2017 movies

Film Review: THE SHACK (USA 2017)

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The Shack (2017).jpgDirector: Stuart Hazeldine
Writers: John Fusco (screenplay), Andrew Lanham (screenplay)
Stars: Sam Worthington, Octavia Spencer, Tim McGraw

Review by Gilbert Seah

THE SHACK is a faith movie that loses the ‘Christianity’ label but whose theme would probably include the Christian faith. God appears in many forms, as male papa (Graham Greene), female papa (Octavia Spencer) or Jesus (Avivi Alush) or Sarayu Sumire Matsubara.

Though the Christian God’s name is absent, many of the teachings of Christ are present in one form or another. In the film, God appears in the film as a trinity, though the trinity is not in the form of God, the Father, the Son and the Holy Ghost but in the form of papa, Jesus and Sarayu. The preaching of forgiveness, very important in Christianity is also emphasized in the story.

The film opens with a young boy, MacKenzie as he witnesses his father abusing his mother and then giving him a beating after he tells on him at church. The abuse obviously flows into the boy’s adult life. The film forwards to the present where the boy is now a grown man, (Sam Worthington), married with two children. Christianity loves to test the faith of its believers and in this case, the patience of the audience as well.

After his young daughter is murdered during a family camping trip, Mack Phillips spirals into a deep depression causing him to question his innermost beliefs. Facing a crisis of faith, he receives a mysterious letter urging him to the shack where the crime occurred, deep in the Oregon wilderness. Despite his doubts, Mack goes there and encounters an enigmatic trio of strangers led by a woman named Papa. Through this meeting, Mack finds important truths that will transform his understanding of his tragedy and change his life forever.

Director Hazeldine’s straight forward storytelling technique leaves nothing to the imagination. Apart from a few dreamlike sequences, the story unfolds in chronological fashion with hardly a flashback The film is more interesting (though this is not saying much) in the first 15 minutes or so, because there are incidents happening. After, when redemption is the order of the day, the film just ponders along ponderously.

There are no special performances in the film. Worthington appears to be faith blindly walking though his role The same goes for the rather well-known name cast that includes Radha Mitchell, Octavia Spencer and Graham Greene. I have never seen Spencer in such a painful performance, forcing laughter too many times as in this film.

The film is suitable for a family audience. There is no foul language. Even the child beating scene is done without any violence and the reason for Missy’s appearance is mentioned in a ‘too polite’ manner.

An overlong faith movie running at 132 minutes which is as slow and tedious as it tests your faith and patience, see THE SHACK only if you absolutely MUST.
The film end with an equal tedious song “Keep Your Eyes on Me” by Faith Hill and actor Tim McGraw.

Trailer: https://www.youtube.com/watch?v=CL0yUbSS5Eg

 
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Film Review: ARKHAM’S JOURNAL (2017)

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Played at the January 2017 Sci-Fi/Fantasy Film Festival

MOVIE POSTERARKHAM’S JOURNAL, 7min, Canada, Fan Fiction/Mystery
Directed by Matthew P.H Rea

Based on “Batman” DC Comics. Filmed in and around Toronto, this short proof-of-concept film provides a small insight into the untold stories of Gotham’s darkest hour. With the timeline loosely based around the batman comic, “Knightfall”, Arkham’s Journal is told through the words of Dr. Arkham’s Journal, detailing the lives of all the Arkham Asylum patients.

Review by Kierston Drier

Director Matthew P.H Rea uses ARKHAM’S JOURNAL to explore the the question “where does evil come from?” in the DC Batman Comics. Told through doctors’ notes, this piece walks through the lives and backgrounds of those residing in the Arkham Asylum.

This vibrant short doesn’t give us the whole story, and this may be one of its’ stronger points. Instead of spelling out the complete and total backstory of each villain, it shows just enough to spike our emotional centres- our fear, our intrigue, our disgust and our sympathy.

Evocative and beautiful, with strong gothic visuals and the dramatic density that rings true to the series tone and makes the franchise proud, ARKHAM’S JOURNAL brings us right to the brink of wanting to know what comes next. A strong, engaging and visually riveting piece, that stands alone while still fitting within a rich and elaborate world.
 
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Film Review: A CURE FOR WELLNESS (USA 2017) ***1/2

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a_cure_for_wellness.jpgGore Verbinski
Writers: Justin Haythe (screenplay), Justin Haythe (story by) |
Stars: Jason Isaacs, Dane DeHaan, Mia Goth

Review by Gilbert Seah

The director of THE PIRATES OF THE CARIBBEAN films turns serious with a new psychological thriller written by Justin Haythe (THE LONE RANGER and REVOLUTIONARY ROAD). Like the PIRATES OF THE CARIBBEAN films, A CURE ROR WELLNESS is over-long and can be shortened, but it is still a surprisingly entertaining suspensor, keeping the audience on the edge of their seats from start to finish.

