movie review

Film Review: PATRIOTS DAY (USA 2016)

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patriots_day.jpgDirector: Peter Berg
Writers: Peter Berg (screenplay), Matt Cook (screenplay)
Stars: Mark Wahlberg, Michelle Monaghan, J.K. Simmons

Review by Gilbert Seah

PATRIOTS DAY tells of the heroes behind the capture of the Boston marathon bombers. Arriving 3 years after the incident, the film is still as timely owing to similar terrorist attacks around the world – in Miami and Paris, just to name a few. In fact, the film also pays homage to the victims of those attacks as they are mentioned during the film’s closings credits.

The second film in less than year from director Peter Berg and actor Mark Wahlberg sees PATRIOTS DAY as an improvement with a more serious tone than the previous DEEPWATER HORIZON. More so, since the film is a re-creation of the Boston Marathon bombing on the holiday Patriots Day, which the title of the film derives from. It is the star vehicle again of Wahlberg and it is not surpassing he chose this role as Boston is the star’s hometown.

The film is an earnest account of Boston Police under Commissioner Ed Davis’s (John Goodman) actions in the events leading up to the 2013 Boston Marathon bombing and the aftermath, which includes the city-wide manhunt to find the terrorists behind it.

The film takes a while before establishing a sound footing. The first third of the film feels like the garbage that was in director Berg’s DEEPWATER HORIZON as in the scene where Wahlberg’s young daughter explains to him and wife how an oil rig could explode with a can of coke at the breakfast table. The family scenes of various characters at the film’s start sets the film up like a soap opera with the director like a traffic cop, but the film improves from there getting to the main business at hand.

The film’s best segments are those that involve the terrorists – as one is always curious of a world one knows very little of. The best of these is the interrogation segment where a lady expert is brought in to question the wife of the deceased bomber. One cannot help but admire the professionalism on display here – from the scripted questions to the suspenseful staging of this scene. The ultimate question that needs to be answered is “Is there another bomb?”

The film feels racist in the one scene with the asian whose car is hijacked by the terrorists. He speaks with a typical Chinese accent with all the ‘r’s pronounced as ‘l’s. But when the actual Chinese portrayed appears at the closing credits, he speaks with the same accent pronouncing all the ‘r’s as ‘l’s.

The purpose of the film is clearly a dedication to the strength and courage of the citizens of Boston from the law enforcement to the victims to the FBI. The last 10 minutes including the end credits are specially devoted for this purpose and though director Berg overdoes it, one can hardly complain over words like ”We consider ourselves not the victims of violence but the ambassadors of peace,’ voiced from the actual bomb victims.

Trailer: https://www.youtube.com/watch?v=pWPRxMj8Wl8

 

 

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Film Review: MONSTER TRUCKS (USA 2016)

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monster_trucks_movie_poster.jpgDirector: Chris Wedge

Writers: Derek Connolly (screenplay), Matthew Robinson (story by)

Stars: Lucas Till, Jane Levy, Thomas Lennon

Review by Gilbert Seah

A monster truck is a vehicle (usually a pickup truck) that has been modified with a larger suspension and larger tires so as to compete in shows and mud bogs. While vacationing in New Brunswick years back, I was taken to a mud bog. It was the most boring time of that vacation. But there is no monster competition show in this film called MONSTER TRUCKS. But there is a real life monster living inside a truck, the one modified by the protagonist Tripp (Lucas Till) who drives it.

Looking for any way to get away from the life and town he was born into, Tripp Coley, a high school senior, builds a monster truck from bits and pieces of scrapped cars. After an accident at a nearby oil-drilling site displaces a strange and subterranean creature with a taste and a talent for speed who he names Creech, Tripp may have just found the key to getting out of town and a most unlikely friend. The rest of the film has Tripp rescuing the creature, embedded in his truck (don’t ask) and retiring it to its habitat, ET-style. The story was reported to originate from ex-Paramount President (reason he is now ex-President is obvious) and his 4-year old son.

Director Chris Wedge (who made ICE AGE and the forgettable animated features like EPIC and ROBOTS) appear to be just going through the motions with his latest feature. The film is cliched from start to finish. But the greatest fault of the film is the seriousness everyone seems to be taking of the material, despite the film’s really ridiculous plot of monsters surviving near oil wells and able to join in human beings and amalgamate with their trucks.

