Movie Review

Film Review: ANOTHER KIND OF WEDDING (Canada 2016)

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Another Kind of Wedding Poster
Trailer

A fractured family is forced to confront what tore them apart at the eldest son’s wedding.

Director:

Pat Kiely

Writer:

Pat Kiely

Stars:

Kevin Zegers, Jessica Paré, Kathleen Turner

 

Close on the heels of the French WEDDING comedy C’EST LA VIE (LE SENS DE LA FETE) arrives another, thankfully with a slightly different take on weddings.  ANOTHER KIND OF WEDDING (formerly entitled SOMEONE ELSE’S WEDDING) combines the wedding romantic comedy with the dysfunctional comedy/drama genres with an all-star ensemble cast headed by Kathleen Turner, who in her glory days captured the hearts of moviegoers with her best films like PEGGY SUE GOT MARRIED, BODY HEAT and WAR OF THE ROSES.   Pat Kiely directs from his own script.  Here, she is still her fiery self, spouting strong language.  Her date at the wedding is played by Wallace Shawn (THE PRINCESS BRIDE, MY DINNER WITH ANDRE) who looks better with age.

ANOTHER KIND OF WEDDING follows a fractured family as they are forced to confront what tore them apart at the eldest son’s wedding.  Matthew (Jacob Tierney) and Louisa (Jessica Parker Kennedy) are about to celebrate the biggest day of their lives, but fate has something else in store – the perfect venue in Montreal to hash out all family conflicts.  Matthew’s good looking, sleeping around stepbrother Kurt (Kevin Zegers) has gone to bed with a lot of ladies including the bride.  Trouble follows and stays!  As the film progresses, more skeletons come out of the closet.  Then, there is also enmity between the two mothers of the groom and bride.

It is good that Kiely’s script celebrates Canada in this Canadian film as opposed to many other Canadian films that pretend that it is set in the States for a larger target audience.  The wedding is held in Montreal and there are lot of Montreal streets and shops on show.  (The film is shot largely in Montreal.)  The script also pokes fun of the lesser known cities (“Who would want to spend a whole week in Kingston?) while praising others like those around the Georgian Lake area.

The film unfolds backwards occasionally to explain a set of circumstances.  Whether this tactic works depends on the individual.

The film’s comedy is not all that funny.  Quite a lot of the humour is laid on the Kathleen Turner character, with her rebuttals supposed to be biting, sarcastic and clever.  These do not always work.  The romantic comedy element does not work either, coming across as predictable as a Harlequin novel.  Of course, all works out at the end with the wedding as its climax.

The cast is diversified enough with Kathleen Turner getting top billing.  But she is reprising what she is famous in, from her past films, and she is clearly past her prime.  Kevin Zegers does a good though predictable turn as the wedding party’s main ass-hole, the one who has had a relationship, unknown to his brother with his bride earlier.

ANOTHER KIND OF WEDDING fails to be either a drama on the dysfunctional family or a romantic wedding comedy.  The film lingers in between both resulting in a mediocre forgettable film.

Trailer: https://www.youtube.com/watch?v=sc2RHludA6c

 

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Film Review: POPE FRANCIS: A MAN OF HIS WORD (Germany and other Countries 2018) ***

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Pope Francis: A Man of His Word Poster
Trailer

Director:

Wim Wenders

Writers:

Wim Wenders (screenplay), David Rosier

Stars:

Pope Francis, Recep Tayyip Erdogan, John Kerry

 

Right hot from the Cannes 2018 premiere, Wim Wenders’ POPE FRANCIS: A MAN OF HIS WORD arrives in Toronto.  Watching the film in the comfort of Toronto without the hassle of going to a too-busy film festival at Cannes is my personal preference.

German director of fictional films and documentaries, Wenders  has made docs like THE BUENA VISTA SOCIAL CLUB, PINA and SALT OF THE EARTH that are most remembered.  As in all his films, Wenders films are beautifully shot.  

