gilbert seah

Hot Docs 2017 Review: ASK THE SEXPERT (USA 2017) ***

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

ask_the_sexpert.jpgA longtime sex advice columnist gains popularity against the backdrop of a ban on comprehensive sex-education in schools in several Indian states.

Director: Vaishali Sinha

Review by Gilbert Seah

 The sexpert of the film is the columnist a 91-year old retired gynaecologist, Dr. Watsa of the Mumbai Times who has a column for years running that answers questions about sex.

Despite sex being a taboo topic in that country, the column’s brand of non-moralistic advice and humor has emboldened many to write in with their questions, the vast majority of whom seek basic information. Director Sinha follows the doctor often at work, as he sees patients or while he sitting by his computer dishing out often comical advice.

The film diverges to sex education in India and how Indians should be taught sex. There will be objections – those for the sex education curriculum and for Dr. Watsa’s column. It is not surprising that the angry people are always women. Sinha keeps her film light and flavourful.

While entertaining, ASK THE SEXPERT opens eyes on sex education in the huge continent of India.

Trailer: https://youtu.be/1yRR1_VU1cQ 

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

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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Film Article: CINEFRANCO SPECIAL QUEBEC 2017

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

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

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: PACmen (USA 2017) ***

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pacmen.jpgThis observational documentary follows the men behind the Super-PACs that persuaded Dr Ben Carson to run for President. Believing Carson can save the Republican Party, they successfully draft him to run, raise millions of dollars and catapult him to the top of the polls. However, as Carson’s political inexperience begins to show, his constant media gaffes make fundraising increasingly difficult. Donors and voters abandon Carson’s campaign as wallets close, hearts open and faith is tested. As Trump inexplicably rises, the campaign descends into chaos and the PACmen begin to wonder – did they pick the wrong savior?

Director: Luke Walker
Writer: Luke Walker
 
Review by Gilbert Seah

Not to be confused with Pacman the video game, PACmen is a group, as introduced at the start of the film that has access to almost unlimited funds.

This observational documentary called PACmen, directed, producer, and written by Luke Walker, follows the people behind the Super-PACs that persuaded Dr​. ​Ben Carson to run for President.

​ ​ This is all true and Ben Carson is seen often in debate with now President of the United States Donald Trump, who was then just a competitive candidate. This makes the film more interesting though the audience now knows who won the Presidency. Believing Carson can save the Republican Party, they successfully draft him to run, raise​ ​millions of dollars and catapult him to the top of the polls.​ ​

However, as Carson’s political inexperience begins to show (he know nothing about the Middle East, which is really sad), his constant media gaffes make​ ​fundraising increasingly difficult. Donors and voters abandon Carson’s campaign as wallets​ ​close, hearts open and faith is tested.​ ​

As Trump inexplicably rises, the campaign descends into chaos and the PACmen begin to​ ​wonder… did they pick the wrong saviour? Walker’s documentary would be more relevant if the PACmen picked a winner instead of a loser. This is an example of the luck of the draw.

Trailer: https://vimeo.com/205346326
 

 

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Film Review: THEIR FINEST (UK 2016) ****

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their_finest.jpgDirector: Lone Scherfig
Writers: Gaby Chiappe (screenplay), Lissa Evans (novel)
Stars: Gemma Arterton, Sam Claflin, Bill Nighy

Review by Gilbert Seah

 Danish director Lorne Scherfig broke into the international film scene with his first film ITALIAN FOR BEGINNERS and has continued to impress both audiences and critics alike with films like THE RIOT CLUB and AN EDUCATION, these two films demonstrating his flexibility in his subjects. His latest is again a grand piece of fine filmmaking, a period piece that celebrates the role of women (seldom seen in the war genre) during the Second World War.

The film based on the novel Their Finest Hour and a Half by Lissa Evans and written by Gaby Chiappe puts the female into the picture. The main protagonist is Catrin Cole (Gemma Arterton star of films like ORPHAN and THE GIRL WITH ALL THE GIFTS), a “slop” scriptwriter, charged with bringing a female perspective to war films produced by the British Ministry of Information’s Film Division. Slop is the degrading term given for ‘women’s talk’. Her current project is a feature inspired by stories of British civilians rescuing soldiers after the retreat at Dunkirk. Catrin’s artist husband (Jack Huston) looks down on her job, despite the fact that it is paying the rent. At least lead scenarist Tom Buckley (Sam Claflin), who at first pokes fun at the female effort appreciates her contribution.