It is the same old cliched story of boy wanting to escape from small town with subplots of single mother trying to keep son in town; overbearing mother’s boyfriend (Barry Pepper) who must be the sheriff of the town; pining wannabe girlfriend; loner befriending monster and so on. With uninspired direction and writing, the film turns boring within the first 10 minutes. The silly message about caring for the environment does not help the film’s originally either.
Lucas Till (the X-MEN films and yes, in that teen awful film HANNAH MONTANA) is plain awful as the lead who appears o be hired for the job based on his looks. The sequence where he pretends to drive a truck in the garage proves how bad he is. Amy Ryan as is mother is totally wasted but Barry Pepper is at least watchable. Pepper is an actor from Vancouver and likely hired as the film was shot in the Vancouver Production Studios.

The film has so far garnered negative reviews (example 22% on Rotten Tomatoes as of time of writing). Paramount is reported to be taking a $115 write down for the film which cost $125 million to make, mostly for the special and CGI effects, which are the only impressive things about the film, despite looking silly (tentacles protruding from the body of the trucks). MONSTER TRUCKS turns out to be a big awful monster of a movie.

Trailer: https://www.youtube.com/watch?v=uQrj2M-2Uiw

 

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Film Review: Mostly Sunny

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mostly_sunny.jpgDirector: Dilip Mehta

Writers: Deepa Mehta, Dilip Mehta

Stars: Daniel Weber, Sunny Leone

Review by Gilbert Seah

 MOSTLY SUNNY is not the first documentary made on a porn star. Two of the most memorable documentaries made on a porn star are PORN STAR: THE LEGEND OF RON JEREMY in 2001 and SAGAT: THE DOCUMENTARY. Both of these films featured a male porn star, one an American and the other French. Both of the adult stars like SUNNY, became more famous than they ever imagined.
All the three films are radically different in the way they dealt with their subjects. RON JEREMY was well- known not because he was handsome or attractive but because he had an enormously huge tool that could be kept functioning for long periods of time. Despite the humorous treatment of Jeremy, the doc took quite a serious look at the underground pornography industry. SAGAT, only 80-minutes in length was as lively as its subject, Francois Sagat was. And Sagat is quite the showman. (I have seen him perform in Toronto during the Gay Pride Military Party where he was not too bashful to jerk-off onstage. But that doc treated the subject in dead seriousness, tracking Sagat’s rise to fame.

In MOSTLY SUNNY, Dilip Mehta (COOKING WITH STELLA) continues the lightness of his previous film with his portrait of Indian porn star Sunny Leone. For those unfamiliar, Sunny Leone is the most famous of all the porn stars in India and who has now ventured into Bollywood Cinema.

MOSTLY SUNNY is produced by Deepa Metha (FIRE, WATER, EARTH, MIDNIGHT’S CHILDREN, THE BEEBA BOYS) and her husband David Hamilton. For those wondering about the connection, Dilip is Deepa’s brother.

Those venturing to watch MOSTLY SUNNY should not expect too serious a film or a message or even controversial film. Metha’s treatment of his film and subject is as breezy as his subject Sunny Leone. Sunny is filmed in most scenes smiling or laughing. Even when talking about a serious topic like the reason her father chose to live in a small Ontario town of Sarnia, she is laughing and giggling. So, the subject of Sunny in the adult film industry, infuriating her parents and Indian community is treated as a brush off. Her fame in porn is also treated lightly. Those expecting to see Metha in any sex act in his doc will be disappointed, though there are a few nude pictures. The only one time Sunny gets really open, is when she tells the camera (through a past interview) that she is bisexual and got really excited when she shot a film segment in which the male came in both hers and another girls’ mouths. Metha shows more of Sunny in her non-porn Bollywood films than in her porn films.

The film runs at slightly over 80 minutes. Metha is short of material on his easy-going doc as evident in the segment where he tries to get any member of Sunny’s family still living in Sarnia to have a word or two to say to the camera.

As it turns out, Metha’s doc about a porn star is not really about a porn star – but about an ordinary hard-working Indian immigrant who just happens to turn out to be a porn star by accident. And it is not a bio-pic of Sunny either. Sunny is teated as mostly normal throughout the film, also marrying the one true love of her life – her manager who has accepted her past work. Perhaps a more appropriate title of the film wold be MOSTLY NORMAL.

