movie review

Film Review: THE FOUNDER (USA 2016) ***

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the_founder_movie_poster.jpgDirector: John Lee Hancock
Writer: Robert D. Siegel
Stars: Linda Cardellini, Nick Offerman, Michael Keaton

 THE FOUNDER an American biographical drama that tells the story of of Ray Kroc, the self-claimed founder of McDonald’s. Whether he is the true founder or not, it is up to the audience to decide, but the film written by Robert Siegel and directed by John Lee Hanccock tries to reveal the real story, warts and all.

Just as THE FOUNDER could serve as an educational film on business success strategies, it could also be a classroom model for ethical practices.

The film follows the trail of Ray Kroc (Michael Keaton), a salesman for milkshake mixers to restaurants – indeed a hard sell. After receiving word that a small diner is ordering an unusually large number of milkshake makers from his company, Ray decides to go visit the enterprise in question. What he finds is a highly popular diner by the name of McDonald’s. Ray is immediately struck by the fast service, the high-quality food, the novelty of disposable packaging (versus cutlery) and the family-focused customers who regularly consume the food.

Ray meets with the two brothers who own and operate the diner. Maurice “Mac” McDonald (John Carroll Lynch) is elder and more simple-minded but extremely hard-working. Richard “Dick” McDonald (Nick Offerman) is younger and known for being an ideas man. Ray is given a tour of the kitchens and immediately is struck by the strong work ethic displayed by From them, Kroc acquires the fast food chain, growing it to a full state business to much more. His marriage to Ethel Fleming (Laura Dern) eventually lands in divorce with him marrying one of his franchise owners.

The film takes its time to get the audience on the side of Ray Kroc. Ray is depicted as a hard-working salesman with initially good honest practices with solid family values like caring for his loving wife. As greed gains control over Ray with the McDonalds empire expanding, Ray resorts to unethical tactics to take control over the two brothers. His marriage ends as well though the details are not shown on screen. He learns more about the dirt in the business and in his own words, he would drown a competitor by sticking a hose up his mouth. So, director Hancock slowly shifts sides as Ray’s good side eventually erodes when he finally cheats the brothers out of their agreed 1% stake in the business.

Michael delivers another outstanding performance as Ray Kroc, a man that the audience can both admire and despise. Patrick Wilson is largely wasted in a small role as the husband of the girl Ray stole to be his second wife. Offerman and Lynch play the brothers perfectly.

If Ray was depicted totally as a scheming unethical cheat, the film would turn away both its audience and McDonald’s customers. McDonald’s has become an American icon and Hancock is smart enough to treat the material as well as the character of Ray Kroc with respect. Besides Kroc has also demonstrated that the American dream can be achieved from pure persistence.

Trailer: https://www.youtube.com/watch?v=AX2uz2XYkbo

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Film Review: THE OTHER HALF

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the_other_half_movie_posterDirector: Joey Klein
Writer: Joey Klein
Stars: Tatiana Maslany, Tom Cullen, Diana Bentley

Review by Gilbert Saeh

THE OTHER HALF is a Canadian romance drama between one grief-stricken man and a bipolar woman suffering from Rapid Cycling Bipolar 1 Disorder.

Chosen to open the Rendezvous with Madness Film Festival in Toronto this year, which serves as a warning that the film is not an easy watch, the film shows no attempt at easing the audience towards its subject. The result is therefore, yes – a film that is not an easy watch.

The film features two prominent TV actors, Tom Cullen (2016 SAG winner/ensemble cast – TV’s Downton Abbey) and Tatiana Maslany (2016 Emmy winner/lead actress – TV’s Orphan Black). The two actors also serve as executive producers which implies the film being a love project for the two. The film’s simple story follows the couple, Nickie (Cullen) and Emily (Maslany) from the time they first meet (it is love at first sight), to their brief separation to the romance at the end where something happens (not revealed as would be a spoiler). They meet at the same time as another couple (Mark Rendall and Deragh Campbell), who interesting enough, face problems as well but for other reasons. The romance is not helped by Emily’s parents (Henry Czerny and Suzanne Clement). They believe the couple should separate and perhaps try again once Emily is normal. Clement is the actress featured in many of Xavier Dolan’s mentally disordered dramas (LAURENCE ANYWAYS, I KILLED MY MOTHER, MOMMY).

