd-pleasing territory. This comes despite the fact that the film is based on a true story.

The film contains two scenes that are quite difficult to believe. One is the night scene when thugs threaten Laerte. Laerte takes out the violin and plays a classical piece, apparently so well that the uneducated thugs are mesmerized and leave him alone. The audience also learns during the film that the kids have no knowledge of music theory. They do not know what a treble cleft is nor can they read notes. The scene that follows has the kids at practice playing a classical piece conducted by Laaerte quite effectively.

But the film works when the director stops trying too hard and lets his film flow. The scene that contains no dialogue where Laerte walks with his students demonstrates the new camaraderie created very effectively. The film also bursts into energy in the club scene where dancers rap to the Brazilian beats – a scene that is only loosely tied to the plot.
The segment where Laerte agrees to have his kids play for a drug dealer’s party might sound far-fetched, but one can tell that the incident actually happened.

Flaws aside, THE VIOLIN TEACHERS captures both the atmosphere of liveliness and difficulty of survival in the slums. (The part where a father strikes his son with the hope that the son will not hang around the wrong crowd hits the story home.) That together with Ramos’ performance lifts THE VIOLIN TEACHER over the drabness of a formulaic film too eager to please. Also, needless to say, the film contains a beautiful score of violin classical pieces.

Trailer: https://www.youtube.com/watch?v=TjaDenw6v-U

 

 

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Movie Review: TENGU: BIRDMAN OF THE MOUNTAINS (2016)

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MOVIE POSTERTENGU: BIRDMAN OF THE MOUNTAINS, 8min., UK, Action/Fantasy
Directed by Samuel Smith

A father struggles to protect his family against the terror of the Tengu, bird-men of the mountains.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

This poetic fantasy action film, hailing from the United Kingdom and coming to us from director Samuel Smith, is a study in genre splicing. Tengu: Birdman of the Mountains has the poetic elements of a romance, the luxurious visuals of a fantasy, the tension and suspense of a thriller, and the fight scenes of a high-concept action film. Told through the eyes of a child, our hero watches as his highly skilled father, endowed with supernatural natural strength from his Chi, fights off terrifying bird-like villains from this family’s mountain home. Packed with stunning fight sequences that highlight the filmmakers’ excellent technical skills, this piece is a must-see for anyone who enjoys action.

There is some disconnect in the story, although it is justifiable. Despite the glamourous make up and extravagant clothing the Hero’s family wears, the shelter they dwell in appears to be little more than sticks tied to together into a ramshackle hovel. However, when it is considered that this film is taken through the eyes of a child, and also straddles of the line of fantasy and action- this distension of disbelief is well worth it the pay off. And pay off? A glowing story of intrigue, passion, and danger with a dark and sinister twist.

Tengu: Birdman of the Mountains,  is a film that will delight you with its symbology, its imagery and it’s excellent fight sequences, but it goes far beyond that. This film represents of genre-hybrid that should be welcomed into cinema with open arms. It is highly commendable thing to be able to successfully blend genres together, and this film is able to do that. With effortless ease a viewer can watch this film and find something in it to enjoy even if they are not conventionally a viewer of action.

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Movie Review: BLACKWELL SUMMERS MYSTERY (2016)

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MOVIE POSTERBLACKWELL SUMMERS MYSTERY, 12min., USA, Action/Crime
Directed by Emily Dell

Revolves around the detective agency of Grace Blackwell and Raven Summers. A feisty duo fighting injustice and giving a voice to the defenseless using brute force, killer brains and unconventional beauty.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Blackwell Summers Mystery, a 12 minute American short from director Emily Dell, focuses on Grace Blackwell and Raven Summers, two sexy detectives with their own private investigation company in the heart of the 1970s. Smart, cunning and sexy, both ladies use their strengths and skills to take down the villain while leaving space for the audience to laugh the whole time.

This film has a satirical quality, not unlike the well-known Austin Powers franchise. The humor in the film comes from the slightly unbelievable elements, (Such as the petite Raven Summers headlocking a thug twice her size) and the campy sound effects that follow the fight scenes. The tone and color of the piece gives it an over-the-top 1970’s vibe. The plot and the characters don’t take themselves too seriously, and thus invite us as the viewers to laugh along with them. Within the fantastical world the film creates the characters are women of power and savvy, and leave the audience rooting for them in every scene.

Comic, bright and full of flare, this groovy film will leave you craving more. Well done to these maidens of mystery.