There is one great dialogue in the film that celebrates the romanticism of movies. “In war, some do not come back home at all. Some come back heroes and some do not come back as heroes. The film that is to be made must make it worth the audience’s time to sit through it.” These are the words that are used to inspire the making of this otherwise propaganda film that would eventually turn the lives of many a British citizen. The film is used to create patriotism to send the men to fight in battle and the women to work in the factories manufacturing ammunition and weapons.

Performances are all impressive all round, led by both Bill Nighy as a pompous past his prime actor who is never afraid of showing off and Gemma Arteton in the title role. Jeremy Irons in a cameo (praising the power of the dramatic arts) deserves mention in one of the film’s funniest segments.
Besides the lovely period detail of the costumes and sets, the look of war-torn Britain is also magnificently created – reminiscent of the best of war films like John Boorman’s HOPE AND GLORY and Guy Hamilton’s BATTLE OF BRITAIN. The film in a film is to be shot in Devon, Devon standing in for Dunkirk where the film in the film is set.

One great and memorable British propaganda films is Alberto Cavalcanti’s 1942 effort WENT THE DAY WELL? (one of my favourite films of all time) where British housewives discover their village invaded by German paratroopers posing as English soldiers. The Brits must have put in quite the effort in their propaganda films. THEIR FINEST is also really funny in may parts, making the drama totally entertaining for both sexes despite the female slant.

Trailer: https://www.youtube.com/watch?v=id0HEelDIuk

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Film Review: MAUDIE (Canada/Ireland 2016) ***1/2

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maudieDirector: Aisling Walsh
Writer: Sherry White
Stars: Ethan Hawke, Sally Hawkins, Kari Matchett

Review by Gilbert Seah

MAUDIE is the film about Maud Lewis. Maud Lewis is among the most inspiring figures in Canadian art. Afflicted with juvenile rheumatoid arthritis, she spent her early life dismissed for what was presumed to be her limited ability. But Lewis’ colourful paintings, made on surfaces ranging from beaverboard to cookie sheets, established her as one of our country’s premier folk artists.

There is one reason to see the new Canadian/Irish drama about painter Maud Lewis and it is the actress who portrays her, Brit Sally Hawkins. Besides being this reviewer’s favourite number 1 actress who broke into prominence with Mike Leigh’s HAPPY-GO-LUCKY, Hawkins has also garnered an Oscar nomination for Best Supporting Actress playing Cate Blanchette’s sister in Woody Allen’s BLUE JASMINE. MAUIDE puts Hawkins again in Best Actress category, which should win her at least a Best Canadian Screen Award nomination for Best Actress.

MAUDIE, based on a true story (the real images of Maudie and Everett seen in the final credits), is an unlikely romance in which the reclusive Everett Lewis (Ethan Hawke) hires a fragile yet determined woman named Maudie (Sally Hawkins) to be his housekeeper. Maudie, bright-eyed but hunched with crippled hands, yearns to be independent, to live away from her protective family and she also yearns, passionately, to create art. Unexpectedly, Everett finds himself falling in love. MAUDIE charts Everett’s efforts to protect himself from being hurt, Maudie’s deep and abiding love for this difficult man and her surprising rise to fame as a folk painter. Things change when one day a summer resident comes calling. She’s a New Yorker, wears alluring clothing and talks like Katharine Hepburn. She sees something in Maudie’s paintings and commissions one. Suddenly Maudie’s pastime is recognized as having real value. People come from far and wide. Eventually her work will hang in the White House.

Irish director Walsh concentrates on the drama of the couple’s difficult relationship. It is only after the half way mark that Maudie begins to paint. The secret of Maudie’s daughter still being alive and still existing is only given a fleeting nod, again the film revetting back to the couple’s relationship.

The film is a period piece set in the small village of Marshalltown, 1937. As this is a small village, only small carts and horses are sufficient to convince the audience of the early 30’s setting. Though set in Nova Scotia, MAUDIE was shot in Newfoundland, likely because the Province of Newfoundland poured in money for the production. Still these two are Atlantic provinces and the film is beautifully shot by cinematographer Guy Godfree displaying images of the maritime light and landscape. The music is haunting and provided by COWBOYS JUNKIES member, Michael Timmins, even though the music often comes on into the film abruptly at several points.

Besides Hawkins’ outstanding performance, talkative Ethan Hawke delivers one against (his) type as the quiet and moody husband, Everett Lewis. Vancouver actress Gabrielle Rose, recently seen in THE DEVOUT is also a pleasure to watch, playing Maudie’ ailing Aunt Ida.

No reason is given for Maudie’s crippled hands except that the problem is linked to arthritis, which is assumed afflicted Maudie from a much younger age than most. Nothing much is also mentioned of Everett’s background, though one would be curious the reason he became quite the recluse.
Though MAUDIE might be a slow watch for some, it is a well crafted and effective biopic of MAUDIE and her troubled relationship.

