gilbert seah

Film Review: TROLLS (USA 2016) ***

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trolls_poster.jpgTROLLS (USA 2016) ***
Directed by Mike Mitchell and Walt Dorn

Starring: Anna Kendrick, Justin Timberlake, Zooey Deschanel, Christina Baranski, Russell Brand, Gwen Stefani

Review by Gilbert Seah

The new Dreamworks animation released by 20th Century Fox, TROLLS is a happy enough 3D computer-animated musical buddy comedy film based on the dolls of the same name created by Dane Thomas Dam way back in 1959.
The TROLLS are colourful figurine-sized doll characters who are known to be happy all the time. They sing, dance and hug constantly. But the happiness is now under threat as creatures known as Bergens have discovered the trolls and eating them up. They do so in order to be happy as Bergens do not know how to dance or sing or be happy. The name Bergens is likely derived from the coastal city of Bergen in Norway, the only country in the world known for trolls.

Many animated features share the identical premise (ZOOTOPIA, for example) of heroes saving their village. In TROLLS, the plot revolves around two trolls on a quest to save their village.

Princess Poppy (Anna Kendrick), throws a big party to celebrate one trolls’ escape from the Bergens, despite the fears and warnings of the glum and paranoid troll Branch (Justin Timberlake) that loud parties will attract them again. Branch’s fears are realized when indeed the banished Bergen Chef sees the fireworks and captures a number of trolls. Poppy is among the trolls who manages to hide, but discovers that none of the other trolls dares to venture to the town of the Bergens to rescue their friends. She and the reluctant Branch together journey to the Bergen’s town to rescue their friends.

The Bergens also have interesting characters. The scullery maid Bridget (Zooey Deschanel) strikes a deal with the trolls.: if she frees their friends, they will help her get a date with the now King Gristle Jr. (Christopher Mintz-Plasse). A plot twist involves the Zen-like troll Creek (Russell Brand) who after being apparently swallowed by the young king has been discovered being held captive in the jewel that decorates the king’s mantle. But things obviously work out in the very end, with as expected a happy ending that cannot be happy enough.

TROLLS is definitely a kid’s movie. The only scary part involves a troll eaten by a Bergen, but thankfully there is minimally done with little troll gulped down. The jokes are goofy enough for both adults and children to enjoy. TROLLS is not as funny as SHREK but the humour is at least funnier than the average animated feature.

TROLLS is also part musical. Most of the songs are popular pop songs that suit the atmosphere of the film. Of all the voice characterizations, John Cleese’s and James Corden’s are immediately recognizable. The film is super colourful. It helps too that the animated choreography is inventive enough to be entertaining as well as good silly.

As in most animated feature these days, TROLLS arrives in 3D. It answer the question whether audience can or cannot do do with too much happiness.

Trailer: https://www.youtube.com/watch?v=xyjm5VQ11TQ

 

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HACKSAW RIDGE (USA/Australia 2016) ***** Top 10

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hacksaw_ridge_poster.jpgDirector: Mel Gibson

Writers: Andrew Knight (screenplay), Robert Schenkkan (screenplay)

Stars: Andrew Garfield, Sam Worthington, Luke Bracey, Teresa Palmer, Vince Vaughn, Hugo Weaving.

Review by Gilbert Seah

After about a decade absence from the director’s chair (his last film was the misunderstood APOCALYPTO in 2006), the director of BRAVEHEART and THE PASSION OF THE CHRIST returns in top form as if redeem in himself of all the bad press he had garnered since he said and did some foolish things. It’s another situation in this 21st century social media era where the outside events of the director “tarnish” the actual film itself. Think “Birth of the Nation”. Two films that should potentially receive multiple Oscar nominations. But will they? And should they?

The film is a true story, bravely told, inspiring as well, set in World War II featuring the most unlikely of heroes – a pacifist who refuses to carry a rifle. Not only does the film boast inspired direction by Gibson, but it also contains perhaps the best performance of the year by a young actor, the most recent SPIDER-MAN, Andrew Garfield – if not the best performance of his career. It should be a crime against someone like Garfield for being so good-looking and talented at the same time.
The true story of medic, Private Desmond T. Doss (Andrew Garfield), who won the Congressional Medal of Honor despite refusing to bear arms during WWII on religious grounds. Doss was drafted and ostracized by fellow soldiers for his pacifist stance but went on to earn respect and adoration for his bravery, selflessness and compassion after he risked his life — without firing a shot — to save 75 men in the Battle of Okinawa.