Trailer: https://www.youtube.com/watch?v=fmC1DOLiCBg

 

 

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Film Review: MAPPLETHORPE: LOOK AT THE PICTURES

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mapplethorpe_movie_posterDirectors: Fenton Bailey, Randy Barbato

Stars: Nancy Rooney, Harry Mapplethorpe, George Stack |

Review by Gilbert Seah

Robert Mapplethorpe. Artist or pornographer? Or a bit of both?
Using two retrospectives at LA’s Getty and LACMA museums as a backdrop, Randy Barbato and Fenton Bailey’s film profiles the controversial artist from early childhood, to his beginnings in NYC and his meteoric rise in the art world, to his untimely death in 1989. By then, audiences can decide on their own the answer to the question regarding the controversial artist.
They say that a documentary is only as interesting as its subject. No one could be as interesting as the late artist Robert Mapplethorpe who died from a complication of AIDS at age 42. His works and lifestyle are as intriguing as the man is beautiful and daring.

The subject is only shown in archive paintings and photographs. It is without argument that the man is extremely attractive. As in the words of Mapplethorpe’s ex-boyfriend, “Everyone liked him, men and women. Even dogs liked him.”

The film offers lots of talking heads, from Mapplethorpe’s family, friends and artists, possible since the subject is still ‘recent’, having only passed away un 1989. Unfortunately, the artist himself is not alive or is there any archive footage for him to have his say.

Mapplethorpe’s art doubtless shocked America. The images forces whoever’s looking at them to continually stare and be shocked at what they see – be it genitals, the naked body or bondage S&M. But Barbato and Bailey does not let their camera linger on the pictures. The images are shown fleetingly, perhaps to whet the audience’s appetite to want for more. The images are also explained in context by the talking head experts.

The directors do not offer a reason for Mapplethorpe’s lifestyle or art. But they deliver a good researched background of the artist, leaving the audience to determine for themselves the reason for the choices he made in his life. Robert is shown from his Catholic background as a boy who never failed to attend Sunday mass. His priest, who is still alive, also says a bit about the boy and how different he was. Surprising too, is Mapplethorpe’s first love, who is a female of the opposite sex. Patti Smith and Robert were very much in love, before Robert switched sides. Robert’s drug and decadent lifestyle is also mentioned in the film. A fair bit of screen time is also devoted to Robert and his long term partner and benefactor Sam Wagstaff.

The doc first premiered at Sundance Film Festival in January 2016, followed by the international premiere at the Berlin Film Festival in February, and a world television premiere on HBO in April. The film has been already released theatrically in the US and UK in April 2016. The reason the film is now being reviewed is that it will screen as part of the AGO (Art Gallery of Ontario) film series entitled ART ON SCREEN”, that begins January 18th, 2017.

Trailer: https://www.youtube.com/watch?v=KrVYqB0geMo

 

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Film Review: SILENCE. Directed by Martin Scorsese

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silence_movie_poster.jpgDirector: Martin Scorsese

Writers: Jay Cocks (screenplay), Martin Scorsese (screenplay)

Stars: Andrew Garfield, Adam Driver, Liam Neeson

Review by Gilbert Seah

SILENCE. directed by Martin Scorsese and written by him and Jay Cocks is Scorsese’s labour of love. He was supposed to have made this film decades ago, but had to postpone the project many times owing to his obligation to direct other films. Finally, SILENCE is here, and despite all the hullabaloo, the film is surprisingly pristine and distant.

There is a lot of talk about the dedication and sacrifice the Jesuit priests went through. But the film never goes into the details of the source of this self-sacrifice. The only clue is the quoted scripture from Mark: 13, “Go ye into the world and preach the Gospel to the whole creation.” Apart from that, all the audience is given is lengthy talk of the priests insisting of going to Japan. There is one lengthy, unconvincing scene where priests Sebastião Rodrigues (Andrew Garfield) and Francisco Garrpe (Adam Driver) argue with their superior (Ciaran Hinds) to be given permission to travel to Japan to locate their mentor Father Cristóvão Ferreira (Liam Neeson).

