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Film Review: HONEYMOON, Switzerland, Romance

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A simple, sweet and heartwarming three-minute comedy coming from Switzerland by director Anaelle Morf, HONEYMOON is about a middle aged man and woman who meet at a bar. Over drinks, dancing and flirting the two rush off to find a quiet place to get some more personal time together. When they finally stumble home, slightly drunkenly, it is revealed they are not having a one-night stand. They are a married couple trying to add some spark to their marriage.

While the story may have been seen before, this film carries its own special type f  heartwarming quality. As our couple get interrupted from their evening of fun by the appearance of their child running into the living room- we do not get a sense that their stale marriage is on the rocks. What we feel instead, is that this date night was an attempt at a romantic adventure- but not an adventure they really needed to take. Who needs to pretend to be someone else, when they are happy with who they are? Getting interrupted from their fantasy wasn’t a evening ruined- it was a reminder that they’ve already built a life they don’t need a vacation from.

Romance is not only for the young and single. Romance exists, and lives well, in anyone who loves. And love knows no age. Well done, HONEYMOON, well done.

Review by Kierston Drier

PLAYED at the January 2018 EUROPEAN Film Festival.

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HONEYMOON, 3min., Switzerland, Romance 
Directed by Anaelle MorfA man and a woman meet in a bar for the first time.

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

Film Review: STUPID SMARTPHONE THERAPY, Germany, Experimental

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An inversion on the classic “millenials are addicted to their phone” cliche, STUPID SMARTPHONE THERAPY turns the trope on its head and tells the story of a young German girl going on vacation to Toronto with her father. But the vacation is soured by her father’s inability to look away from his phone.

A humorous bit of social commentary, STUPID SMARTPHONE THERAPY breaks open and examines are dependency on technology, while also making statements about  some of the social constructs and assumptions we walk around with everyday. Our heroine is quirky and loveable, her wit and charm are infectiously entertaining. The film’s style makes a thought-provoking and slightly absurdist comedy that the whole family can enjoy. Well done, director Garmamine Sideau!

Review by Kierston Drier

PLAYED at the January 2018 EUROPEAN Film Festival.

WATCH the Audience FEEDBACK Video:

STUPID SMARTPHONE THERAPY, 4min., Germany, Experimental
Directed by Garmamie SideauThe social impacts of various technological innovations are redefining the role of human relationships and communication in a growing globally connected and diverse digital world. Meet Serena, a biracial German teenager on a dream vacation to Canada with Henok, her smartphone addicted workaholic father. Serena’s dream vacation is quickly tuned into a puzzling and challenging nightmare of personal conflicts involving smartphones, identity, belonging and jiujitsu.

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

Film Review: CITY OF MY HEART, Greece, Documentary 

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A kaleidoscope of moments, images, faces and colours that encapsulate the bright, vibrant and diverse city of Madrid, CITY OF MY HEART is a four minute film that throws us into another world. This pulsating and energizing film from director Kostas Petsas, takes the viewers through a city through a series of quick vignettes.  

What is most charming about CITY OF MY HEART, is how deeply it pulls the viewer in. From first to final frame, your eyes are glued to the screen, engulfed in the vivid and intoxicating exotic world. A love letter to a rich world full of life and culture, CITY OF MY HEART will make you want to instantly book a plane ticket to this beautiful place.

Review by Kierston Drier

PLAYED at the January 2018 EUROPEAN Film Festival.

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CITY OF MY HEART, 4min., Greece, Documentary 
Directed by Kostas PetsasA personal glimpse into Madrid, an experimental urban cityscape, an ode to life through a dance.

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Film Review: MAMMA, Italy, Crime/Thriller

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MAMMA, a frighteningly real and terrifyingly visceral Italian film from director Gonzalo Coteio, tells the story of woman in a shop who falls victim to a robbing. The result is a strong and horrifying scene of a woman caught in a dangerous life-threatening situation with no knowledge of what is going on or how she can save herself.

There is a clear stylistic choice in this film to not use subtitles for the communication between the assailants. While it may strike some viewers as difficult- the choice is a brilliant one. It creates a hyper-real sense of terror and confusion and makes the viewer relate to the woman being attacked. She can’t understand the language of the assailants, so neither can the viewers. The result is to be utterly entrenched in the scene, and to be forced to face the harsh fear of the situation along with our heroine, not outside of it as an external viewer.

The twist in MAMMA is buried in the title, but there is humanity to be found in even the most horrible situations. For reasons we don’t find out until the end of the piece, our heroine in spared certain death. To find out though, you must watch the wild and intense ride that is MAMMA.