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Movie Review: THE TRAP (2016)

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MOVIE POSTERTHE TRAP, 16min, Canada, Crime/Thriller
Directed by Adam Estey

When a young woman has had enough of her abusive, low-life criminal husband, she devises a vengeful escape plan to save her life and ruin his.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Sexy and suspenseful, The Trap is a proudly Canadian short by director Adam Estey. The story follows Audrey, and her escape from her rich, dangerous and abusive criminal boyfriend.

The audience is taken on a ride through dark and sinister twists and turns, as a deadly cat-and-mouse is played out between the furious spurned lover, and his crafty ex.

Subtle and steamy, with mounting tension in every scene, The Trap is a suspense film, turned mystery film, turned action film. Cleverly designed with red-herrings and hidden details, there must be a special nod of appreciation to the film’s editor.

The sleek, highly polished look and feel of the film establishes the setting and story as one of cold and calculating life and death drama, which adds to the glossy appeal of the films’ cinematic value.

A film with a true handle of building complex and compelling story in a very short sixteen minutes, The Trap is a film to see. It’s an alluring look of what happens when burning love runs cold, and two criminals fight fire with fire.

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Movie Review: MOTEL MOTEL (2016)

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MOVIE POSTERMOTEL MOTEL, 20min., Belgium, Crime/Mystery
Directed by Ellen J. Babeliowsky

When Hjalmar inspects his room in an old, worn-out motel, he discovers a severed ear in the deep-pile carpet. During his search for the origin of the ear, he stumbles from one strange occurrence into the next. The mystery of the ear ultimately gets him into a surreal situation, of which he is both the victim and the spectator.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Rich in symbology and complex layering, Motel Motel this crime mystery film by Belgian director Ellen J. Babeliowsky. It follows our hero, Hjalmar, finds himself sharing an old motel room with an unpleasant partner- a severed human ear. This ear disturbs him, erodes him, and ultimately drives him to act by reaching the motel’s owner to change his room. Curiously, no one believes his story- that his room is occupied by a human ear. Yet his consciousness becomes plagued with eerie visions, hallucinations and jarring revelations that upset and torment him. His actions become increasingly desperate and disorganized as he falls into a supernatural state of reality while ambling through the motel. Whether his experience are the result of some supernatural power, some fragmenting sense of reality, or the delusions of a mad man, the audience is left to wonder what came first- the madness or the mayhem?

This film makes nods to several well established cult classics, such as Pulp Fiction to name one of many. The unreliable narrator, the highly subjective non-lateral plot and the avant-garde supernatural air, make the film a cultural cinematic work of art. Think Wes Anderson, if Wes Anderson was dark and perturbed and less whimsical.

Undoubtedly beautiful, with spectacular imagery and stunning composition, this film has sumptuous tones and high production value. The story may be too allegorical and metaphorical for a viewer looking for a conventional short. However, a viewer will be engaged with the idea of a hero, slowly losing his mind, fighting a battle only they seem to understand. And the supernatural twist at the end will tie together the details strung throughout the piece. A deep, dark, thought provoking film chronically the descent into madness…or maybe, something more.

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Movie Review: THE APOLOGY (2016)

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MOVIE POSTERTHE APOLOGY, 7min, UK, Mystery/Crime
Directed by Patrik Bergh

In this dark comedy we find an old man sitting alone in a roadside diner nervously waiting for the moment that will finally seal his fate. With the other man finally showing up, the story takes a sinister turn sinister when he decides to teach the old man a lesson.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

A dark comedy with a heart of gold The Apology will make you laugh while sending a shiver down your spine. Hailing from the UK and directed by Patrik Berg, this short finds our hero, clearly wound up in some sort of shady mafia dealing, repaying his debt to a dangerous mobster. The mobster, in turn, is unhappy with what he feels is an inauthentic apology. What follows is a Abbott-and-Costello style scene that will leave the audience snickering.

Awkward and uncomfortable, while still engaging and endearing, this film should be commended for its excellent casting. Each character is knowable almost immediately. The performances are strong and incite empathy, even pity, as well as humor for our lead.

Also commendable is the films’ utter simplicity. It has one scene, one setting, only two characters, and the whole story is told in seven minutes. Yet a full and rich relationship is built between our two characters and an emotional impact felt between both them for each other, and for the audience to them. The result is that the twist at the end (and boy, what a twist!) leaves the audience cheering for our underdog.