The film, based upon the 1966 novel of the same name by Shūsaku Endō is set in the 17th century. The two main characters are the Portuguese Jesuit priests — Sebastião Rodrigues and Francisco Garrpe. They face violence and persecution when they travel to Japan to locate Father Cristóvão Ferreira, who has committed apostasy after being tortured. The story is set in the time of Kakure Kirishitan (“Hidden Christians”) which followed the defeat of the Shimabara Rebellion (1637–1638) of Japanese Roman Catholics against the Tokugawa shogunate.

SILENCE contains many awkward scenes, the funniest is the one which involves the act of apostasy. Apostasy is the formal disaffiliation from, or abandonment or renunciation of a religion by a person. The term is also used is used by sociologists to mean renunciation and criticism of, or opposition to, a person’s former religion, in a technical sense and without pejorative connotation. In the film, Father Ferreira apostates and talks about it. It is a hard word to pronounce and in that scene Neeson blows the pronunciation. It is a wonder why Scorsese did not cut that scene out of the film.

Another is the homo-erotic hugging of the two priests played by Driver and Garfield before they depart. Their odd look – as if they know what the scene could indicate but totally ignore the fact – is priceless. But the first scene with the torture of the priests by the Japanese soldiers using leaking ladles is quite ridiculous. I am sure the Japanese could have devised more torturous and less cumbersome instruments.

The film is shot in both English and Japanese. As the priests were Portuguese, whenever the actors speak English with a weird accent that is supposed to be Portuguese, The English is supped to stand for Portuguese. Fortunately, Japanese is left as Japanese. But these pose problems when in one scene pre sits asks: “Do you speak my language?” in English which stands for Portuguese.

The film contains too many set-up conversational pieces and laborious inquisitions for its own good. The lengthy 160 minute running time does not help either. SILENCE ends up a long, laborious and boring affair.

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

 

 

 

 

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Film Review: MOANA (USA 2016) ****

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moanaDirected by Ron Clements and John Musker

Stars: Auli’i Cravalho, Dwayne Johnson, Rachel House

Review by Gilbert Seah

MOANA (pronounced MO-ANNAH) is a 2016 American 3D computer-animated musical fantasy comedy adventure film produced by Walt Disney Animation Studios, the first time the Studios have released two features in a year. No complaints here. Like ZOOTOPIA (or ZOOTROPOLIS as it is called in the U.K.), both are exceptional animated features full of wonder, magic and entertainment. The film features music written by Lin-Manuel Miranda, Opetaia Foa’i, and Mark Mancina. The songs are as original as they are catchy, especially the one entitled “You’re Welcome!”

MOANA the film tells the story of Moana (the excellent voice of newcomer Auli’i Cravalho) , the strong-willed daughter of the chief in a Polynesian tribe, who is chosen by the ocean itself to reunite a mystical relic with a goddess. When a blight strikes her island, Moana sets sail in search of Maui (Dwayne Johnson, who yes, also sings in the film), a legendary demigod, in the hope of saving her people.

First and most important of all, the animation is nothing short of stunning from the depiction of water, fire, magic and in characters like the fiery lava monster.

Like ZOOTOPIA, the plot involves saving of the world the characters are living in. MOANA lives in an island paradise that is deteriorating. The fishing is depleting and the land is losing its fertility. Like in ZOOTOPIA that mirrors the problems of the modern world, MOANA also highlights the importance of the environment as seen in the oceans and islands.

Besides the seriousness of the plot, MOANA maintains the expectations of a Disney cartoon. MOANA contains lots of cutesy characters, like Moana’s pet piglet and her pet chicken – reported as the dumbest ever of all the Disney characters. The chicken called Heihei pecks at stones and rocks, that requires Moana’s saving and attention more than anything else. But Heihei is a winning inspirational character judging from the sounds of the chuckles of the children in the audience during the screening I attended.

The film contains frightening scenes that might not be appropriate for younger children. The sight of the lava monster attacking poor Moana and Maui might be too much, even though it sends the message across for older kids. The film also deals with death (the dying grandmother) and the hardship of living (as in fishing and farming).

The film plays like a fairytale. Who does not like a good old fairy tale? Moana is inched on by her late grandmother in the form of a stingray to accomplish the quest she was born to achieve – to save her tribe and perhaps all humanity while at it.