Review by Kierston Drier

PLAYED at the January 2018 EUROPEAN Film Festival.

WATCH the Audience FEEDBACK Video:

MAMMA, 5min., Italy, Crime/Thriller
Directed by Gonzalo Cotelo A young woman finds herself trapped in the middle of a gang turf war when she witnesses a cold blooded murder.

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

Film Review: LET THERE BE LIGHT (USA 2017)

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Let There Be Light Poster
Trailer

An atheist goes through a near-death experience in a car accident before converting to Christianity.

Director:

Kevin Sorbo

Writers:

Dan Gordon, Sam Sorbo

Stars:

Kevin Sorbo, Sam Sorbo, Daniel Roebuck

 

First thing noticeable is that there a lot of Sorbos involved in the making of this Christian movie.  First and foremost, Kevin Sorbo stars (as Saul Hannity) and directs.  His wife, Sam Sorbo co-writes and produces while their sons Braeden and Shane join in the acting cast (terrible though they are) playing Saul’s two sons..  The plot follows an atheist, Saul (Kevin Sorbo) who goes through a near-death experience in an auto accident and converts to Christianity.

Despite the film’s flaws, there are a good moments.  The tenderness the couple go through in the time of Saul’s crisis is believable and touching.  There are also a few genuine funny moments like the running joke of the doorman who lets anyone up to Saul’s apartment.

The script contains references like to Shakespeare’s Taming of the Shrew, though the referenced is explained, director Sorbo probably not believing that his audience is literate enough to get it.  The naming of the main character as Saul is also biblical, the apostle Paul initially called Saul before his conversion to Christianity. 

Another pleasure might be noting all the times the film gets manipulative – which is a whole lot.  The best example can be seen in the scene where Saul is just recovering in the hospital, pushed in a wheelchair while he asked his ex-wife, Kate (Sam Sorbo) to carry his jacket.  Her reply: “I am through carrying your baggage.”  There is no need for him to ask her to carry his jacket as it is laid on his lap but he asks Kate to do so for that one-liner to be made.  Dionne Warwick’s performance at the wedding reception is a neat surprise.

The character of Saul’s agent, Norm (Daniel Roebuck) wears a bow tie and is portrayed as a straight person (he requests Saul in one one scene for his mistress’s sister or cousin introductions) though it is clear he is a closeted gay, from his mannerisms.  Homosexuality is always a no-no, so this portrayal is odd.

Saul’s conversion is difficult to take in, in the film’s key scene – maybe not so for believers but for non-believers.   But there is a test of faith segment in the film’s last 20 minutes that should keep Christians happy and faith enhanced.  Non-believers might shrug unless they love tearjerkers.

To Sorbo’s credit, his direction is effective and suits the film’s purpose.  The conversion scene is a problem, so Sorby quickly moves the next scene to Saul’s baptism.

The film goes right downhill from this point.  Christian believers might well be the only ones that will not complain.  The film’s high point is the start when Sorbu’s Saul puts down Christianity and hails atheism.  Worst is the romantic element pushed to the limit with Saul and his ex-wife Kate romancing again.

Why is the film called LET THERE BE LIGHT?  Besides Davey’s words to Saul during his death moment, the other reason is the shameless spiritual promotion (a phone app?) of Christianity.

Trailer: https://www.youtube.com/watch?v=UeD3sCW7Yag

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Film Review: PERMISSION (USA 2016)

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Permission Poster
Trailer

A woman on the brink of a marriage proposal is told by a friend that she should date other men before spending the rest of her life with her boyfriend.

Director:

Brian Crano

Writers:

Brian Crano, Brian Crano

Stars:

Rebecca Hall, Dan Stevens, Jason Sudeikis

 

There are two categories of chick-flick romantic comedies – those made by female directors and those made by male directors.  The former category usually sees everything from the feminine perspective while glorifying the female while more often than not, debasing the male counterpart. 

PERMISSION, the new romantic comedy debut by writer/director Brian Crano belongs to the second category.  Like most films in this category the male filmmaker usually also takes the side of the female, giving them enough respect so as not to offend them.  In PERMISSION, the female is clearly the more mature and intelligent of the couple.  Since the film is written by a male, males cannot complain that this is a feminist film.

The film begins with a really short sex scene between the two leads.  Anna (Rebecca Hall) and Will (Dan Stevens) are very much in love and have great (if not, too short) sex.  Will intends to propose to Anna at her birthday celebrations at a bar with her brother, Hale (David Joseph Craig) and current male lover, Reece (Morgan Spector).  But that is impeded by the suggestion of Reece and Hale to have Anna “test date” other men before she ultimately settles down.  This results in the relationship turning open, meaning that Will can try other girls too. 