Trailer: https://www.youtube.com/watch?v=-_0GoO-hxDI 

 

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Film Review: COLOSSAL (Canada 2016). Starring: Anne Hathaway, Jason Sudeikis

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colossalDirector: Nacho Vigalondo
Writer: Nacho Vigalondo
Stars: Anne Hathaway, Jason Sudeikis, Austin Stowell

Review by Gilbert Seah

 
An eccentric movie is occasionally praised by critics for just being different. But there are films like COLOSSAL (that premiered at last year’s TIFF) and the recent SWISS ARMY MAN that are so weird that they make no sense at all.

SWISS ARMY MAN had a farting corpse dragged around from start to end of the movie. Plain awful, unfunny and senseless. Director Nacho Vigalondo (TIMECRIMES) is given big money with this high flyer starring Anne Hathaway and Dan Stevens, among others. But his eccentric film would be a very hard watch for the commercial moviegoer, less any critic.

The film opens with a little girl witnessing a monster in the playground. The film quickly forwards 25 year years after. This is really funny, similar to the opening sequence of THE LOBSTER, but that is the only scene that gave me a giggle.

The film’s protagonist is a going-nowhere party girl, Gloria (Anne Hathaway) who discovers a mysterious connection between herself and a giant monster wreaking havoc on the other side of the globe, in Seoul, South Korea. Gloria (Anne Hathaway) parties too hard, drinks too much, and does not think about the consequences — that is, until her boyfriend (Dan Stevens) gets sick of her behaviour and throws her out. Unemployed and with nowhere to live, Gloria heads back to her hometown and rekindles a friendship with childhood chum Oscar (Jason Sudeikis), who now runs his dad’s old bar. Dreams of a fresh start are dashed when Gloria slides back into old habits: she drinks till last call every night with Oscar and his cronies (the hilarious Tim Blake Nelson and Austin Stowell), she stumbles home each night via a playground-sandbox shortcut, and she sleeps through each day till it’s time to drink again.

One day (lo and behold!) she emerges from her haze to the news that a giant monster is stomping its way through the panicked metropolis of Seoul.
Why is the film that weird? Gloria has awakened to a different world to discover how the real-life monster movie taking place halfway across the world might be somehow connected to her. The monster mirrors her moves. For example if she falls, so does the monster, killing Koreans on the ground. The segment in which Gloria and Oscar have an all out fight is also total ridiculous.

Vigalodo attempts to blur the lines between fantasy, drama and sci-fi. He only succeeds in dumping all three genres into a cauldron of messy brew.
The special effects of the robot menacing Seoul look like a cheap version of GODZILLA.

Hathaway looks half lost throughout the film. Actors Dan Stevens and Jason Sudeilis are largely wasted.

If things cannot get more ridiculous, Gloria travels to Seoul at the end of the film.

Director Vigalondo makes no effort to get the audience to like any of her characters. His sense of humour is lacking and the film is neither funny nor amusing. The film ends open ended, (not revealed in this review) with an inside joke on the protagonist. Best to give this film a complete miss.

Trailer: https://www.youtube.com/watch?v=fqcZtz8VXXE

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Film Review: THE FATE OF THE FURIOUS (USA 2017)

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fast_and_furious_8.jpgDirector: F. Gary Gray
Writers: Chris Morgan, Gary Scott Thompson (based on characters created by)
Stars: Vin Diesel, Jason Statham, Dwayne Johnson, Michelle Rodriguez, Charlize Theron, Kurt Russell, Nathalie Emmanuel, Luke Evans

Review by Gilbert Seah

 
With so many in the FAST AND THE FURIOUS franchise with the false promise that the last FAST AND FURIOUS would be the last one, this 8th edition, nicknamed F8 provides much, much more of the same, louder and noisier as most sequels promise. (I had lost count and thought this was the 9th.)
This latest edition assumes that the audience is familiar with most of the characters and does not bother with any flashbacks or explanations.

With so many characters, it is probably a good idea not to do so. The film allows the audience to guess what has occurred in the past and for a film like this, it is only the action and fast cars that count – not the characters.

The plot of THE FATE AND THE FURIOUS, not that it really matters, follows the events of Furious 7. Dominic Toretto aka Dom (Vin Diesel) and his wife Letty (Michelle Rodriguez) have gone on their honeymoon, and the rest of the crew have begun to settle down to a more normal life. But when a mysterious woman, later to be revealed as Cipher, a super villain (Charlize Theron) convinces Dom to work against the people that he is closest to, the rest of the crew must face trials they have never seen before – including some former enemies – in order to bring back the man who brought them together in the first place.