Dwayne Johnson, who can do no harm at any film he is in (watch out for him next in BAYWATCH) is excellent as the reluctant hero, Maui. I cannot imagine anyone better to voice the heroine MOANA than Auli’i Cravalho.

MOANA turns out to be excellent entertainment for both adults and children. It contains Disney’s most important elements – magic and wonder, which make the film stand out against all the other animation features from the other studios.

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

 

 

 

 

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Film Review: WEREWOLF (Canada 2016) ***

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werewolf.jpgDirector: Ashley McKenzie
Writer: Ashley McKenzie
Stars: Andrew Gillis, Kyle M. Hamilton, Bhreagh MacNeil

Review by Gilbert Seah

 
Cape Breton filmmaker Ashley McKenzie, who has won prizes for her short films in the past debuts here with an impressive first feature – a low budget but no-holds barred look at the hardscrabble existence of two homeless, twentysomething recovering drug addicts. Or are they recovering?

Films on the this topic are never an easy watch. WEREWOLF isn’t one too. 2016 saw the arrival of several drug centred films, the best of these being documentaries like the British CHEMSEX by directors William Fairman and Max Gogarty and the more recent THE STAIRS by Hugh Gibson. The decision for a fictional feature instead of a doc allows McKenzie to go deeper into the problem of drug users and guide the film to a more satisfying ending.

The drug users are the couple Vanessa and Blaise (Bhreagh MacNeil and Andrew Gillis). Both are in the process of rehabilitation but they still partake of the substance as part of a government program details not given. The film follows them as they sleep in tents,and fight with government bureaucrats. Blaise and Vanessa survive primarily through an underground economy. They harass people to let them cut their grass with a rusty old mower they haul over dirt roads and through rainstorms.

Of the two, Blaise is the more hostile, often negative about everything and always provoking whoever he is speaking to. He is suicidal and a bad influence on Vanessa. She, on the other hand, works at an soft ice-cream parlour and is largely positive, despite her dull job. She is advised by her social worker to breakup with Blaise, which she does not.

The film describes the lives of both with no positive or negative ending. This might be frustrating for those awaiting a happy ending such as the recovery of the couple – but this is what life is, no happy endings. The audience is understandably more sympathetic towards Vanessa than to Blaise.

McKenzie’s camera is fond of close-ups. In fact, there are too much of it. Often the audience sees the bad acne on the side of Vanessa’s face, a symptom of the effects of taking methadone. One wishes that the camera would occasionally pull back to show the whole picture. The film also contains lots of jittery images, from the use of hand held camera. Again, a few steady shots using a tripod would be welcome.

Ultimately, the success of the film depends on the two main leads, who thankfully achieves the credibility the film needs. One is the good rehab patient, the other not. just like the good cop, bad cop. It is difficult to feel sorry for Blaise for being such the self-destructive character and also occasionally for Vanessa who one wishes should take the advice of her social worker and leave Blaise. There is clearly no simple way out of addiction, especially without a good roof over their heads and a decent paying job. And then there is the temptation to go back to meth again.

McKenzie could also have provided more information about the rehabilitation program the couple is undergoing. Not much information is provided, but what they go through as seen in their actions. WEREWOLF is definitely a disturbing film and despite it having fictional characters, the film still hits home pretty hard with brutal honesty.

Trailer: https://www.youtube.com/watch?v=fiNI83BMG4M
 

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Film Review: HORSE PARADE (Puerto Rico)

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Played at the November 2016 Best of Under 5 Minute FEEDBACK Film Festival.

MOVIE POSTERHORSE PARADE, 1min., Puerto Rico, Romance/Experimental
Directed by Otavio Pacheco

In a chess game the black horse and the white queen fall in love, and then the white horse starts a dispute for her love.

REVIEW by Kierston Drier: 

HORSE PARADE is a delightful stop-action experimental romance with a twist. It shows a chessboard where the White Queen and Black Horse have fallen in love in a sort of musical, a-typical dance.

 

Full of rich symbology, HORSE PARADE shows two characters that throw aside the rules of regulations of their universe and step beyond the bounds of their reality, to join each other in dance. Their dance soon entrances the other chess pieces, who cease their game to stand on the sides of the board to watch them. Shades and piece mingle, lines are crossed and sides are discredited, all for the sake of the dance between the Horse and the Queen.