It should be noted that POPE FRANCIS: A MAN OF HIS WORD is not a biography of Pope Francis.  Nothing is mentioned of his background (except that he came from South America), his education, learning, childhood or family.  Instead, as Wenders must have been given Carte Blanche access to the pontiff’s interviews and journeys, the audience is given the freedom and opportunity to make up their minds for themselves with regards to his aspirations from the footage seen on screen.  At times, Wenders allows Pope Francis to deliver almost an entire sermon on film, thus forcing the audience to feel exactly how his Catholic congregation would have felt in a church. The camera also lingers on the congregation from the little poor people to the congressmen – and how they are mightily moved by his sincere words.  The Pope is shown not to be a great orator, but one who carefully chooses his words.  His sincerity and speech content make the difference.

Unlike other Popes in the past who are almost too frail to make an appearance or travel around the world to inspire, Pope Francis is clearly aware of the current world affairs.  His commitment to saving the Planet Earth is observed in many instances.  He travels to the Earth Conferences around the world and speaks some powerful words.  “The poorest of the poorest is Mother Earth,” he preaches in one of the film’s most moving segments.  “She has been plundered.  She has been abused.”  On other matters such as homosexuality, he is unfortunately, less firm.  He gives an ambiguous reply saying that: “if a gay man does no wrong, who is he to judge?”

Among the Pope’s trips, the audience gets to see a Pope’s eye view of a Brazilian street mass, a Central African Republic children’s hospital, a Philadelphia prison, a Greek migrant camp, the UN, a joint session of Congress and a Jerusalem Holocaust remembrance ceremony.  The most moving of these is the segment of the Greek migrant camp, whee he goes about kissing individuals as they reach out to touch him in response. 

Wenders’ doc POPE FRANCIS proves that more can be learnt about the Pope by following the person during his meetings, speeches and journeys than from his background or interviews of his friends and family.  In this doc, one cannot help but admire Pope Francis not only as a Pope who has inspirational ideas but one that is intent to make a difference in the world from his holy position.

Trailer: https://www.youtube.com/watch?v=MOmY8i-uBcY

 

 

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Film Review: BREAKING IN (USA 2018) ***1/2

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Breaking In Poster
Trailer

A woman fights to protect her family during a home invasion.

Director:

James McTeigue

Writer:

Ryan Engle

Stars:

Gabrielle Union, Billy Burke, Richard Cabral

 

BREAKING IN is a confidently executed action thriller written by Ryan Engle and directed by Australian James McTeague, best remembered for his action flick V FOR VENDETTA.  The film centres on a mother who uses her wits to outsmart the home invaders and save her kids, the film arriving appropriately timed for Mother’s Day.

The film opens with an older black jogger taking to the streets for his local exercise.   It is quite clear from the way the camera works that something nasty is going to happen, which predictably would be him being hit by a car.  When this occurs, the shock and rise in volume of the soundtrack is enough to jolt even the least suspecting from their seats, this followed by a gruesome crunch by a foot of the man’s face lying on the road.  The first thing that comes to mind is whether all this violence is necessary.

Necessary or not, the next scene shows the jogger’s daughter, Shaun (Gabrielle Union) taking her two children to the dad’s mansion out in the country in preparation for the house’s sale.  But burglars creep in, looking to robe the safe for a ton load of cash (the American dream, in the words of one of the burglars).  They have no qualms of murdering the children and the mother who must protect them, which makes good thriller fodder of fans of this genre.

Despite the simple story, the film turns out pretty well with nail biting suspense from start to finish with hardly a dull moment.  The script which contains minimal dialogue is smart enough when it wants to.  The mother who does not know how large an acre is (when questioned by her son) turns out pretty smart when she has to protect her kids. “I am your mother, it is my job to worry about you!”, “You broke into the wrong house!” are examples of simple yet effective no-nonsense dialogue.  The only thing unexplained in the film is how mommy knows all those martial-arts moves.  (The promo screening was preceded by a martial-arts demonstration by a local martial-arts club.)  The script also capitalizes on the current female/male issue of equality rights and harassment.  “There is nothing you can do, you are a woman,” yells one of the burglars, Eddie (Billy Burke) to Shaun.   Shaun later demonstrates that he is as then a man at the mercy to a woman, to the cheers, even by the men in the promo screening.  It is also good to see coloured good guys and the whites as the villains.