The script by Andrew Knight and Robert Schenkkan can hardly go wrong. What the story needs, the script does. Firstly, it strongly establishes the reason for Desmond’s behaviour and beliefs. The contradiction of the father’s character is also smoothly tied in with conviction. The film is basically divided into two parts. The first is Desmond’s basic training (boot camp) where he is mocked by both his superiors and his fellow soldiers. He is also given the dreaded blanket party at night. The second part of the film and the most brutal is his service in the battlefield. At times, the film feels like Stanley Kubrick’s FULL MEATL JACKET which contains two similar segment but Gibson’s second section, unlike Kubrick’s is the more exciting one.

Besides Garfield’s outstanding performance, Vince Vaughan delivers an equally impressive one, the role of a stern sergeant, much uncharacteristic of what audiences expect from him. Aussie Hugo Weaving (THE MATRIX movies; PRISCILLA, QUEEN OF THE DESERT) is also perfect as the hard drinking father who when finally does good and justice for his son, whose performance will break the hardest of hearts.

Those who are able to remember THE PASSION OF THE CHRIST will see more tortured scenes in the film. The battle scenes – with heads exploding; guts pouring out; dismembered bodies and wounds infested with maggots and rats are not easy ones to watch. The scenes rival Spielberg’s unforgettable beginning sequence in SAVING PRIVATE RYAN and one can only guess what is yet to come with Christophe Nolan’s upcoming DUNKIRK.

The closing credits serve to prove to the audience that as wild as this story might be, the truth exists. Archive footage of the real heroes as depicted in the film speak out, often saying the identical words in the film’s script.

America needs her heroes in these difficult times of terrorism and racism. AMERICAN SNIPER and SCULLY are heroes depicted in films that have done extremely well at the box-office. Opening close to Remembrance Day, this film deserves to do well and might be the hit the flailing studio Lionsgate needs. Forget DOCTOR STRANGE! This film hits the mark!

Trailer: https://www.youtube.com/watch?v=s2-1hz1juBI

 

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Evolution! Mallorca International Film Festival

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by Gilbert Seah

The fifth annual Evolution! Mallorca Int’l Film Festival will be held from November 3 – 12  It is one of the fastest growing film festivals in the Mediterranean. 

The Evolution Mallorca International Film Festival (EMIFF) attracts over 2000 attendees from over 20 countries worldwide.  In 2016, EMIFF aims to expand the presence of international filmmakers and strengthen its position within the worldwide film festival calendar.  Since it’s 2012 inception, the number of films screened has tripled, counting over 70 movies from 22 countries during the 2015 festival program.  Ticket sales have continuously increased, selling out 90% of all EMIFF screenings and events.  In conjunction with its sister-screening event in Hollywood, CA, EMIFF is becoming an international launching pad for promising new talent in all film genres. 

EMIFF is proud to partner with sponsors who support the arts and emerging artists.

2016 EMIFF Gold Sponsors include: Premier FX. Silver Sponsors include First Mallorca Real Estate. Additional sponsors include: Rialto Living, Finca Hotel Can Coll, Perrier Jouet, Port Adriano, Govern de las Islas Baleares, Ajuntamiento de Palma, Consell de Mallorca, Islas Baleares Film Commission, Mallorca Film Commission, Mercedes AutoVidal and Museum of Contemporary Art Es Baluard.

The EMIFF is also a true destination event, with spectacular scenery in which to show high quality international films amidst the natural beauty of the island of Mallorca.  It has has quickly become a hot destination, popular with locals and film goers around the world who come in for the festival’s screenings, celebrity attendees, and numerous industry and special events. 

This year, the festival will honour Danny DeVito with a special tribute award in-person.

More information on the festival is here:

http://www.evolutionfilmfestival.com/eiff-contact

The festival was founded and is directed by a talented young festival director German actress Sandra Seeling Lipski.  Sandra is a buzzed about festival director on the international scene, and her multifaceted career as a successful festival director / actress / filmmaker, with an unusual international background, marks her as someone truly unique.