In case one has forgotten. the other crew members include Like DSS agent, Hobbs (Dwayne Johnson), Deckard Shaw, a rogue specialist (Jason Statham), mechanic Tej Parker (Chris Bridges), Ramsey (Nathalie Emmanuel), former criminal Roman Pearce (Tyrese Gibson) among others.

As far as the film goes, this is male chauvinist pig material all the way – all the more for decent women and men to hate this kind of film. The beginning race for example is started by a scantily dressed female in extreme shorts waving down a flag. Vin Diesel exploits his male macho body to no end. Apparently Diesel is an a**hole in real life as mentioned to be by a fellow critic who had interviewed him. His co-star Johnson also called him horse s***. Johnson is a pleasure to watch on screen but I can hardly say the same for Diesel.

It is odd to see that the script by Chris Morgan which clearly lacks any hint of character development whatsoever take on the issue of the importance of family. Helen Mirren has a cameo as he mother of Deckard Shaw (Jason Statham) stressing the importance of family values and the inclusion of his brother (Luke Evans) into his activities. Deckard spends a chunk of screen time saving Dom’s baby. Dom says his baby is the most important person in his life.

Oscar Winner Helen Mirren (THE QUEEN) shows that even a dame of the British Empire is willing to take an easy pay check for a cameo role in big budget Hollywood rubbish like this one. The term is called slumming and many famous stars have slummed before.

THE FATE AND THE FURIOUS (budget of $250 million) is slotted to make more than $100 million this weekend. The film is nothing more than silly special effects that though looks stunning in iMAX (the film contains a record number of cars trashed) does nothing for the movie industry or the human race.

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

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Film Review: PERFUME WAR (Canada 2017) ***1/2

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perfume_warDirector: Michael Melski
Writers: Michael Melski, Barb Stegemann
Star: Pasha Ebrahimi

Review by Gilbert Seah

If there is ever an inspirational film that will move audiences to return their faith in the human race, PERFUME WAR is it.

Michael Melski’s fascinating documentary explores the extraordinary friendship between two best friends, Trevor and Barb whose shared mission of peace has made an enormous impact on countless lives.

The film begins with equal time devoted to each before concentrating on Barb. Captain Trevor Greene joins the military to fight the oppression of women in Afghanistan. Barb Stegemann is a single mom who is moved to take on her best friend’s mission after he is brutally axed in the head by the Taliban. Stegemann works with Afghan farmers to grow legal orange flower crops instead of the illegal heroin poppy–the Taliban’s chief income source–and creates an unlikely weapon in the fight for world peace – perfume. The topic is an interesting as it is strange. But director Melski inserts the inspirational factor into his film.

This he does firstly by dotting quotations by the Roman Emperor Marcus Aurelius throughout his film. Example: “Change is nature’s delight.” Next Melski inspires through the lives of both Barb and Trevor. Trevor and Barb are visionaries.

Trevor describes himself as the most driven person he knows – and one that is driven on principles, not by money. Trevor is described by Barb as the most inspirational person who changed her life completely. She is also described by her University professor as an engineer of civilization, who in his 34 years of teaching has only encountered a handful. Barb and Trevor are best friends (no sex). When Trevor met Debbie, Barb knew Debbie was the perfect one for Trevor and the three became good friends. Barb and Trevor each pushes the other towards the limit.

When the Taliban takes an axe to Trevor’s head, Trevor survives. A miracle! More inspiration! Barb decides to give her life to continue Trevor’s mission. She embarks on the business venture (even securing funds from DRAGON’S DEN) so that the business can continue and the Afghanistan farmers can continue to work.

Melski’s film is total convincing as he includes clips of the farming in Afghanistan The enactment of the meeting that resulted in the axe to Trevor’s skull is also re-enacted to full disturbing effect. Melski also debates the topic of social good vs. monetary gain. Barb had to get capital from TV’s DRAGON’s DEN.

Those who have watched DRAGON’s DEN will be pleased to see the film’s heroine pitting her wits with her social venture to the dragons who only look at the money prospects of a business venture. Dragon Kevin O’Leary obviously gives a no. But Melski shows that even dragon have consciences and a human desire to do good. Another fascinating segment of the film is devoted to how Barb beats the big companies in the perfume business.

The film is about challenge. The film is about doing what’s right and to make a difference to change the world – to make it a better one. PERFUME WARS inspires!

Trailer: https://www.youtube.com/watch?v=GS7KteaH55U

 

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