The cinematography by Toby Oliver is impressive especially the exterior shots in the night when Shaun is outside the mansion.  Lighting is often just sufficient to see the figures moving about,  The mansion interiors are also well-shot revealing the vastness of the modern design.  The soundtrack contains a neat, pulsing beat to the action and includes a catchy tune when the drones are activated by the son, Glover.

The choice of having the hispanic looking psycho as the last surviving killer is a good one.  Richard Cabral (playing Duncan) is perfect as the psycho villain with his huge eyes. lean totally tattooed body and weird accent.  Duncan clearly derives more pleasure in slaughtering the children then getting the cash.

BREAKING IN proves that a simple premise can still turn out to be fantastic entertainment.  The Super Mom in this movie is just as exciting as any Marvel super action hero.  The film also has an important message: “Don’t mess with Mom!”

Trailer: https://www.youtube.com/watch?v=DsDVOt3M7OM

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Inside Out LGBT Film Festival 2018 Toronto: OCATVIO IS DEAD! (Canada 2018) **

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Director:

Sook-Yin Lee

Writer:

Sook-Yin Lee

Stars:

Sarah Gadon, Rosanna Arquette, Raoul Max Trujillo

Sook-Yin Lee, best known as the actress in the hit HEDWIG AND THE ANGRY INCH directs this odd film produced and starring Sarah Gadon who broke into fame with David Cronenberg’s COSMOPOLIS.  Gadon plays, Tyler the daughter of an obsessive over-spirited mother (Rosanna Arquette).  She decides to leave her mother for Stelton City (Ontario’s Hamilton standing in for the city) to learn about the father she never met.  She discovers his ghost, trapped and unable to escape his apartment.

They forge an uneasy bond, but by communicating with him, and learning about his tumultuous and secret past, Tyler discovers new ways to engage with the world, to seek love in unexpected places, and to explore life in new and unfamiliar territories.  Love is discovered in death!  She falls for the cute blonde student that had an affair with his father, who she learns left both her mother and her because he was gay. 

 The supernatural angle fails to blend with the coming-of-age drama.  Nicely shot, but the film fails in that it leads nowhere and turns terribly annoying Lee’s attempt to create a moody atmosphere.  

 

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Film Review: LE REDOUBTABLE (GODARD MON AMOUR) (France 2017) ***

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Godard Mon Amour Poster
Trailer

During the making of one of his films, French film director Jean-Luc Godard falls in love with 17-year old actress Anne Wiazemsky and later marries her.

Director:

Michel Hazanavicius

Writers:

Michel Hazanavicius (script by), Anne Wiazemsky (adapted from the novel “Un an après” by)

Stars:

Louis Garrel, Stacy Martin, Bérénice Bejo

 

The film GODARD MON AMOUR (American title) /LE REDOUBTABLE (French title) that premiered in Cannes last year, a loose chapter in the biography of Nouvelle Vague director Jean-Luc Godard and directed by Michel Hazanavicius who made THE ARTIST is one anticipated by many especially cineastes.  

During the making of one of his films, French film director Jean-Luc Godard (Louis GarreL) falls in love with 17-year old actress Anne Wiazemsky (Stacy Martin) and later marries her.

The film is shot in the style of many Godard films – the way and mannerisms the characters speak, the large word title, the colourful huge lettering, clothes and so on.

In the film Godard is shown to be quite the oddball occasional jerk when he is on his politics activist side.  Anne, in one scene claims she married Godard the film director not the activist.  It is clear what Anne thinks, as the film is adapted from her novel “Un an après”. Anne dislikes any political activism.   This is emphasized in a street demonstration scene when a activist/marcher Jean-Jock laughs at a film critic/director that his film is to be played at Cannes.  “With what is going on, who is going to Cannes?”, he remarks and laughs controllably.  Not much else needs to be said as it is clear that Jean-Jock is the total idiot.  Films, as everybody knows can influence what people think, hence any political activity can be affected by film.

Though the film might look trivial on the surface, there is much going on that can be read between the lines.  This is a chapter of the life of Godard as seen from Anne’s point of view, not a biography of Godard.  Nothing is mentioned of his early life, background or life.  But the film does illustrate Godard’s need to be politically involved, perhaps he has the need to feel important that he can make a difference.  The Godard character does not like films, thinking that they are trivial.  Even when activists criticize him and his movies, Godard takes their side.  Godard has to decide to be a filmmaker or a revolutionist.  He tries both and fails.