An ambitious young executive, Lockhart (Dane DeHaan, his most memorable role being in CHRONICLE) is sent to retrieve his company’s CEO from an idyllic but mysterious “wellness center” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem. When he begins to unravel its terrifying secrets (Do NOT drink the water!), his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests there longing for the cure. He is being watched and confined by Volmer (Jason Isaacs) who has darker designs for Lockhart. Lockhart, in the meantime falls in love with Hannah (Mia Goth) another patient at the facility. The question is whether Lockhart can escape or end up committed forever. The film might have been inspired by the classic THE CABINET OF DR. CALIGARI.

The film is realistically shot in English and part German as the mountainous parts of Switzerland is mainly German. The film was filmed largely at The Babelsberg Film Studio, located in Potsdam-Babelsberg outside Berlin, Germany, the oldest large-scale film studio in the world. (METROPOLIS was shot there.) The film is a handsome production, with special effects and stunning shots by cinematography Bojan Bazelli.

Relative newcomer Dane DeHaan makes a believable naive young executive falling prey to a dark evil that challenges his sanity. Equally good, if not better, is young Mia Goth who plays a waif who is as innocently creepy as Sissy Spacek in CARRIE. There is a nice cameo by English actress Celia Imrie (THE BEST EXOTIC MARIGOLD HOTEL) who plays a small but important role as a Baroness.

The film is a tad too long at 146 minutes with many repetitive scenes. How many times has Lockhart been warned by Volmer for roaming around and getting lost in the facility? How many times must Lockhart see the toilet handle shaking. And how many times must Lockhart wake up from a nightmare in cold sweat for the purpose of director verbinski scaring the audience with a false alarm?

To be fair to Verbinski, he has staged some very creepy scenes, the one in the village pub being one of he creepiest I have seen in a while , In this scene, Hannah puts on a song from the jukebox, that turns out to be the creepiest, haunting music I have ever heard. She dances in her skimpy dress with the heads of onlookers turning around to watch this strange creature dancing, only to have her felt up by the local village thug who yields a curved blade when later rescued by Lockhart. Lockhart is at the telephone making a long distance call at the point Hannah is being molested, the timing adding to the suspense, in the film’s best scene.

The film has not had that much publicity so far, but it comes with my high recommendation as a taut suspenseful thriller with super eerie European atmosphere. Creepy and scary, the film will keep one absorbed in suspense from start to end. The film also delivers, subtly, the message that wellness comes from oneself, through self-discovery.

Trailer: https://www.youtube.com/watch?v=4mcVodJmBlU

 

 

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Film Review: BEFORE THE STREETS (AVANT LES RUES) (Canada 2016)***1/2

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before_the_streets.jpgDirector: Chloé Leriche

Writer: Chloé Leriche

Stars: Rykko Bellemare, Kwena Bellemare-Boivin, Jacques Newashish

Review by Gilbert Seah

Things have not gone right, are still not going right and are going to get worse for a young adult Atikamekw man in the First Nations reserve of Manawan in Quebec. When the film opens, his girlfriend has left him, with him trying to win her back, unsuccessfully. Shawnouk (Rykko Bellemare) smokes up daily, is jobless and leaves a meaningless life with with his sister, mother and mother’s boyfriend, who happens to be an indigenous cop. Things get worse, when he accidentally kills his crime partner after a botched burglary.

When things have gone this badly, it can only get better. But this story of Shawnouk’s redemption shows that redemption does not come easy. It comes with humility, diligence and a self-discovery experience. All these issues make a heated subject for a super indigenous movie And writer/director Chloe Lerich does her subject justice. Lerich also produced, wrote and edited her film besides performing the directing duties.

BEFORE THE STREETS is an original and admirable first feature from director Chlore Leich. It is a moody piece that effectively capture the monotony of life with few opportunities on the reservation. The film also questions the rights deserved of these people – who have essentially got they land stolen from them. Now they have to suck up to the Whites. “Here come the shiflies”, says the indigenous cop, humorously about the Quebec police, at one point in the film.

There is a segment in the film where Shawnouk works in the canine department putting down stray dogs that are sick, or have bitten people. The metaphor is clear. Shawnouk finds it unbearable to work in such an environment.

