2017 movies

FILM REVIEW: THE DINNER (USA 2016) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the_dinner.jpgA look at how far parents will go to protect their children. Feature film based on a novel by Herman Koch.

Director: Oren Moverman
Writers: Oren Moverman (screenplay), Herman Koch (novel)
Stars: Richard Gere, Laura Linney, Steve Coogan

Review by Gilbert Seah

 THE DINNER is basically a four handler psychological drama which shows how far parents will (or will not go) to protect their children. In THE DINNER, two family of parents sit down to a dinner at a posh restaurant to discuss the implications of their children who have killed a homeless woman by setting her on fire.

As appropriate for a film entitled THE DINNER, the film is told in four parts – aperitif, main course, dessert and digestif. The film also contains acute and often hilarious observations, lightening the film’s serious theme, of the posh restaurant. It is clear that director Oren is not fond of these hip establishments. Paul Lohman (Steve Coogan) constantly hurls insults at the waiters and servers to the point of vulgarity. It is of great relief that at one point the maitre’d finally tells him off.

Director Moverman (THE MESSENGER, LOVE AND MERCY) is expert at getting the audience’s attention and creating drama at the dinner table. This is evident at the one hour mark of the film when all the hidden facts of the incident are slowly revealed. The key confrontation scene takes place in the Library section of the restaurant. It is really odd that the music is played quite obtrusively during the conversation. I am not sure whether this is done on purpose to up the ante during the segment because the music is really loud and annoying. It is certain that this kind of music is never played at any restaurant’s waiting area.

Steve Coogan ditches his British accent to play a sarcastic American teacher. The reason he was chosen for this film THE DINNER has likely something to do, though it does out really matter, being in the food/restaurant critic films THE TRIP and THE TRIP TO ITALY. Coogan, known to be sarcastic in real life, steals the show, managing to elicit a few laughs from his sarcastic remarks at the awkward dinner situation. It is surprising that he gets second billing to Richard Gere, likely because this is an American film and Americans might not know who Coogan is. Gere is quiet in the first half of the film, showing his true acting colours only after the second half. Laura Linney is as usual, very good as the mentally disturbed wife.

The film accurately touches the right chord on when human beings cannot come to an agreement and cannot no longer live with each other. This comes about, as the film demonstrates, when ones basic principles go against another’s. Stan wants his son to pay for his crime, his wife does not and neither does Paul’s wife Claire. It is clear that mothers will normally go all out to protect their children, particularly sons, while fathers are more inclined to teach their sons to do what is right.

Moverman manœuvres his film towards an exciting climax where no one can foresee who will do what at the end. The ending turns up quite a brilliant touch too (not to be revealed in the review).

Trailer: https://www.youtube.com/watch?v=zP26KWVw5jE

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Film Review: NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER (USA/Israel 2016)

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norman.jpgDirector: Joseph Cedar
Writer: Joseph Cedar
Stars: Richard Gere, Lior Ashkenazi, Michael Sheen

Review by Gilbert Seah

Not to be confused with the other film NORMAN made in 2010, this new NORMAN comes with a long subtext in the title that essentially tells everyone what the film is about.
Written and directed by Joseph Cedar, NORMAN (film’s original title was OPPENHEIMER STRATEGIES) tells the moderate rise and tragic fall of the said man. The film is well shot and directed as a combination of set pieces are performed almost meticulously by veteran actor Richard Gere. At the age of 67, Gere could be almost be doing old fart movies like GOING IN STYLE. (Michael Caine, Morgan Freeman and Alan Arkin share the average age of 80), Here in NORMAN, Gere is in top form, articulating his character who still has the ability to charm and ‘cheat’ investors of their hard earned savings.

Cedar’s film begins with two dramatic set pieces that show Norman hard at work. In the first, he is unsuccessful while he succeeds in the second. In the first segment, he stalks a high-profile businessman interrupting his private life, while he is jogging in the morning to pitch his deal. In the second, he successfully courts a young politician, Nicha Eshel (Lior Ashkenazi) after paying for his shoes at a shoe store. (French actor Isaac Bankole is immediately recognizable as the shoe salesman who flatters Eshel.) Three years pass and Eshel becomes Prime Minister of Israel. Eshel’s name is used to no end by Norman in all his present and future schemes.