Hazanavicius film on Godard will obviously be frustrating as it is unclear his aim of making it.  Hazanavicius shoots with the occasional humour of his OSS 117 and THE ARTIST though the humour is much less.

Louis Garrel (THE DREAMERS) does an almost perfect Godard, capturing all his mannerisms and quirkiness.  Hazanavicius’s wife Bérénice Bejo has a supporting role as Godard’s friend.  It is simply hilarious Godard moves throughout the film annoyed, bewildered and manipulated by the activists.  He is also shown as an insensitive and rude person while always being an oddball.  One feels the urge to punch Godard right in the face at any time.

The film did not earn a high approval rating, likely because of high expectations, but the film may turn out to be an entertaining, light and trivial tribute to an arguably great director of the Nouvelle Vague.  On the other hand, one might end up hating this film thinking that Hazanavicius could have done a more serious piece with more insight on Godard.  It would be interesting to hear what Godard himself thinks of this film.

Trailer: https://www.youtube.com/watch?v=Nh2zKF6Ucv8

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Film Review: KUSAMA: INFINITY (USA 2018) ***

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Artist Yayoi Kusama and experts discuss her life and work, from her modest beginnings in Japan to becoming an internationally renowned artist.

Director:

Heather Lenz

Writers:

Heather Lenz, Keita Ideno (co-writer)

Star:

Yayoi Kusama

 

When I was a kid reading conic books, one of my favourites was a character from the Harvey Comics Richie Rich Group called Little Dot.  Little Dot was a little girl completely obsessed with dots.  Not only was her name dot, but she always wears a polka dot dress and goes around doing everything related to dots.  Who would think that there is actually such a real life character in the world.  And in the art world, too.  This dot obsessed person is dot artist Yayoi Kusama.  In her own words in this eye-opening film: “My life is a dot among millions of dots in the Universe.”  Kusama is also revealed to be a bit dotty, spending a fair portion of her life in a mental institution in Japan.

A rival of Warhol in the ‘60s, Kusama battled sexism and racism in America while her hallucinations of polka dots eventually led her to the Tokyo mental institution.

Yayoi Kusama is a Japanese born painter who made it big and famous in America.  Her work is characterized by thousands of dots in an infinity of nets, thus requiring a tremendous amount of work.  One of her most influential painting is called “Pacific Ocean” where the ocean waves are looked upon an as unending pattern of nets.

Like many documentaries on artists, director Lenz devotes screen time showing the artist at work as well as her displayed work (including the best ones like “Green Death” and “PaciFic Ocean”) exhibited at the galleries.  Compared to other artist documentaries especially LEANING INTO THE WIND which was released also the same time as KUSAMA, more time is devoted to the artist’s life.  Lenz follows Kusama from her childhood (not a pleasant one with a domineering mother prohibiting her to paint and her womanizing father) to the present.  Kusama is still alive (now in her 80’s) and speaks to the camera about her work and aspirations.  The film also contains photos of her during her younger days, when she was protesting the Vietnam War with the hippies in America.  Her nakedness caught on and news of her bashfulness reached Japan, causing quite the stir and her rejection by the Japanese people.

If there is anything to learn about Kusama, it is her determination that led to her success in the art world.  She made her way to America on the heels of WWII. There, without connections and speaking only broken English, she devoted herself to her one true love, making art.  On her first day in New York, Kusama has stated that she climbed to the top of the Empire State Building, looked down upon the city below, and made a decision to stand out from everyone she saw below and become a star.  She shows that despite all odds, she finally climbed fame and respect.  Another message that could be learnt is that all the fame and money cannot replace loneliness and happiness.  She has spent 30 year living in a mental institution in Japan.

Despite the grim nature of the artist, Lenz’s documentary is bright and upbeat with music and colours flowing freely through her doc.  KUSAMA INFINITY turns out to be as fierce a film as Kusama’s fierce determination to become a world-renowned artist.