The film’s message is simple enough. Love conquers all. But as it is a fiction film, anything goes.

In a way too, THE OTHER HALF is a personal film with the director’s friends and family helping out. Klein’s father, a doctor with a background in English literature, advised on the script. Klein’s sister, a psychiatrist, helped prep Maslany before the shoot. His brother did Emily’s paintings.

The film, shot in Toronto, feels like Toronto from the familiar streets and the signature streetcars that often come into the frame.

For a film featuring mental disorder, the film contains many disturbing club scenes, shot in dim lighting with strobe lights, lasers and annoying sounds and music.

For a couple with disorders (Nickie also loves to fight), it is surprising that the couple never gets into any heated fights – only into minor arguments that are easily resolved. The one scene in which Emily freaks out at home and has to be handcuffed by a cop is the most effective one showing realistically, the mental anguish. Other than that, the film falls into the same story line about troubled couples – the parents refuse to help, the couple struggles on their own, and final survives.

THE OTHER HALF is an ok film with performances and everything passable in all departments. Yet, there is nothing that will draw a crowd to see the film. Who really wants to watch a film of a a troubled couple with mental disorders? The film also provides no insight about the disorder or how a couple can manage through the difficulties.

Trailer: https://www.youtube.com/watch?v=lvPHGgZB5ys

 

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Film Review: JACKIE (USA/Chile/France 2016)

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jackie_movie_posterDirector: Pablo Larraín
Writer: Noah Oppenheim
Stars: Natalie Portman, Peter Sarsgaard, Greta Gerwig

Review by Gilbert Seah

Chilean director Pablo Larrain has made a name for himself with critical hit films like NO and TONY MANERO. But he is an odd choice for the English speaking film biography of the true American icon JACKIE, based on the life of Jackie Kennedy just after her husband, John F. Kennedy’s assassination in 1963.

The story follows the events immediately following the assassination. Jacqueline Bouvier Kennedy (Natalie Portman) is being interviewed by a reporter, Theodore H. White (Billy Crudup) for Life Magazine. The film plunges the audience into the devastation using a series of finely crafted flashbacks that cover the fateful day in Dallas, Jackie’s return to the White House, arrangements for the President’s funeral, and her time spent accompanying her husband’s coffin to Arlington Cemetery.

The film is a slow count of what happens. It is the coping of a violent death of a loved one. The film is very American despite being directed by a non-American. The sequences complete a moving portrait of a grieving woman — a widow and mother struggling with overwhelming tragedy and attention. Yet the core of the film is formed by quiet, profoundly intimate moments: Jackie’s conversations with her children, her brother-in-law Robert Kennedy (Peter Sarsgaard, also at the Festival in The Magnificent Seven), one of her aides (Greta Gerwig), journalist White (Billy Crudup), and a Catholic priest (John Hurt). Larrain loves the close-ups of Jackie. The scenes between Jackie and the priest are done in a flashback within a flashback.

Portman does a fine job as Jackie Kennedy. She often looks aloof though she says that she is not and concerned about the children and the funeral procession. I don’t recall how the real Jackie spoke, but Portman always speaks with her mouth wide open, which I gather is the way the real Kennedy spoke.

For a non-American, the tasks offered to the former First Lady of restoring the artefacts of the White House may seem trivial. Jackie often moves around the different rooms drowning vodka or popping one of her colourful pills, always with a cigarette in one hand. She might not seem convincing when she says she cares so much for the children, but that is the way she was in real life during those times. Non-Americans might either find everything totally boring for incidents portrayed that do not concern them or be totally in awe of anyone being so involved in Americana.

One of the tasks Jackie was in charge of was looking after the White House. In the film’s best segment, an inspired one no doubt, Jackie is seen moving about the house, cigarette in one hand, popping pols, pouring drinks or arranging letters to the tune and lyrics of the song CAMELOT. Camelot, the perfect place to be is Jackie’s White House.

JACKIE emerges as a rare film about America as seen through the eyes of a foreigner. It is a queer piece which alternates between looking really artificial and surreal, but that might be Larrain’s intention.