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Film Review: JACK REACHER: NEVER GO BACK (USA/China 2016) ***

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jack_reacher_never_go_back_poster.jpgJACK REACHER: NEVER GO BACK (USA/China 2016) ***
Directed by Edward Zwick

Starring: Tom Cruise, Cobie Smulders, Aldis Hodge

Review by Gilbert Seah

Director Edward Zwick (GLORY, THE LAST SAMURAI) takes over the Jack Reacher director’s reigns from Chirstopher McQuarrie in the second instalment of Tom Cruise action hero movie.

Armed with a toothbrush, this lone wolf is still out to dish the justice America needs and never gets in today’s world of corruption and politics of Trump and Clinton. At the film’s start, the cocky Reacher (Tom Cruise) is almost arrested but tells the sheriff that the phone will ring and that he and his men will be sent to jail. Of course, the prediction comes true just as the cocky hero says. But this loner is presented in this updated story with a 15-year old Samantha (Danika Yarosh) that the bad guys are after. Samantha could or could not be the daughter that Reacher never had. The film switches from lone wolf mode to father protecting his daughter in human element mode. The film works in both modes, though one would never want for example to see a James Bond in a film where Bond is protecting a could-be daughter from the past.
The plot is nothing spectacular. Jack Reacher must uncover the truth behind a major government conspiracy in order to clear his name. On the run as a fugitive from the law, Reacher uncovers a potential secret from his past that could change his life forever. The story contains a few forgettable plot twists.

Zwick is not known as an action director and the film lacks any memorable action set-pieces. The chase on the roofs is exciting enough but has been done before in other action films. Reacher dangles from a gutter, climbs a drain pipe and skids down the roofs. The climax through the New Orleans Halloween parade where killers chase Samantha looks something right out of the James Bond flick, LIVE AND LET DIE. The car chase is also lacklustre. But the editing is sharp enough to satisfy action fans.

Cruise is no longer in his 20’s and his age is beginning to show. His co-star Cobie Smulders outshines him as Major Susan Turner as does hunk Patrick Heusinger as the super efficient killer who is all out to get Reacher even after his boss has been taken down. But Cruise still looks good as the lone wolf action hero. The image of him in the black leather jacket with Smulders sprinting makes a good poster.

As far as humour goes, the running gags of “I don’t like to be followed” and his utterance “Ex-major” whenever a military man calls him major work well. He is a loner and Major Turner is a female military major. When he insists on going after the villains alone, she takes offence. The feminist banter between the two is a good update in terms of political correctness even though these dialogue lines are mildly funny.

The film ends, expectedly with loner Reacher leaving everything behind and thumbing a ride with nothing more than his toothbrush. Another Jack Reacher movie? Why not? 10 million fans of each Reacher book guarantees success of the Jack Reacher films. Also being a U.S. China co-production, the film is almost guaranteed box-office success in the two largest nations in the world.

Trailer: https://www.youtube.com/watch?v=aRwrdbcAh2s

 

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Film Review: RUSH TIME STAND STILL (USA 2016) *** Directed by Dales Heslip

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rush_time_stands_still..jpgRUSH TIME STAND STILL (USA 2016) ***
Directed by Dales Heslip

Less than a concert movie than a RUSH tribute, RUSH TIME STAND STILL caters to both the band’s ardent fans as well as novices. The film is preceded by two shorts: a 20 minute documentary entitled RUSH – A TRIBUTE TO KINGS followed by a an animated 5 minute dedication to RUSH band member Neil Peart of the drums.

The 20-minute TRIBUTE TO KINGS begins with still photos of RUSH on stage followed by references given by other famous bands like KISS, Tin Lizzie, Red Hot Chilli Peppers and foo-fighters. The talking heads humorously talk about RUSH while emphasizing the band’s energy, to be demonstrated later in the concert part of the actual film. The 5-minute cartoon is there for novelty rather than for anything else.
In 2015, Rush went out for a 40th anniversary tour- the R40 as seen on the many T-shirts of the fans. At the time the R40 tour was rumoured to be their last tour – an end to Rush’s life on the road altogether.

The film, narrated by actor/comedian Paul Rudd, follows this farewell journey. Exclusive behind-the-scenes access to the band and crew throughout the tour provide the raw and vivid emotional undertones of this feature-length film. At its core are Rush’s devoted fans, and their undying devotion and quirky sense of ownership that are on full display as the R40 tour comes to a crescendo at the “Fabulous” Forum in Los Angeles. Personal stories highlight the importance Rush holds in their lives and the lasting impressions of their extensive catalog.