Trailer: https://www.youtube.com/watch?v=85-_M_BJH1U

 

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Film Review: VENUS (Canada 2017) ***1/2

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Venus Poster
Trailer

A dramatic comedy about a transitioning woman who discovers that she’s the father of a 14 year old boy.

Director:

Eisha Marjara

Writer:

Eisha Marjara

Stars:

Debargo Sanyal, Jamie Mayers, Pierre-Yves Cardinal

 

Transgender subjects are getting more popular in LGBT features now that gay characters have been more and more normalized in mainstream movies.  They have even invaded the gay documentary genre as seen in the recent film TRANSFORMER about a transgendered weight lifter.

VENUS tells the tale of Sid (Debargo Sanyal), a South Asian (Punjabi origin) transitioning woman whose life is turned upside down when Ralph (Jamie Mayers), the “white” 14 year-old biological son she never knew she had, shows up unexpectedly at her door.   And repeatedly at the door daily. “Wreck-It-Ralph” is about to create havoc in Sid’s life.   Shot in Montreal, the upbeat film also deals with the hardship of transition and how it affects family and friends.   

Sid is under pressure to marry a nice Indian girl and raise a family. His East Indian mother (Vancouver’s Zeena Daruwalla) yearns to have grandchildren.  Her dreams are about to come true, but not in the way she ever imagined. When Sid comes out as a woman, a 14 year old boy named Ralph shows up at her door announcing that Sid is his parent.  Although surprised to discover that his biological dad is now a woman, Ralph thinks having a transgender parent is pretty cool (a way director  Eisha Marjara is also saying her film is as cool as her subject).  But Ralph has not told his mother and stepfather that he had tracked down his biological father. 

Another problem is Sid’s boyfriend Daniel (Pierre-Yves Cardinal), who has yet to tell his family of his relationship with Sid.  Daniel is nowhere near ready to accept Ralph as a stepson and complicate his life further.  Sid’s coming out creates a snowball effect that forces everyone out of the closet.

With so many stories, director Marjara surprisingly balances the importance of each effectively culminating the film in a credible yet dramatic climax.

Director Marjara’s spirit and confidence in her subject and movie are catching.  These are evident in a scene in the film’s middle when Sid and Ralph take a walk in a park.  They come across a group dancing in the park.  Ralph joins in as Sid tries to pull him back while feeling uncomfortable.  Sid eventually dances with the group.  The scene shifts into slow motion and the catchy tune and fancy dance moves take the audience up a higher level in entertainment.   The film’s overall soundtrack is pretty good as well.  There is even a song called “Sisters in the Struggle” by a group called Lesbians in Ecstasy.

Sid’s parents provide quite a few of the laugh-of loud moments.  But Sid’s facial expressions are also funny enough to evoke much laughter.

Besides the comedy, the film gets quite serious too, at the end.  Credit to the script (also written by Marjara) for the non-Hollywood ending.

VENUS has won numerous awards on the international film circuit, including most recently two awards at the 2018 Kiel Transgender Film Festival in Germany for Best Trans Performance (Debargo Sanyal) and Best Actor non-trans role (Jamie Mayers), as well as Best Narrative Feature at the 2018 Cinequest Film Festival in San Jose.  The film is an uplifting crowd pleaser.

Trailer: https://vimeo.com/225779362

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Full Review: REVENGE (France 2017) ***1/2

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Revenge Poster
Trailer

Never take your mistress on an annual guys’ getaway, especially one devoted to hunting – a violent lesson for three wealthy married men.

Director:

Coralie Fargeat

Writer:

Coralie Fargeat (screenplay by)

Stars:

Matilda Anna Ingrid Lutz, Kevin Janssens, Vincent Colombe

 

REVENGE borrows from many classic films like MAD MAX, THE HUNTING PARTY and female stalker movies to provide another gore fest in which victim becomes hunter with a few more tricks on display.  This is French director Carolie Fargeat’s debut feature shot in both French and English and an impressive one at that.  She presented her film at the 2017 Toronto International Film Festival, proving that she talent as well as beauty.