Trailer: https://www.youtube.com/watch?v=pZTXv5NpgaI

 

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Film Review: SADIE’S LAST DAYS ON EARTH

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sadies_last_day_on_earth_movie_poster.jpgDirector: Michael Seater
Writer: Michael Seater
Stars: Helene Joy, Munro Chambers, Ricardo Hoyos

Review by Gilbert Seah

SADIE’S LAST DAYS ON EARTH is advertised as a teen comedy – a genre of film many moviegoers tend to avoid. To be fair to this genre of films, there have been many classics like FERRY BUELLER’S DAY OFF, SIXTEEN CANDLES or even exceptionally funny ones like LICENCE TO DRIVE and WEIRD SCIENCE. The key to teen comedies is to have a very identifiable teen like a loser trying to break out of his or her mould in a very identifiable situation that every adult has been in.

In SADIE’S LAST DAYS ON EARTH, modern teenage anxiety and the universal desire for acceptance from others and ourselves are explored through the protagonist Sadie. The teen in this story appears to be driving herself into a secluded mould of loneliness.

Sixteen-year-old Sadie Mitchell (Morgan Taylor Campbell, SPOOKSVILLE, THE KILLING) is convinced the world is about end. The script does not go into detail where she gets her source or the reason she is so convinced. This is obviously a big flaw as the whole film’s credibility hinges on this fact. Undeterred by the naysayers, Sadie has two weeks to ready herself for the coming apocalypse. The film goes with the titles counting down the last days of earth – as if it was going to happen. Sadie has a list of things she needs to master (a sort of bucket list); survivalist cuisine, knitting, but there are other things…personal things; go to a high school party, kiss a boy, and most importantly, get her best friend Brennan (Clark Backo, SHOOT THE MESSENGER) back. These are silly items, unfortunately only important to Sadie, and not to the audience or anyone else in the film for that matter. Within the first few minutes of the film, the audience is quickly detached from the heroine as well as the film. Armed with survival supplies, blueprints and escape routes, Sadie finds an unlikely ally in Jack (Ricardo Hoyos, DEGRASSI: THE NEXT GENERATION) who shows her that her last days on Earth might not be so bad after all.

Just one day before Sadie’s predicted last day, the town suffers a minor earthquake. Suddenly, the entire town believes Sadie’s prediction of Earth’s Last Days. There is of course, such a thing as a minor earthquake happening, so it is ridiculous to see the entire town turning into Chicken Littles.

The film’s corny message is that one should live life fully – as if the end of the world is near. Sadie also suffers from insecurity. Too many of the film’s character have to remind her that she is smart, funny and bold – which in my opinion, she is not.

Enough is enough. The film is so unwatchable and the characters so annoying (example: Sadie’s mother with an Australian accent; Sadie’s dj classmate with a fake British accent), that one soon begins counting down the minutes this film will end.

From the same director and writers of PEOPLE HOLD ON, SADIE’S LAST DAYS ON EARTH will likely be as forgettable as their first movie, which thankfully (about group of friends gathering together before a wedding ), I did not see.

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

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Film Review: SUGAR MOUNTAIN (USA 2016)

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sugar_mountain_movie_posterDirector: Richard Gray
Writers: Abe Pogos, Abe Pogos (story
Stars: Jason Momoa, Cary Elwes, Anna Hutchison

Review by Gilbert Seah

 SUGAR MOUNTAIN is the location in Alaska where two brothers device a scam in order to get the money to pay off debts and have a new go on life.

Deep in debt to a local thug (upcoming actor Jason Momoa soon to be seen on AQUAMAN and JUSTICE LEAGUE), Miles (Drew Roy) persuades his girlfriend Lauren (Haley Webb) and brother Liam (Shane Coffey) to help fake a disappearance in the Alaskan wilderness around the town of SUGAR MOUNTAIN. The plan is to sell the story. But unknown to Liam, who is the main subject of the film, Miles has also other secrets that get in the way. Worst still, Liam is in love with Lauren. While the town works together to find Miles, the local chief of police, Jim Huxley (Cary Elwes) begins to suspect foul play. As he closes in on the truth, Liam struggles to conceal the hoax, and in the process exposes a secret that rocks him and Lauren to the core. Now the two are struggling to stay one step ahead of a sadistic thug and the tenacious cops before Miles is gone for good.

Performances are believable by the relatively unknown young cast. It is good to see Cary Elwes (THE PRINCESS BRIDE) nine in the role of the cop father after a long absence in films.