Events include Opening and Closing Night Galas

Gala Tribute to Iconic Actor/Director Danny DeVito

Spotlight Screenings of acclaimed feature films WILD and HEAVY HEART – festival spotlight on New German Cinema

Screening of Documentary OASIS SUPERSONIC and Spanish premiere of TOUR DE FRANCE with Gerard Depardieu.

The festival will present 17 films in Narrative feature and 6 in Documentary feature Competition, 18 short films, as well as additional events and special screenings.  Special events include the Opening Night Screening of El Destierro, produced by local Goya nominated filmmakers Toni Bestard, Marcos Cabotá and Diana de la Cuadra. Centerpiece is the Evolution Honorary Award Presentation to iconic filmmaker Danny DeVito, Spotlight Screening of acclaimed narrative film A Heavy Heart (Winner for Best Actor in a leading role at 2015 German Film Awards), a Closing Night Screening of Tour de France, starring Gerard Depardieu, and an Awards gala at Mercado Gastronómico San Juan.

Festival passes and individual tickets are available at present.

Ticket sales and additional festival information can be found at: 

www.evolutionfilmfestival.com

FESTIVAL FILM SLATE BELOW:

 

OPENING NIGHT FILM

El Destierro, Director: Arturo Rui (Spain) Spanish Premiere. 

Two soldiers are forced to live together in a small bunker. The intense war outside will soon erupt between them.

Cast and Crew will be in attendance

 

SPOTLIGHT GALA SCREENING

Sky, Director: Fabienne Berthaud (France) 

Romy is on holiday in the USA with her French husband, Richard, the journey wears out the couple. After an ultimate fight, Romy decides to break free. Actors: Diane Krüger (Troy, Inglorious Bastards), Norman Reedus (The Walking Dead). 

Director will be in attendance. 

 

CENTERPIECE GALA TRIBUTE & SCREENING – HONORING Danny DeVito

Legendary actor/director Danny DeVito will be honored with the inaugural Evolution Honorary Award. The Evolution Honorary Award is given to an iconic and visionary filmmaker who inspires audiences, breaks boundaries, and has created visionary entertainment that has touched generations. Danny DeVito’s tremendous body of work exemplifies storytelling passion and skill. We are proud to present a screening of Mr. DeVito’s classic 1989 film The War of the Roses, followed by a conversation with Mr. DeVito.

 

CLOSING NIGHT GALA SCREENING & AWARDS PARTY

Tour de France, Director: Rachid Djaidani (France)

A young Muslim rapper is forced to spend some time with a crotchety white racist. Enemies become friends, and learn a little something about the banality of their ignorance.

 

NARRATIVE FEATURE COMPETITION

Luca Tanzt Leise, Director: Philipp Eichholtz (Germany) 

After years of depression Luca reinvents herself with the help of new friends. 

 

Nirgendwo, Director: Matthias Starte (Germany) 

A stranger in his own life, Danny reluctantly returns to his childhood home after his father’s sudden passing. He rediscovers his hometown as a summery paradise.

 

Anna’s Life, Director: Nino Basilia (Georgia)

Anna a single mom is forced to take four jobs to support herself and her autistic son, she decides to leave Georgia but it’s easier said than done. Director will be in attendance. 

 

A Heavy Heart, Director: Thomas Stuber (Germany) 

A former East German boxing champion working as a bouncer and debt collector reflects on life when he is diagnosed with ALS. 

 

Pura Vida (After Words), Director: Juan Feldman (US)

A librarian facing a mid-life crisis travels to Costa Rica in search of enjoying life to the fullest. 

 

Kiss Me Kill Me, Director: Casper Andreas (US)

While confronting his unfaithful boyfriend, Dusty blacks-out. When he comes to, his boyfriend has been murdered and he’s the prime suspect. Director will be in attendance. 

 

Parasol, Director: Valéry Rosier (Belgium)

Holiday time, a Mediterranean island. The determination, no matter the cost, to make things change. Nostalgia for a past that never existed.

 

Bittersweet Days, Director: Marga Melià (Spain)

Julia rents a room to Luuk. Their cohabitation will make them rethink their lives: are they living the way they really want to? Director will be in attendance. 

 

Where to Miss?, Director: Manuela Bastian (Germany) 

We follow Devki’s story, as it tell us why Indian women find it difficult to free themselves from their traditional roles.