At the film’s start in one of Eshel’s speech, he says: “I do not look at the way things are and ask: Why? I look at the way things should be and ask, why not?” The same idea can be used to critique NORMAN. The film is fine but the question that should be asked is what the film should have been with the question why not.

For one, nothing is mentioned of Norman’s background. Norman is shown the way he is – no girlfriend, minimal family and a loner at heart and in life. It is hard to identify with a person like Norman and especially as he is a trickster at heart. Norman has few redeeming qualities. There is no suspense in the way he could have got caught which could have added some needed suspense into an otherwise monotonous film.

Gere is good and the film contains an impressive cast of actors that include French Bankole and Charlotte Gainsbourg and others like Hank Azaria (always appearing in con films), Michael Sheen, Dan Stevens and Steve Buschemi. One could say that Gere is too good looking an actor to play a shady character like Norman. But one could argue too that as Gere said, when he was here for the film at TIFF that it shows that there is a Norman in each one of us.

The film is shot partly in Hebrew and English in New York City where the story is set. NORMAN is not bad but could be better. And why not?

Trailer: https://www.youtube.com/watch?v=EXFCrl37HzU
 

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HOT DOCS 2017 Reviews: PECKING ORDER (New Zealand 2017) ***

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pecking_order.jpgPecking Order is a light-hearted documentary set in the world of bird breeding. The self-described ‘feelgood flockumentary’ canvases the personalities, power plays, fowl play and ‘best in show’ fervour of the 148-year-old Christchurch Poultry, Bantam and Pigeon Club, as members prepare for the national championships.

Directed by: Slavko Martinov

Review by Gilbert Seah

Witten and directed by Slavko Martinov, PECKING ORDER is literally about the pecking order of chickens.

The setting is Christchurch, New Zealand – the 148-year old Christchurch Poultry , Bantam and Pigeon Club. The subject is competitive poultry pageantry as a highly entertaining hobby—it’s an obsession. For members of Christchurch Poultry, Bantam and Pigeon Club in New Zealand, it’s also way of life. Among the members are Seniors Beth Inwood and President Doug Bain who have tasted the glory of raising perfect rosecomb cockerels and rumpless pullets.

Most of the members are old. But Martinov injects some fresh blood into the film with newbie teenagers Rhys Lilley and Sarah Bunton (though they do not impress me as the brightest of kids) enjoying the fun. But there appears to be trouble in paradise. Feathers start to fly when infighting breaks out in the club during the run-up to the 2015 National Poultry Show.

The film traces the change of presidency while highlighting the chooks National Show as its climax. Still the film is totally fun, shallow that it appears to be, but perhaps some of life lessons can be learnt from watching these chicken lovers. There is always something amusing when one hears chicken clucking.

Trailer: https://www.youtube.com/watch?v=eyqrX4ySvKg

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HOT DOCS 2017 Reviews: DO DONKEYS ACT? Starring Willem DaFoe

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do_donkeys_act.jpgDonkeys inhabit and communicate with each other – and the filmmakers – in a Sanctuary.

Directors: David Redmon, Ashley Sabin
Star: Willem Dafoe

Review by Gilbert Seah

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

The film’s ethno-poetic-animal-fiction takes its playfully self-reflexive cues from Jean Rouch and Chris Marker.

Encouraging the audience to respect a major language barrier the audience might not otherwise consider––the mystery and intrigue of donkey utterances––DO DONKEYS ACT? invites the audience to “step into their shade, listen closely” as we attune to a series of dramatic performances in which one’s eavesdrop on donkeys speaking amongst themselves.

Narrated by Willem Dafoe, this tactic is amusing but sometimes, simplicity is the key.