The couple faces the obvious problems that result in an accepted open relationship though the film and the couple insist that dating others does not constitute an open relationship.  My question to them is then: What then is an open relationship?  The problems include jealousy number one followed by number two, the craving for wanting for sex with strangers.  But the biggest danger of all is the probability that the stranger might be the better one to marry.  These are two human feelings that cannot be removed, and unless a couple can deal with these two issues, an open relationship or a closed relationship with allowance for multiple sex partners should not ever be considered.   Anna and Will together believe that their love for each other can conquer all.  So the rest of the film goes on to see whether love can.

Writer/director Crano’s film runs into many problems.  For one, the main premise of the couple is compromised by the introduction of Anna’s brother’s gay relationship.  Worst still, Crano inserts a problem into the gay couple’s relationship – the adoption of a child.  This distraction is boring and does not contribute to the main story at hand.  The four characters are all too nice and likeable.  The film would be more interesting if any one would be a complete asshole or one to be totally at fault.  Some of the humour makes no sense at all, as in Will spitting into his lover, Lydia (Gina Gershon) mouth, while high and having sex.

One good insight the film provides is that it shows the hurt the people go through as a result of such an experiment.  The film also surprisingly is almost saved by its ending.

Trailer: https://www.youtube.com/watch?v=EV9ZnPPnyz8

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Film Review: BEFORE WE VANISH (Japan 2017)

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Before We Vanish Poster
Three aliens travel to Earth in preparation for a mass invasion, taking possession of human bodies.

Director:

Kiyoshi Kurosawa

Writers:

Tomohiro Maekawa (based on the play by),Kiyoshi Kurosawa (screenplay) | 1 more credit »

Stars:

Masami Nagasawa, Ryûhei Matsuda, Hiroki Hasegawa

 

Before watching BEFORE WE VANISH or reading this review of BEFORE WE VANISH, it is best that a bit of background be known of the film’s director, Kiyoshi Kurosawa.

Kiyoshi Kurosawa is better known in North America as an art-house horror director with films like CURE and PULSE both of which I have seen but have not praised.  His best film to date is PENANCE, made for Japanese TV but screened here at the Toronto International Film Festival  and also played at Cannes which won Kurosawa the Best Director Award in the Un Certain Regard Section at Cannes.  Korosawa’s latest, BEFORE WE VANISH (Sanpo suru shinryakusha), is a sci-fi thriller that also serves as a story about the redemptive power of love, played at Cannes 2017 in the Un Certain Regard sidebar.  Not his best film, but interesting, nevertheless.  It should be noted that the film is based on the play by Tomoshiro Maekawa, and co-written with Sachiko Tanaka.

There are strange goings-on in an otherwise ordinary Japanese town.  While investigating a gruesome murder, journalist Sakurai (Hiroki Hasegawa) meets two aliens (Yuri Tsunematsu and Mahiro Takasugi) who have taken up residence in human hosts.  Preparing for a takeover of the planet, the aliens are not only snatching bodies, but also robbing humans of values (family, 

work, good, evil, etc.), leaving only hollow shells, all but unrecognizable to their loved ones.  Meanwhile a third alien has taken over a man named Shinji Ryuhei Matsuda).  After disappearing for several days, Shinji reappears, acting nothing like his former self.  His marriage to Narumi had been on the rocks.  But Shinji seems kinder now.  As chaos ensues, Sakurai and 

Narumi each must make a decision.  Narumi’s, in particular, is heartbreaking.

Interesting though the premise might seem, bringing down an alien invasion down to the personal level, the film has major problems, primarily in the credibility of its story.  The invasion is supposed to take place, masterminded by just three aliens who have taken over human bodies.  Two of them need to find the third, Shinji for success.  The conception idea is a good one, when aliens absorb a human concept from a human.  But the film’s climax is silly and gets worse when the film concludes to a period of two years after the conclusion, when reverse conception takes place.  The film runs into even more problems when Kurosawa brings in human values to save the world.  Kusrosawa turns too preachy as well with a sermon on love: “Love never records wrongs; love never gets angry… etc.”

As talented as Kurosawa is and as good as his best films are, BEFORE WE VANISH is a major disappointment.  Silly even from the very start from the way aliens inhabits bodies or captures conception, the premise might have succeeded in an artsy play, as is the source material, but moviegoers expect certain rules to be followed in a sci-fi alien invasion thriller.  

Trailer:  https://www.youtube.com/watch?v=P8UctjMoo8o

 

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Film Review: FIFTY SHADES FREED (UK 2018)

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Fifty Shades Freed Poster
Trailer

Anastasia and Christian get married, but Jack Hyde continues to threaten their relationship.