 

Dusky Paradise, Director: Gregory Kirchhoff, (Germany – Made in Baleares)

After the death of his parents a young man travels to Mallorca to live in their house and look after their turtle. 

Director in attendance. 

 

Autumn Fall, Director: Jan Vardøen (Norway)

Ingvld entangles herself with two men, it is a very dangerous journey.

 

Buddymoon, Director: Alex Simmons (US)

Jilted groom David is convinced by his best man Flula to continue with his planned honeymoon. Lead actress Lilith Stangenberg in attendance. 

 

Hotel Problemski, Director: Manu Riche (Belgium)

For the refugees of the multinational residential centre somewhere in Europe, this black comedy reveals their daily stuggles and laughs.

DOCUMENTARY FEATURE COMPETITION

Oasis: Supersonic, Director: Mat Whitecross (UK)

An in-depth look at the life and music of Manchester-based rock band, Oasis. 

 

The Karamazoffs (A walk on the SoHo years), Director: Juan Gamero (Spain)

In the 1960s, New York’s SoHo was occupied by artists from around the world, The Karamazoffs, a group of Barcelona artists relive their experience during those wild years in SoHo.

 

In Europe’s shadow, Director: Florian Schnell (Germany) 

Human rights activist Elias Bierdel commentates throughout the film and meets refugees from different countries and activists. 

 

De Lola à Laila, Director: Milena Bochet (Spain) 

From mother to daughter the film shifts to a reflection about female emancipation, fight, movement and cinema.

 

The Key to Dalí, Director: David Fernández (Spain) 

Tomeu L’Amo, a Majorcan scientist and artist bought an unknown painting in an antique shop 25 years later, he tries everything to get it certified as a real Dalí. Cast&Crew will be in attendance. 

 

CAPSULE REVIEWS for the opening and closing night films will be added during the weekend.

OPENING NIGHT FILM:


EL DESTIERRO (THE EXILE) (Spain 2015) ***1/2
Directed by Arturo Ruiz Serrano

The film’s intriguing plot sees two Spanish soldiers are guarding an outpost during wartime and discover a polish woman, hurt and unconscious.  Writer/director Serrano leaves the audience to figure which war it is, not that it matters.  When Teo (Chani Martin), the religious one is first sent to the deserted outpost in the midst of a harsh winter, his beliefs run heard to head with the more animalistic Silverio (Eric Frances).  Things get worse when a beautiful Polish girl Monika Kowalska shows up wounded.   Silverio aims at satisfying his sexual urges while Teo wants her delivered as an enemy to the army.   They nurse her back to health.  The film serves as both a thriller and a character study of the three characters.  Each one is given due importance thoughSerrano gives the film a bias towards Teo’s point of view.  One thing about the film is that one can never guess what is going to happen next – both in terms of incident or character development.   An overall absorbing film.

Trailer: https://vimeo.com/152586406

SPOTLIGHT GALA:

SKY (France/Germany 2015) ***
Directed by Fabienne Berthaud

A runaway movie in which the runaway is a female fed up with her marriage.  Romy (Diane Kruger) and Richard (Gilles Lellouche) are a French couple on vacation in America. They play at being free and wild in the California desert, but can’t escape the shadow hanging over their relationship. A drunken night in a bar leads to a violent confrontation. Romy sees a chance to remake her life.  She accidentally bashes Richard’s head with a lamp and flees the scene.  In the process, she undergoes a series of adventures, finding her true love at the same time.  It is a female flick with a lot of segments offering a woman’s point of view.  Just like WILD, the female seems to encounter friendly harmless males.  The film is called SKY because it is always changing.  And so do the events in the story.  They keep changing so that nothing is expected, which could be a good thing and bad as well.  The film is an ok watch but stretches the audience’s credibility.  At least Kruger and Lellouche are totally watchable.