Though it might seem trivial to learn more about donkeys, curiosity eventually has its day in this occasionally fascinating portrayal of the neglected animal who is still part of God’s animal Kingdom. Everything you wanted to know that happens inside a donkey sanctuary. The film was shot in several docket sanctuaries including the one in Guelph, Ontario. Present during Hot Docs will be Co-Director David Redmon.

Trailer: https://vimeo.com/200043031

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HOT DOCS 2017 Reviews: 78/52 (USA 2017) ***1/2

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7852An unprecedented look at the iconic shower scene in Alfred Hitchcock’s Psycho, the “man behind the curtain”, and the screen murder that profoundly changed the course of world cinema.

Director: Alexandre O. Philippe
Stars: Alan Barnette, Justin Benson, Peter Bogdanovich

Review by Gilbert Seah
 
78/52 offers an unprecedented look at the iconic shower scene in Alfred Hitchcock’s PSYCHO – the “man behind the curtain” and the screen murder that profoundly changed the course of world cinema. The famous shower scene – the opening and closing of the bathroom door; the water streaming from the shower; the curtain slowly pulling apart; the repeated stabbing; the blood flowing down the bath; the door bathroom door slamming shut.

The entire scene’s storyboard with the script is read aloud (and also the pages of the novel of the same name by Robert Block, illustrating the differences) to the audience as the scene, unfolds one step at a time, offering a fresh insight.

The contribution of both Edward Hermann to the music and George Tomasini to the sound effects are detailed in the film, providing more insight and pleasure to the cineaste.

The film includes clips of films that have been influenced by Hitchcock. Director Philippe (DOC OF THE DEAD) has done thorough and detailed research on Hitchcock and the shower scene and it shows.

The result is one of the best and most insightful documentaries on the techniques of the Master of Suspense.

Clip: http://www.dreadcentral.com/news/208152/sundance-2017-new-7852-clip-goes-psycho-shower-scene/
 

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CLOUDBOY (Belgium/Sweden/Netherlands 2016)

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cloudboyCLOUDBOY (Belgium/Sweden/Netherlands 2016) **
Directed by Meikeminne Clinckspoor

Starring: Geert Van Rampelberg, Sara Sommerfeld, Mikkel Gaup

Review by Gilbert Seah

CLOUDBOY is a coming-of-age story of a 12-year old boy who learns to appreciate the love of his separated mother and his other siblings.
Though CLOUDBOY tells the story of 12-year old Niilas, it is not told from his point of view but from the outside, letting the audience form their own opinion on the boy and on the incidents that occur. When the film opens, the audience sees the relationship between Niilas and his father. His father is playful yet stern when Niilas gets out of hand. They have spent all the years together in Sweden and it is now time for the boy to visit the mother who live up north in Swedish Lapland (hence the title CLOUDBOY).

The film being shot in Sweden and Belgium offers the younger audience a good education of what it is like to live in different countries.

So, against his will, Niilas spends his summer vacation with his mother and her new family (two siblings) in rural northern Sweden, where they live among the indigenous Sami people as reindeer herders. Having spent most of his 12 years with his father in Belgium, Niilas barely knows his mother and has yet to meet his stepfather and new siblings. Uncomfortable around the reindeer and his family, Niilas retreats inwards. His negligence following an argument with his half-brother causes a reindeer to go missing. Feeling responsible for the animal’s safety — and for causing his family distress — he takes on the search.

Niilas is portrayed as a spoilt kid who can do damage when he does not get what he wants. His mother, stepfather and two step siblings are just too nice to him to be believable. Niilas let loose all the reindeer that the family have taken 5 weeks to round up. He mistreats his siblings. H spurns the love of the mother and stepfather. Niilas basically does what he wants. Yet everything turns out right and everyone still cares for him. Chuck the spoilt kid into the river, is what I would say.

The film is predictable to the very end.

Despite the director’s good intentions, the film feels flat. But younger audiences might be able to appreciate the film a bit better.

The film is shot in many languages – Swedish. Sami and Flemish.

The film is suitable for family though there is one instance of slapping and shoving.

CLOUDBOY will be screened at the TIFF Kids International Film Festival with a total of 5 separate screenings. In addition there will be an introduction and Q&A with director, Meikeminne Clinckspoor on April 18, April 20 and April 22.