Director:

James Foley

Writers:

Niall Leonard (screenplay by), E.L. James (based on the novel by)

Stars:

Dakota Johnson, Jamie Dornan, Eric Johnson

 

FIFTY SHADES FREED is the third film of the FIFTY SHADES franchise with the first two FIFTY SHADES OF GREY and FIFTY SHADES DARKER winning raspberry awards for worst film and worst acting for its actors.  FIFTY SHADES is likely the worst reviewed film franchise ever though the films have been Universal tons of cash.

The film clearly aims at a female audience.  Imagine the fantasy – Marriage to a wealthy husband with the perfect body, romantic wedding vows, a glamorous lifestyle and most of all, great sexy with S&M thrown in for good measure.

FIFTY SHADES FREED opens with what looks like the perfect wedding.  It is the marriage of Ana (Dakota Fanning) and billionaire Christian Grey (Jamie Dornan).  But the matrimonial noon is tested when Ana insists on ‘not being Mrs. Grey’.  She insists on keeping her maiden name, her job and dispenses with a wife’s household duties.  All this results in sexual punishment dished out by her husband.  Ana loves it and keeps going on till she eventually gets pregnant because she missed her shots.  The marriage is on the rocks.  The plot also invokes Ana’s ex-boss, Jack Hyde (Eric Johnson) stalking her and wanting to punish her for what she has done to him, which is explained later on in the film.  That is pretty much the film.  Sex, sex, sex, get Ana’s stalker and would-be killer then the end.

FREED can stand on its own with audiences unfamiliar with the stories of the other two films.  Ana met Grey in the first film engaging in S&M sex.  The second film shows her being promised marriage by Grey while having trouble at work with her boss who turns up as the villain in FREED.

The sexual scenes are interesting but goes boring really quickly despite the two perfect bodies of the actors.  For what the script provides, Dakota Fanning does quite a good job at her performance, making the audience care for her despite her gong against all the hubby’s wishes.  Marcia Gay Harden has a small role as Christian’s adoptive mother, but her role is simply awful, involving her to hug the gorgeous Christian at one point in the film.  She looks as if she got a sexual turn on in the film when she holds on to him.

A few things that Universal Pictures got right with this sequel.  The budget is kept the same as the second film at $55 million with a shorter running length.  It is clear that the movie should still make money though expectedly less that the $580 million for the first and $300 million for the second.  At the film’s promo screening, one self touted critic remarked loudly that the film is shit and the editing is shit.  It is easy to condemn a film without giving clear examples.  The editing is actually half decent, especially the S&M scenes, keeping it fairly decent considering the film’s content.  Th car chases are also well cut with ok continuity.  

Having not seen the first two films, I actually enjoyed the tackiness of the film’s first 20 minutes, to see how much rubbish the audience can take in.  But tackiness or not, the film keeps repeating itself (example: the story’s silly excuses for Ana’s behaviour to keep getting sexually punished.)  The S&M are not really imaginative.  I am are everyone has seen a vibrating, dildos or handcuffs.  The film then resorts to ice-cream being slid on the naked bodies.  In Mike Leigh’s LIFE IS SWEET for example, he had a sexual bathroom scene with his two actors covered in chocolate. The film is noticeably drug free.  I am not advocating drug use, but this really stretches the film’s credibility.

James Foley takes over the director’s reins.  Foley has directed decent films in the past, the most notable being Mamet’s GLENGARRY GLEN ROSS.  FIFTY SHADES FREED is obviously not one of them. Foley goes for empty glossiness.  Though the film has a slick look, there is no substance and the polished exterior fades fast.

Trailer: https://www.youtube.com/watch?v=nJCc5HRPxYA

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Film Review: POOP TALK (USA 2017)

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Poop Talk Poster

Director:

Aaron N. Feldman

Writer:

Aaron N. Feldman

Stars:

Steve Agee, Dr. Joel Brown, Nicole Byer

 

POOP TALK or in other words, SHIT TALK is a comedy doc that premiered at the Toronto International Film Festival last year that luckily got picked up for distribution.  It is an hour and a quarter documentary about shit, if one can take it.  At least the doc takes a humorous look at it, as seen primarily from the point of view from a wide selection of stand-up comedians. “If I had one wish only from a genie, it would be that I would never have to shit,” jokes one comic at the film’s introduction.   A few shit experts (Dr. Joel Brown and Dr. John Vainder as themselves) also have their say, if that means anything.  The film aims  at giving an inside look at all things poop — from uncensored, embarrassing moments to scientific explanations recounted by 50 experts and comedians

Most of the comedians are not too famous, that majority of them unheard of, though that does not mean that they are not funny.  The one appearing most might be familiar with would be Kumail Nanjiani who also starred in his recent hit romantic comedy THE BIG SICK.