A rich businessman, Richard (Kevin Janssens) takes his mistress, Jen (Italian model Matilda Lutz) on a getaway in a gorgeous mansion by a desert.  His two hunting friends, Stanley (Vincent Colombe) and Dimitri (Guillaume Bouchède )show up and abuse her while he goes off on a chore for two hours.  Instead of being on her side, Richard takes his friends side.  When she threatens to tell his wife, Richard pushes her off a cliff.  She survives.  They hunt her down while she, turns the table on them.  

The film is the real BATTLE OF THE SEXES and one that is relevant considering how women have ben abused by celebrities like Harvey Weinstein and Bill Crosby.  Fargeat’s strong feminist imprint is present in her frill from start to finish.  She shows that the female is not a plaything and if treated as one with disrespect, will come fighting back for REVENGE.

Fargeat’s film is gorgeous to look at in all respects from the exterior landscape to the interior sets.  The stunning desert landscape that includes one pool of water, as well as the cliffs are well photographed.  The mansion in the middle of the reset with its swimming pool is a marvel in modern architecture.  Around 20% of the film is set in the darkness in the dead of night.  The cinematography by Robrecht Heyvaert is nothing short of magnificent with just enough light to see what is happening in the dead of the desert night.

This French horror slasher can be seen to be quite different from the American counterparts.  REVENGE is ultra violent, flashy with less distracting humour and hardly any false alarms and cheap tricks to jolt the audience.  Fargeat’s attention to detail like the blood dripping on the ant in the desert and the one hunting friend chewing a crunchy chocolate bar while a rep is going on is particularly menacing.

A few gory set-ups include one where a man extracts chards of glass from the base of his foot and another with Jen tending to her wounds with the aluminium of a red hot beer can.  The latter segment lasts a full 10 minutes and almost too gruesome to watch, while Jen takes peyote so that she will be unable to feel the pain while tending the wounds.  

The climatic scene is full of inventive cat-and house chasing complete with Richard applying Saran wrap around his wounds.

It will be a very eager wait for Fargeat’s next film.

Trailer: https://www.youtube.com/watch?v=YTJrztVvmx0

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Film Review: SAINT ETIENNE – MAGPIE EYES, (Music Video)

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SAINT ETIENNE- MAGPIE EYES, is a three minute music video paying homage to youth. Full to bursting with highly polished and glossy production value, boasting bright beautiful young performers and backdropped against a classic urban setting nostalgic to many. The film follows three teenage friends and their beautiful summer day in a city-suburb, as they walk, talk and explore the world around them- all set against music. The result is the classic cinematic food of an age-old story. It is the story of youth. It is the story that captures the leap between children and adults. For a few magical moment between childhood and adulthood we are  suspended in air as teenagers. And while that suspension is uncertain, and scary- it is also alight with possibilities. SAINT ETIENNE attempts to capture that moment- and it does so admirably. For three magical minutes, we are all teenagers again.

Review by Kierston Drier

Watch the Audience FEEDBACK Video of the Short Film:

SAINT ETIENNE – MAGPIE EYES, 3min., Music Video
Directed by Tash Tung

Magpie Eyes reimagines the 90s band as teenagers in the modern day and follows them around the sleepy market suburb of Stevenage, UK – the first of the government’s post-war Utopias. The film celebrates a distinct sense place and what it’s like to grow up in a British suburb, mixing stills and moving images of the local kids in and around the New Town architecture.

CLICK HERE – and see full info and more pics of the film!

Film Review: YOU’RE DEAD WRONG, (Canada, Music Video)

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A thriller music video with a classic twist,YOU’RE DEAD WRONG is a wonderful Canadian film that will have you on the edge of your seat right until the final frame. Carefully cushioned between a our vocalist from Stellar,  a story unravels of a woman taking violent action against partner- who clearly deserves it. But what looks like long-time coming revenge turns out to be a well orchestrated lover’s game.

Beautifully shot, well composed and packing a tight story into six minutes, YOU’RE DEAD WRONG is a strong and vibrant music video, with great talent behind it!

Review by Kierston Drier

Watch the Audience FEEDBACK Video of the Short Film:

YOU’RE DEAD WRONG, 6min., Canada, Music Video 
Directed by Craig LoboThe debut single from the band “Stellar”.

CLICK HERE – and see full info and more pics of the film!