Film Review: THE DAVID DANCE

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

the_david_dance.jpgTHE DAVID DANCE

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

Review by Gilbert Seah

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

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

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

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

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

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

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

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

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

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

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

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

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

Starring: Lázaro Ramos, Kaique de Jesus, Elzio Vieira

Review by Gilbert Seah

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

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

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

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

 

 

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

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

Starring: Ewan McGregor, Jennifer Connelly, Dakota Fanning

Review by Gilbert Seah

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

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

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

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

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

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

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

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

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Film Review: THE HANDMAIDEN (South Korea 2016) ***

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the_handmaiden_posterTHE HANDMAIDEN (South Korea 2016) ***
Directed by Park Chan-wook

Starring: Min-hee Kim, Jung-woo Ha, Jin-woong Jo

Review by Gilbert Seah

South Korean helmer Park Chan-wook, known for his excellent thriller OLDBOY returns with another suspense thriller, this time adapting Sarah Waters’ Victorian England-set bestseller Fingersmith to Japanese-occupied Korea in the 1930s. The adaptation works with a few flaws but the result is nevertheless something completely different – a historical drama that turns out to be both an erotically charged thriller and a lesbian romance, with sex scenes rivalling BLUE IS THE WARMEST COLOUR.
Park’s film is told in three chapter’s from the points of view of the story’s three characters. The film contains lots of flashbacks, with each flashback containing possibly a different meaning to the story than when the scene first appears. It is tight and clever editing, but too many of these lend to a bit of confusion. A few parts at the end are also confusing like the one in which Fujiwara rows a boat in a misty lake with the two women in it.

The three distinct perspectives are of: Japanese aristocrat Lady Hideko (Kim Min-hee), Korean thief Sookee (Kim Tae-ri), and pseudonymous schemer and thief, Fujiwara (Ha Jung-woo). Hideko lives isolated in the luxurious colonial manor built by her tyrannical and depraved uncle (Cho Jin-woong), a book collector who forces Hideko to read erotic stories for his lecherous old friends. Into this bizarre yet static daily routine enters new handmaiden Sookee, who is in on the purported Count Fujiwara’s scheme to marry Hideko and seize her inheritance. But the twist in the plot does not end here. The Count is in reality scheming against Sookee with Hideko with even more plot twists (not revealed in the review) on the way. It all becomes clear in the very end though confusing when each twist is revealed and in flashbacks.

But for all that the film is worth, Western audiences will be treated with a sumptuous feast for the eyes, in terms of the Korean and Japanese period atmosphere, from the colourful costumes, to the sets and wardrobe to the strange practise of the rich and famous. The one scene in which the two women destroy the valuable scrolls and books is one that stands out the most.

Park’s fondness for the gruesome and excesses, as observed in his films OLDBOY and LADR VENGEANCE is on display here. The digit chopping with the page clamp cutter segment had one critic walk out of the press screening. The lesbian love-making scenes between Sookee and Hideko, with their bodies sliding along each other with extreme moaning will also have the audience drooling. Other excesses include foul language, surrealism (the misty boat ride on the lake; the lengthy tooth rubbing scene) and erotism (Hideko’s sex readings to her uncle and dirty cronies).

THE HANDMAIDEN has delighted many critics for these excesses. But excesses are excesses and the film which runs a full two and a half hours could do with a bit of trimming. The film nevertheless is a beautifully meticulously crafted period piece with enough plot twists to tease most audiences.

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

 

 

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Film Review: TOWER (USA 2016) ****

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tower_.jpgTOWER (USA 2016) ****
Directed by Keith Maitland

Starring: Violett Beane, Louie Arnette, Blair Jackson

Review by Gilbert Seah

TOWER is an animated mixed archive footage reaction of one of the most chilling incidents in American history. On August 1st, 1966, a sniper rode the elevator to the top floor of the University of Texas Tower and opened fire, holding the campus hostage for 96 minutes. When the gunshots were finally silenced, the toll included 16 dead, three dozen wounded, and a shaken nation left trying to understand.

This is the first of America’s mass shootings. The film explores this untold history through the first-person stories of seven specific characters: two students who were shot that day, the two police officers who ended the siege, two civilians who inserted themselves into the story to provide aid to victims and police, and the radio reporter who broadcast live from the scene for more than an hour and a half, and whose broadcast was picked up nationally, bringing the events in Austin to listeners around the nation.

Once the film goes into first person, the audience is immediately immersed in the current situation looking at it from the person’s objective. Being animated, distractions are a minimum. The exact reactions and emotions, as realized by the animator can be most effectively conveyed. The identity of the shooter is clearly omitted, thus creating a more mysterious, chilling feel.