Trailer: https://uk.video.search.yahoo.com/search/video?fr=yfp-t-903&p=trailer+cloudboy#id=1&vid=42b782605e0dfd69251b3603fe5ec608&action=click

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Film Review: Power Rangers (2017)

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power_rangers.jpgDirector: Dean Israelite
Writers: John Gatins (screenplay), Matt Sazama (story by)
Stars: Dacre Montgomery, Naomi Scott, RJ Cyler

Review by Gilbert Seah

Danger! Danger! Really bad and tacky opening sequence that is a forewarning of worst things to come! The film opens with a confrontation fight between two enemies, Zoltand and (yes, ridiculously named) Rita on the planet Earth before a meteor strikes. Voiceover informs that this is the Cenazora Era – whatever that means. Something is buried which, the audience can guess will be uncovered at the present time. All of what just occurred is a warning that the next 124 minutes of running time will be devoted to stupidity. The third POWER RANGERS film, which is actually a reboot by South African director Dean Israelite is an exercise in stupidity – in story, plot, action sequences and characterization. But the film, based on the successful TV series of the same name, is occasionally stupid fun!

The first POWER RANGERS film, MIGHTY MORPHIN POWER RANGERS: THE MOVIE in 1995 made lots but the second, made two years later, TURBO: A POWER RANGERS MOVIE flopped. Director Israelite has said that his new $100 million version will be more edgy, down-to-earth and deal with more human issues. Israelite who became famous with his found-footage film PROJECT ALMANAC shows the same tactic with his camera placed within the car that is being chased at the start of the film. The resulting jittery screen does not really do anything much in terms of excitement for the car chase. In fact, a better effect was created with the camera on he dashboard of the car in the bank robbery escape scene in David MacKenzie’s HELL OR HIGH WATER.

The story follows five teens with attitude (Israelite’s more human characters??) are inexplicably brought together by coincidence or destiny to become the newest generation in a line of warriors known as the Power Rangers. The world rests in their hands as Rita Repulsa (Elizabeth Banks), a powerful witch and former Power Ranger, launches an assault seeking the Zeo Crystal with an army of stone golems called Putties and a giant golden monster called Goldar.

Five is a number too large. The film has to give screen time to each power ranger, with boredom setting in as quickly as an unfunny joke falls flat. The leader is a disgraced football player, Jason Scott (Dacre Montgomery) who steals a bull at the start of the film. The other members are an assortment of different races and disabilities so obviously political correct that the entire enterprise looks downright silly. There is the autistic Afro-American (two in one), Billy Cranston (RJ Cyler), the gay Trini (Becky G), the asian Zack (Ludi Lin) looking after his bed-ridden mother and Kimberly (Naomi Scott) the only other white power ranger.

The special effects and action sequences are cheesy if not tacky. It would just as well to see actors in monster costumes fighting each other. The humour is awful and unfunny. Most of the acting is terrible as well. The high school kids are played by actors over twenty. In fact, Ludi Lin is around 30 years of age. Elizabeth Banks, hardly recognizable in heavy make-up and skimpy outfit, at leasts knows how to camp up her villainous character.

POWER RANGERS is obviously aimed at a kids audience. But children’s films could be really funny and entertain adults as well, as in films like the SHREK and the recent BEAUTY AND THE BEAST. POWER RANGERS is just plain awful and boring from start to end. This one competes with MONSTER TRUCKS as the worst imagined and executed film project this year.

Trailer: https://www.youtube.com/watch?v=J8ezPMcnnyY

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Film Review: T2 TRAINSPOTTING (UK 2017) ****

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T2.jpgDirector: Danny Boyle
Writers: John Hodge, Irvine Welsh (novels)
Stars: Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Robert Carlyle, Kelly McDonald

Review by Gilbert Seah

T2 TRAINSPOTTING, the 20-years after sequel to TRAINSPOTTING, is so-called after the filmmakers got the rights to use T2 (hasta la vista baby to T2 standing for TERMINATOR 2) arrives with all the characters as well as the actors and director/writer after ageing a full 20 years. Hopefully, the elapsed 20 years have made each person smarter. Judging from the movie, they certainly have.