Of the world fans members selected to be filmed are a Scots and an Argentinian who share their stories. Particularly effecting is the story of Scot’s, who suffered a major car accident and spent weeks alone recuperating in a hospital room whee he experienced and got to love the music of RUSH.

The climax of the film is the last performance at The Forum in L.A., during their supposedly last tour. Who knows? They might do another one. Their last song, their last bow, the tears of their fans (as shown during the closing credits) are all captured on film.

What is also very moving about this band is the camaraderie among not only the 3 members but also with the entire tour crew. These include everyone from the lead truck driver, the stage manager to anyone small or big. This is in contrast to other bands like VAN HALEN where the members are always fighting. The sight of the three RUSH members taking their final bow on the Forum stage is a real sight for sore eyes.

The candid interviews are with among others, the RUSH members themselves Geddy Lee, Alex Lifeson, and Neil Peart that bring an emotional conclusion for a band who built their career the old-fashioned way; one show at a time.

RUSH TIME STAND STILL opens Thursday November 3 for a week-long run across Canada at Cineplex and Landmark Theatres.

Trailer: https://www.youtube.com/watch?v=VXlu5GDlY-s

 

 

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Film Review: AMERICAN PASTORAL (USA 2016) ***

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american_pastoral_poster.jpgAMERICAN PASTORAL (USA 2016) ***
Directed by Ewan McGregor

Starring: Ewan McGregor, Jennifer Connelly, Dakota Fanning

Review by Gilbert Seah

As Seymour’s story is told from the points of view of Zuckerman’s recollections and his brother Jerry’s disclosure, two sides of the life story of a hero is portrayed. Seymour (Ewan McGregor) is the all-American hero but something went terribly wrong in his daily life. The trouble with the film is that it does not pin down exactly when this happens or the real deep reason why.

Ewan McGregor makes his directing debut and stars alongside Oscar winner Jennifer Connelly and Dakota Fanning in this ambitious adaptation of Philip Roth’s Pulitzer Prize–winning novel, about a “perfect” American family that is torn apart by the social and political upheavals of the 1960s. One must give the actor credit for choosing such a dauntless task as a adapting a Roth novel for his directorial debut.

The film is framed by a high school reunion in which 60-year olds Zuckerman (David Strathairn) and the brother (Rupert Evans) meet. They discuss the life of Seymour (the Swede) as the film unfolds with the details. The reason for this form of storytelling becomes clear at the end of the film and serves as Roth’s message, which will not be revealed in this review.

The Swede, as he is referred to in many parts of the film is a businessman with a happy family Seymour’s life begins to slide off the rails when his teenaged daughter, Merry becomes radicalized in reaction to the war in Vietnam. Soon she rejects her family’s comfortable existence for a secret life of violent protest. She is involved with the bombing of a gas station in which an innocent man, Mr. Hanson is killed. As Merry goes into hiding, the father slowly seeks her out. His wife (Jennifer Connelly) however, goes into mental breakdown mode, resulting in an affair after getting a sought after facelift. There are subplots involving Seymour’s stern father (Peter Riegert) and Merry’s somewhat kooky therapist (Molly Parker).

McGregor’s direction and John Romano’s (INTOLERABLE CRUELTY and THE LINCOLN LAWYER) script lack the sardonic wit, punch and edginess of a Roth novel. The film, consisting of a series of dramatic set-ups also lacks any humour. Certain segments like the encounters with the therapist are primed for humour but sadly they are just set up form plot motion.

To the film’s credit, the lush 60’s atmosphere with the vintage cars, props and wardrobe work well. The then President’s (LBJ) face can be seen on the old television set as well.

As far as McGregor playing the all-American football star, it takes a lot of credibility. There is a shot of him in a sports singlet, looking more cutesy than athletic. The only casualty in the story appears to be McGregor’s character. He gets both his wife’s and daughter’s rejections and to make it all worse, is diagnosed with prostrate cancer.

At one point in the film, the father questions how the daughter suddenly came to be such a rebel. The audience would no doubt feel the same with respect to answers. The book delves int Merry’s rejection from her stuttering to her obesity, but these factors are ignored in the film.
AMERICAN PASTORAL is an interesting enough satisfactory film and a worthy directorial debut. One can only wish a better adaptation of Roth’s Pulitzer Prize novel from a veteran director.

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american_pastoral_poster.jpg

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