One problem of the film has is Lerich’s fondness of closeups. As a result, only the closest object can be in focus and others in the frame appear blurred. The result is often many blurred images, especially at the very start of he film. There is also Atikamekw chanting at the start and end of the film – with the Atikamekw character screeching at a very irritating high pitch tone. It is a necessary piece, but hard on the eardrums.
Credit should be given to two excellent performances. The first is the actor Rykko Bellemare who plays the lead like an Atikamekw James Dean. He is able to capture both the audience’s sympathy and admiration for his downs and ups. The second is Jacques Newashish as the mother’s cop boyfriend, who is torn between the right and lawful thing to do.

For a debut feature Lerich’s film is an emotionally satisfying tale of redemption. The only question here is the credibility of the spiritual cleansing depicted. But it works through the personal change of Shwnouk, which is more important and effective than any jail term dished out by a Justice system. As in films like this, the ultimate question asked is: “Can there be any justice on stolen land?”

The film is shot mainly in he Cree language with a bit of French.

 

 

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Film Review: A DOG’S PURPOSE (USA 2017) ***

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a_dogs_purpose.jpgDirector: Lasse Hallström
Writers: W. Bruce Cameron (screenplay), Cathryn Michon (screenplay)
Stars: Josh Gad, Dennis Quaid, Peggy Lipton

Review by Gilbert Seah

A DOG’S PURPOSE begins with the birth of a puppy. The question: “What is the purpose of life?” is asked in the voiceover. But the answer comes front he canine point of view. The puppy lives its life and dies. (The first life is really short.) It is reincarnated several times starting as a puppy leading different lives as different breeds with different owners. But the main important one is the one as Bailey (all the dogs voiced by Josh Gad) who has a loving relationship with Ethan (K.J. Apa). But the dog remembers all its past lives.

With so many reincarnations come many stories. Director Hallstrom moves his film fast, so that there is hardly a dull moment. There are 4 separate stories with 4 different owners and reincarnations. The stories are all told from the dog’s point of view. The script tries to be funny, but the result is only polite laughter judging from the promo screening audience.

The ultimate question arises from the film’s title is what a dog’s purpose is. The obvious answer is to be man best friend. But the answer (not to be released in this review) provided by the film is even more specific.

The cast has only one well known name, that of star Dennis Quaid who appears towards the end of the film, though he has an important role. The best performances are from the canine actors, credit going to the trainers of course. It is always a wonder to see how these dog players perform so well – for example running where they are supposed to go, under fences into water, jumping through loops and saving helpless human beings and licking them constantly.

The film, typical from Swede director Hallstrom (MY LIFE AS A DOG, CHOCOLAT, WHAT’S EATING GILBERT GRAPE? THE CIDER HOUSE RULES) is undeniably mawkish, milking sentiment whenever possible. It is advisable to bring plenty of Kleenex. My guest who loves dogs who I brought to the promo screening, bawled his eye out.

A few words obviously need be said about the film’s controversy. On January 18, 2017, a video surfaced on TMZ showing footage taken from the set of the film, which shows a German Shepherd named Hercules being dragged and dipped into rushing water while visibly resisting. Worst, the following clip shows the dog being submerged in the water at the other end of the tank. As a result, many is expected to boycott the film. So far, Universal Pictures has cancelled the film’s scheduled January 19 Los Angeles premiere and the representative from the Humane Association watching for the cruelty and harm to animals has been suspended. One will see during the weekend at the box-office (expected gross is $20 million) if the adage ‘all publicity is good publicity’ is still valid.

A DOG’S PURPOSE is not the best of Hallstrom’s films, but he manages a successful job. The film is an entertaining family film that caters to all dog lovers. It is pitiful that bad press arose from the TMZ videos, but the filmmakers, I am sure had the best intentions in mind for man’s best friend.

Trailer: https://www.youtube.com/watch?v=1jLOOCADTGs

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Film Review: GOLD (USA 2016) ***

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gold.jpgDirector: Stephen Gaghan
Writers: Patrick Massett, John Zinman
Stars: Matthew McConaughey, Edgar Ramírez, Bryce Dallas Howard

Review by Gilbert Seah

GOLD has been advertised as an American crime adventure film. But the film is not that much an adventure film, feeling more like a biopic of Kenny Wells (Matthew McConaughey), an unlucky businessman who discovers and finds gold, but loses it all including his long-suffering girlfriend, Kay (Bryce Dallas Howard). GOLD is in reality, based on the Bre-X scandal. It is indicated at the start of the film that the film is inspired by true events. So, the Wells character is likely made up.

It appears that the entire story of GOLD can be determined from the trailer. But it is not so. Though the story has a twist, director Gaghan, who directs based on a script by himself, Patrick Massett and John Zinman cannot decide what kind of film (satirical or sincere) it wants to be. It is also part romance, crime, a bit of adventure but feels like a biopic of a totally obnoxious (though fictitious) person that the audience is supposed to root for.