The original can be remembered (even after 20 years) for its catchy beginning sequence when Renton runs at full speed on the street only to stop with the camera right in front of him. A reverse of that effect is achieved brilliantly at the start of T2. Renton (Ewan McGregor) is now running on a treadmill at full speed, trips and falls flat on the gym floor. The camera is neither stationary nor the character but ends with both in motion before the final shot.

Boyle is directing in top form with all the energy and innovation as his first films. I have been a Boyle fan for his early films like SHALLOW GRAVE, TRAINSPOTTING and 28 DAYS LATER and not too keen on his later ones like his over talky STEVE JOBS (there is an extended talky sequence in T2 when Renton rants about ‘choosing life’), SLUMDOG MILLIONAIRE and not especially with his 2012 summer Olympics opening ceremonies.

Though it is not necessary to have seen or be familiar with the original, it is recommended to view the fist film in order to appreciate T2. All the four characters have gone on in life, though their personalities have remained intact. Renton leaves Amsterdam to return to Edinburgh. He meets up with Sick Boy (Jonny Lee Miller) who still blames him for ripping him of with money from the first film. Begbie (Robert Carlyle) has broken out of prison while Spud (Ewen Bremmer) is still hooked on candy. The villain of the piece is Begbie, who is as violent as ever, seeking to kill Renton for stealing his money.
All the actors are nothing short of perfect in their roles including Kelly Macdonald as Sick’s Boy’s girlfriend, Diane.

The film is much an action film as a character driven piece. The action sequences are well executed (the car chase/escape where Renton jumps on the roof of a car; the fight in the dilapidated building; the club scene) as well as the dramatic confrontations. Audiences should expect and be warned of the excessive violence, swearing and drug use in the film.

Boyle also dazzles the audience with his fancy camerawork at the start and also in the unforgettable sequence when the camera pulls back from Renton’s room into a abysmal corridor.

But T2 delivers – as each actor, director and writer demonstrates. The film is impressive in all departments but most of all, it brings closure to what Boyle celebrated – the use of heroin. This mature film displays the characters now mature and grown up with the drugs perspective put well in place, artistically and less graphically.

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

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Film Review: MY SCIENTOLOGY MOVIE (UK)

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myscientologymovieDirected by Joh Dower

Review by Gilbert Seah

As the title implies, MY SCIENTOLOGY MOVIE is a cheaply made kind of tacky documentary on the subject of Scientology.

The film is written by and stars Brit. Louis Theroux, who is in almost every frame. It is kind of odd to see a Brit making an American documentary and is is comical to see how he infuriates many of his subjects – even those working with him. (Theroux raises questions about Rathbun’s, (a former Scientology senior member) own complicity in the church’s “terroristic” activities, leading to tensions between the two men.) Theroux had long sought to make a documentary about the Church of Scientology from the inside but was repeatedly refused by church officials. In 2011 his producer, Simon Chinn, suggested making a 90-minute feature about Scientology. Together with director John Dower, they looked for ways to make a documentary, without access to its subjects. To be different form other documentaries, they used the idea of “negative access”, illustrating the church by provoking a reaction from it.

In this documentary, the audience sees Theroux teaming up with former senior church official Mark Rathburn (called ‘Matty”) to create dramatic reconstructions of incidents within the church witnessed by Rathbun and other ex-Scientologists. They focus in particular on alleged violent behaviour by the church’s leader David Miscavige at its secretive Gold Base facility in California, which Theroux visits. They interview several actor to play the part of both Tom Cruise and Miscavige in order to react certain scenes. The actors doing the parts and coming for auditions bare an uncanny resemblance to the real people. The church retaliates by putting Theroux and his film crew under surveillance, leading to camera-wielding confrontations with a Scientology “squirrel buster” team and with church officials outside Gold Base.