If the film is about to run short of material and begins to drag, director Feldman is quick enough to insert segments from the comics about poop that will guarantee at least a laugh or two.

Among the film’s funnier stand-up comic moments are the ones in which a female describes how she flooded the toilet and her friend’s bathroom ending up with her poop splashing on her mother’s face and the other where a dwarf comedian describes his experience pooping in a public toilet with the lights shut off.

Ironically, I am writing this review in Cuba when my partner is having traveller’s diarrhoea.  He has had the runs at least 5 times in the last half hour last evening, and has to be taken to the hospital.  But this is another story.  Another poop story.

Do not expect major insights, even on poop from this doc.  Feldman offers doses about poop in Africa, Russia and a few other foreign countries.  Mildly funny, at best!

The film also talk about different types of toilets like the squat toilets, especially in India.   All Pakistani bathrooms for example, there are washers for washing poop.  There a lot of funny stories about shit in other countries, but India has the funniest ones.

The most public place one has pooped in?  there is a segment in the film about this.  At the beach?  In the sea?

The psychology of shit?  The film has comedians talk about not shitting in public.  And the best is shitting on cocaine. Those in the know, know how much smellier poop can smell after snorting a line.

The most disgusting (or funny) is King kong Bundy the wrestler , 6 foot foot five 400 pounds tang a shit.

For all that is worth, POOP TALK does its best on the topic, despite the subject’s limitations.  Sadly though, this is not enough of a full length documentary.  The film also lacks a solid climax.  POOP TALK is an ok small movie, maybe to watch on the small screen, unless one want to spend extra bucks for shit.

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

 

 

 

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Film Review: AVA (Iran/Canada/Qatar 2017)

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Ava Poster
The life of a high school girl in Iran becomes more complicated after her mother catches her in an act of rebellion.

Director:

Sadaf Foroughi

Writer:

Sadaf Foroughi

Stars:

Vahid Aghapoor, Parnian Akhtari, Sarah Alimoradi

 

AVA is not to be confused with the other film AVA, the French film directed Lea Mysius that won a prestigious Cannes prize about a 13-year old discovering sex before going blind.  Both films coincidentally have young female protagonists.

What is a Persian high school female teen to do?  Everything she does is criticized and looked own upon.  Her mother (Bahar Noohian) is constantly on her case as are her teachers at school and even her friends when she goes on about dating boys.  Ava (Mahour Jabbari) would be considered a normal girl in the western world with her behaviour that would not be tolerated in the Persian world.

AVA is a critically acclaimed Canadian co-production shot in Iran that screened in the Discovery section at the 42nd Toronto International Film Festival, where it won the FIPRESCI Discovery Prize and received an Honourable Mention for Best Canadian First Feature Film. 

Writer/director Sadaf Foroughi ups the angst when Ava discovers that her parents were not so innocent either.  When Ava learns that her parents were once flagrant rule breakers themselves, she begins to rebel against the very foundations of her society. 

Surprisingly, Ava’s father (Vahid Aghapoor) is more tolerant and director Forough shows that Ava’s problems comes mainly from the females and not the males.  It is a cycle in society that has been so established that change is almost impossible.

The film slags a bit in the middle with what seems to be a shortage of material.  The film’s segments are the ones where mother and daughter argue it out, no holds barred.  They use every means possible to win their arguments including personal hidden secrets.  Director Foroughi clearly wishes the audience take the daughter’s side but actress Baba Noohian is so good as the mother, that her argumentative points gets the audience’s sympathy.  Father is always only in the background until the film’s climax.

AVA also reveals what an all girls school system is like (assuming what is shown is authentic).  As expected the headmistress is an anal retentive authoritarian (or bitch to be more direct) who has no sympathy for Ava and no clue on the restlessness of the youth under her care.

AVA masterfully demonstrates how a culture of authority can force denial and detachment, particularly among young women during their formative yet vulnerable high school years.  A small but important yet impressive first feature!  The film builds to an exciting and effective climax.

AVA is the film that sparked a bit of controversy at the 2017 Toronto International Film Festival when its Iranian actors were denied entry to Canada for the purpose of promoting the film.  Immigration Canada responded to say that the would-be visitors failed to meet the requirement standards.

AVA is currently playing at the TIFF Bell Lightbox for a week, limited engagement as part of Canada’s Top 10 Films of the year.  Worth a visit for sure!

https://www.youtube.com/watch?v=rF9pDPmF3is

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