The film’s listenable soundtrack of hit tunes of the 60’s most effectively creates the feel of the 1966 film’s setting, aided by the arrival footage of vintage cars and people walking in 60’s garb. Maitland also uses the classic “Claire de Lune” (clearly his favourite music piece) during the siege and closing credits of the film,

One can also consider the film to be short stories of the different victims. The first victim is 18-year old Claire Wilson. She is first shot and she is revisited as she recounts her story – a sad one. Claire says: “All of a sudden I felt like I’d stepped on a live wire, like I’d been electrocuted.” Her boyfriend Tom reaches down to help her and he is struck down as well. For over an hour of the siege, Claire remains exposed to the shooter, conscious and steadily losing blood. Claire knows that her boyfriend has been killed and that she’s lost her baby too. “After some time, a really lovely young woman with red hair ran up to me and said, “Please, let me help you.” I told her to get down so she wouldn’t attract attention, and she lay down next to me. She stayed with me for at least an hour. It was a beautiful, selfless act.”

Some stories are more effective than others. Claire’s is the most touching. Halfway through Maitalnd’s film, a shiver would surely be sent down ones spin as one admires the heroes who sacrifice being shot while aiding the wounded victims. The film is also intersperses with the talking heads of actors of the real heroes, now aged since 1966, but their presence makes a marked impact to the story.

Maitland’s approach to documenting the tower shooting incident is no doubt novel and one may question why not enactment by real actors. A valid question, no doubt but this approach has produced a successful account, just as a live re-enactment might have achieved the same purpose. It helps tremendously that Maitland has worked close to the material, obtaining all the facts – from interviews of the surviving victims and then animating the action.

Trailer: https://vimeo.com/153727380

 

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Film Review: SAINT AMOUR (France 2016) ***1/2

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saint_amour_poster.jpgSAINT AMOUR (France 2016) ***1/2
Directed by by Benoît Delépine and Gustave Kervern

Starring: Gérard Depardieu, Benoît Poelvoorde, Vincent Lacoste

Review by Gilbert Seah

When father and son order a bottle of SAINT AMOUR in a restaurant, the film starts to bubble as the pair take off on an educational wine tour around the wine regions of France. Surprisingly, the education comes in a different form, as the two discover more about life, women and their relationship towards each other, rather than in the wines they savour.

A refreshing French dead-pan comedy, SAINT AMOUR is a road trip movie in which three very different characters embark on a road trip wine tour.

There is the father, Jean (his name perhaps taken from his other farming movie JEAN DE FLORETTE), his son Bruno (Benoît Poelvoorde) who he wants to take over the farm and the reluctant young and handsome 24-year old Parisien cab driver, Mike (Vincent Lacoste), who they hire to drive around France. The best scene has the three of them in the cab as if posing for a photo, goofing around and nudging each other way from the cab mirror.

All during the trip, the three try to conquer the opposite sex. But each has a problem. Firstly, Bruno is an ugly, middle-aged, unmarried farmer who immediately comes across as an uncultured hick. Jean, is old and portly but worst still, has not gotten over the recent death of his beloved wife. He still calls her just to hear her voice on the answering service. (But the voicemail finally gets full.) Mike is young and corky but a past illness of Phimosis has left the tip of his manhood black. He has an inferiority complex so bad that he food the other two to think that he is married with children. But his is a French film in fairly tale mode, so the trio naturally get to prove their manhood each in their own way, by having sex with a red-headed type Lady Godiva who first appears to them on horseback.

The comedy woks primarily for the actors. Both Depardeieu and Poelvoorde are not afraid to reveal their weaknesses. Depardieu is simply splendid as the overgrown old bear snoring in his sleep and grimacing in disgust when he cannot connect with his son. It is an experienced nuanced performance, the best that any actor can deliver in a comedy. Poelvoorde is perfect as the hick, constantly pasting back his hair like a child that does not know how to control his bad habits. Vincent, in real life is 23 and is a hapless charmer. The connection among the three are as ridiculous as one can imagine. But the film charms and entertains, the best thing next to a good French wine.

The film’s additional bonus is the wide range of characters the trio meet during their journey. One is a hotelier who offers them their room in his house while his entire family sleeps snug in one tiny room in order to make space for their guests. Another is a sincere patriot girl, fearful that France will go broke, who is willing to work for free so as to help France decrease her National Debt.

Fall in love with SANT AMOUR!

Trailer: https://www.youtube.com/watch?v=H6UZq-G2qPQ

 

 

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