A few of the re-enactments – such as the abuse by Miscavide towards his senior staff are shown. Theroux and Matty are shown in the background nodding in approval. But the entire doc that they made is never really shown but only bits and pieces of what they did, as well as them filming themselves and hastily assembled into this movie. All this looks like a bad patch up with no head or tail.

It is courageous to see the filmmakers to take a different approach to their Scientology doc but nothing is achieved that the audience has not see before. Alex Gibney had made the much better GOING CLEAR – SCIENTOLOGY AND THE PRISON OF BELIEF where Gibney circled the movement right from its beginnings, seeking to analyze its methods and impugn its motives. Gibney had footage of the real Tom Cruise and John Travolta. MY SCIENTOLOGY MOVIE, in contrast had to rely for on only one man, Matty all their information.
MY SCIENTOLOGY MOVIE turns out as annoying as Theroux its star. If one wants to know about Scientology, it is best to rent the Alex Gibney GOING CLEAR video. MY SCIENTOLOGY MOVIE just goes nowhere and gets there pretty fast.

Trailer: https://www.youtube.com/watch?v=s-9qUjE40wM

 

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Film Review: MR. GAGA (Israel/Sweden/Germany/Netherlands 2015) ***

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mrgaga.jpgDirected by Tomer Heymann

Review by Gilbert Seah

Timing is everything. MR. GAGA documentary about bad boy dance choreographer, Ohad Naharin is being released just a few weeks (though made earlier) after a similar documentary about another bad boy dance choreographer. The first doc called DANCER follows the troubled life of now 37-year old Sergei Polunin, acclaimed as ‘the most naturally gifted male ballet dancer of his generation’. Both films follow the same outline. They trace the influences (Ohad, dancing when young as a boy in the kibbutz) and childhood of the dancers, their troubles (marriage and choreograph methods), there talent and their rise to fame together with lots of footage of dance performances. Hopefully, MR. GAGA can still attract audiences after they have seen DANCER.

Ohad Naharin is the Israeli choreographer who’s revolutionized modern dance, even although he himself didn’t begin formal dance training until age 22. Now in his mid-60s, Naharin has headed up Tel Aviv’s famed Batsheva Dance Group since 1990, creating pieces and training dancers with “gaga” – a dance language he invented, whereby dancers feel the sensation of movement. In 1998, Naharin rebelled against censorship when he withdrew Batsheva from Israel’s 50th anniversary gala after organizers – bowing to pressure from religious groups – insisted he clothe his dancers more modestly.

The dance performances are well tracked and form the most interesting segment of the film – even f one is not an avid dance fan. Excerpts include:
2013 – The Hole
2015 – The Last Word
2003 – Mqnootoot
2011 – Sadeh (three times)
2005 – Three, the most homo-erotic, in that order.

The performances are put into perspective of the dance’s life, making them more relevant in the film.

As expected, the best insight into Ohad’s personality is provided by the dancers under his charge. They claim him to be ‘so strong’ and ‘so intense’. His intimidation can be seen when he tells them during their performances not to f*** it up, as it is his life. He would use words like: “Don’t f*** with me,” and “You are boring me”. These only goes to show that talent can never be substituted for hostility not matter how talented the antagonist is. There is no interview with his wife. It would have been even more interesting to know what living hell living with this man might have been. Director Heymann allows Ohad to have his say as well. Ohad claims that he is able to get the most of of his dancers. A former dancer recalls that everyday someone would leave the studio either yelling or crying.
Judging from most of his choreography, Ohad has a lot of aggression in him. His moves are fierce and hard and often include movements like falling and hammering. As expected, the genius and spoilt boy behaviour is incorporated in the same one person – in Ohad.

But Heymann keeps the audience on track with Ohad’s likability. If the audience hates the subject, it usually follows them hating the film. When the Government forces Ohad’s dance to wear leotards instead of their original skimpy outfits, he announces the change of costume to his dance troupe and subsequently resigns. This causes massive protests in the country. His wife and true love also dies of cancer and Heymann shows the power of dance to heal through Ohad,

The film is shot in English and Hebrew.

Trailer: https://vimeo.com/139907441

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com