 

This could be a piece about love without boundaries, as the Queen and Horse have a variety of obstacles- they are from opposing sides, they are of different values (Queen being greater than Horse in value), they have different roles within the society which is their world. This story, totally wordlessly and with only music and motion, shows how love can end the fighting. A beautiful metaphor for anyone watching.

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Film Review: NO WOMAN (Afghanistan) Experimental/Drama

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Played at the November 2016 Best of Short Documentary FEEDBACK Film Festival.

MOVIE POSTERNO WOMAN, 3min., Afghanistan, Experimental/Drama
Directed by Yama Rauf

There is a world beyond our world, when it comes to a decision, there is always a big NO to WOMEN. in this case majority suffers from it but only few women take the risk and fights for it.

REVIEW by Kierston Drier: 

Simple, short and thought provoking, NO WOMAN comes to us from Afghanistan, as a dramatic and experimental piece with no easy answers. A study in the power of symbology, NO WOMAN shows a small girl walking forward in the desert as a masked gunman stands near. A shot is fired and the mask is pulled away but what lies beneath it, and to some extent the fate of the girl are unknown and left up to interpretation.

 

Beyond its thought-provoking imagery and genre-defying, NO WOMAN has the unique power of being able to represent many things to many different people. It is equally valid to interpret this film as a story of a Afghan girl made victim by a masked adult, as it is to interpret as a philosophical stance of women’s’ rights’ on a global level. The final image shows our heroine walking onward away from the masked obstacle- whether it is her in real life, a dream, or as a spirit, we do not ever explicitly know.

 

In a time where human rights’ and world issues are ever on our doorstep, where global and political are thrust into public focus, NO WOMAN stands as a subtle but powerful visual story. It could be about generations clashing, differences in religion, cultures or politics colliding, hopefulness and fear standing at odds, or gender issues in a powerful face-off. All are equally possible, and all equally effective- take a look to decide for yourself.

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Film Review: A COUPLE (France) Relationship

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Played at the November 2016 Best of Under 5 minute FEEDBACK Film Festival.

MOVIE POSTERA COUPLE, 4min., France, Relationship
Directed by David Steiner

Three minutes in the life of a couple.

Project Title (Original Language):UN COUPLE

REVIEW by Kierston Drier: 

A disagreement is very a common thing in a relationship- the factors around it are often layered in subtext and personal context, but nevertheless, most of us have been there. Enter A Couple, a short hailing from France, which unwraps the complexity of a couple’s’ disagreement with delicacy and honesty.

 

The dialogue is spectacularly honest and real; the acting excellent. A convincing and upfront look into one moment of the tens of thousands that make up a romantic relationship. Stylishly shot in black and white and boasting an ending open to discussion, the beauty of this film is how incredibly believable it is. One might think the actresses in the film are a couple in real life- a testament to the astute attention paid to all aspects of the characters’ relationship.

 

A film that invites us to take a deeper look at ourselves and our assumptions about romantic relationships, A Couple, is a film not to miss.

 

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WATCH PAST FILM FESTIVAL EVENTS and the FEEDBACK VIDEOS of EACH SELECTED FILM

ACTOROCTOBER HORROR/THRILLER 2016 Film Festival
Watch Audience Feedback Videos from October event		 ACTOROCTOBER ACTION/CRIME 2016 Film Festival
Watch Audience Feedback Videos from October event		 ACTORSEPTEMBER DOC/COMEDY 2016 Film Festival
Watch Audience Feedback Videos from September event
ACTORAUGUST FAMILY/ANIMATION 2016 Film Festival
Watch Audience Feedback Videos from August 25th event		 ACTORAUGUST HORROR/THRILLER 2016 Film Festival
Watch Audience Feedback Videos from August 18th event		 ACTORJULY 2016 Film Festival
Watch Audience Feedback Videos from July 28th event
ACTORJUNE 2016 Film Festival
Watch Audience Feedback Videos from June 30th event		 ACTORMAY 2016 Film Festival
Watch Audience Feedback Videos from May 26th event		 ACTORAPRIL 2016 Film Festival
Watch Audience Feedback Videos from April 28th event