The film turns towards sincerity in the segment where Kay angrily warns Kenny of the business wolves. The satire is mainly found in Kenny’s character – for example in the scene with him hugging geologist Michael in his underwear like two gay lovers.

Oscar winner, Matthew McConaughey (DALLAS BUYERS CLUB) looks absolutely horrendous in the movie – intentionally and he flaunts it. He has put on so many pounds that his gut shows. Besides smoking half the time, Kenny spawns a receding hairline, looking half bald with bad skin. It makes matters worse that the guy the audience is supposed to root for is not only obnoxious but ugly.

The film is set in Indonesia where the gold prospecting is being done. Locations in Thailand are used to substitute for Indonesia, for obvious reasons that Thailand is more stable for filming. As far as westerners go, most cannot tell the difference. The film makes sure that the locals in the film including the character of the geologist Michael Acosta (Édgar Ramírez) speak Malay and not Thai.

Of the performances, veteran Stacy Keach as big-shot, Clive Coleman stands out. Others supporting actors like Howard, Ramirez, Bruce Greenwood deliver standard uninspired performances. McConaughey is McConaughey, who can deliver an extremely annoying over-acted performance, as observable in the film’s first 10 minutes. But hand it to him, at least his over-acting keeps the film from being boring.

The film begins with Kay and Kenny talking about gold prospects. The script quickly jumps 7 years into the story with Kenny growing bald and fat. The script also calls for the story to bounce to and from from the States to Indonesia. Director Gaghan also, for no reason, resolves to split screen for a few minutes of the movie and then never goes back to it.

The most interesting segments of GOLD are not the location shots in Thailand. They are the ones involving the business wheeling-dealing – often with Kenny being taken for a rough ride. The best of these is the business conference in which a strategic partner is sought with an impossible conversation.

Does GOLD succeed in telling an entertaining story? The answer is up to the audience to decide but as in the words of Kelly when he first discovers gold: “the ride has begun!”

Trailer: https://www.youtube.com/watch?v=gdLXPv5NsA4

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Film Review: NELLY (Canada 2016)

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nelly.jpgDirected by Anne Émond

Starring: Mylène MacKay, Marie-Claude Guérin, Catherine Brunet

Review by Gilbert Seah

Quebecois writer/director Anne Émond impressed cineastes with her first two features NUIT #1 and LES ETRES CHERS for their complexity and honesty. There is more of the same in her latest feature called NELLY which is based on the works and life of controversial writer Nelly Arcan (born Isabelle Fortier).

The film is bookmarked with Nelly’s performance on stage of the catchy well-known song “Those Were the Days” in French. At the start of the movie during the rendering of the song, the camera lowers to the front row of the audience where Nelly is signalled to lower her voice. It is a scene that impresses, that shows how details like these can capture the attention of a director’s audience.

Fortier published Putain (Whore) in 2001, causing a sensation in literary circles with a tale of prostitution based on her own experience in the trade. But with the success of that debut novel came crushing anxieties, all of which found their way into her work.

Émond portrays the onscreen NELLY as a composite of Arcan’s many personas and her fictional characters, bringing her to life in an astounding, kaleidoscopic performance by Mylène Mackay – and an excellent almost faultless performance at that. Émond blurs the line between the real and the fictitious character so that he audience is unaware what is happening is real or imagined. In this way, as the film moves from one striking passage of the author’s oeuvre to the next, from elating highs to desperate lows, the audience is immersed in her lush and punishing world. The character Nelly would do things in real life to test out for her characters in the book to do. There is a segment involving rough sex that is as sexy as it is deadly.

NELLY is not a biopic in the normal sense. NELLY is not portrayed from child to her death in her early thirties. In fact the cause of her death (an early one at 34) is not even mentioned in the film, illustrating the fact that, that fact is not the important point in the film. The film traces just the window of her life within a year where everything that takes place establishes the writer for what she is. Her relationship with her lover is also displayed in all its complexity. The one scene in which an argument ensues for the fact that he refuses to share a line of coke with her explains the volatility of their relationship, as also hinted in the disturbing scene in the swimming pool change-room. Here, Nelly is shown mentally unstable, writhing on the wet floor of the change room screaming at her lover. Nelly does spend some time in a sanatorium (which she describes as a rest house) which she deeply resents.

NELLY has been deservedly chosen as one of Canada’s Top 10 films and it sits as one of the better ones. It is a small budget production, efficiently made, effective and like her other works, complexed but honest.

Trailer: https://vimeo.com/177441312

 

 

 

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