Being shot in Alaska, the film is expectedly gorgeous to look at. From the first scene of Miles lost in the mountains of snow to the boat (the Viking) cruising down Alaskan waters to the mountain sides where the search for Miles is carried out, cinematographer John Garrett never fails to astound. Garrett won the 2015 Emerging Cinematographer Award recipient (American Society of Cinematographers). There is also a remarkable shot scene where the couple find themselves close up to an angry bear.

The script by Abe Pogos based on a story by Pogos and Catherine Hill is interesting enough with sufficient plot twists towards the end. But the film would have world better if it was darker and more violent. One expects these elements in a film advertised a a dark thriller. But most important is the happy ending that is credible enough. The film works best when the audience is not sure what is happening on screen is part of the plan or going on for real.

SUGAR MOUNTAIN is a tough sell being a small budget movie released in the month of December in stiff competition with the big league films like ROGUE ONE, FANTASTIC BEASTS, DR. STRANGE, MOANA as well as smaller budget critical acclaimed hits like MOONLIGHT. To be fair, SUGAR MOUNTAIN is not a bad film, but it is not that remarkable a film either. But it is an earnest film, with a lot of effort put in and is a welcome change in a month where thrillers are noticeably absent.

Trailer: https://www.youtube.com/watch?v=29KpXJVT3IM

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Film Review: SING (USA 2016) ****

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sing_movie_poster.jpgDirected by Garth Jennings

Starring: Matthew McConaughey, Reese Witherspoon, Seth MacFarlane, Scarlett Johansson, John C. Reilly

Review by Gilbert Seah

Garth Jennings, director of the not-so-successful THE HITCHHIKER’S GUIDE TO THE GALAXY and the excellent SON OF RAMBO seems an unlikely choice for director of the 3D computer-animated musical comedy film produced by Illumination Entertainment (the DESPICABLE ME films). But Jennings who also voices the old secretary Matilda, the glass-eye popping iguana in the film, proves a worthy choice.

The age-old plot of SING involves the protagonist, here in the form of a cute koala (Matthew McConaughey) putting up a show in order to save his failing theatre. He comes up with a brilliant scheme to save his stage: put audience members on it. “Real talent from real life,” Buster declares. Buster is determined to host the world’s greatest singing competition, and, given the overwhelming response to his call for participants, the show might just lay claim to that title. After an exhaustive (and entertaining) audition process, his lead contestants left are an exhausted mother of 25 piglets, a timid adolescent elephant, a porcupine with punk, a rodent con artist with Sinatra-esque chops, and a gangster gorilla eager to change careers. Each is as desperate to change their life as Buster is to rescue his business. Who will win? It doesn’t really matter as all eventually do their part to save the theatre. Jennifer Saunders of ABS FAB does the voice of ex-diva a sort-of patron for Moon’s theatre as she is rich beyond means.

SING is undeniably a feel-good movie with an extra coating of sweetness that stretches credibility to the limit. If the film was not animated, it would never get away with the premise. But animated feature are supposed to be totally crazy and not matter how unbelievable, any crazy premise will always work to its favour.

Water has always been difficult if not impossible to animate. Disney’s THE SORCERER’S APPRENTICE (from FANTASIA) with Mickey Mouse demonstrated that. But now with computer animation, all is possible. In SING, Buster Moon decides to create an elaborate lighting sequence for his show using squids in a huge water tank that ends up leaking and blowing up. All this is an excuse to showcase the studio’s impressive modern animation with computer aid using water. No complaints here, as the sequence is one of the film’s best animated, as in the time lapse rebuilding of Moon’s theatre near the end of the film. Disney and Pixar are faced with stiff competition here.

The impressive cast of actors and singers include Reese Witherspoon as Rosita, Seth MacFarlane as Mike, a small white crooning mouse with a big Frank Sinatra-esque voice and an arrogant attitude, Scarlett Johansson as Ashley, a crested porcupine punk rocker, John C. Reilly as Eddie Noodleman, a Suffolk sheep and Buster’s partner, Tori Kelly as Meena, a teenage Indian elephant with an exquisite voice, and severe stage fright,Taron Egerton as Johnny, a Cockney-accented mountain gorilla, who wants to sing and Nick Kroll as Gunter domestic pig and Rosita’s German-accented, very optimistic and bubbly dance partner.

SING is by no means a faultless feature. It falls into the trap of having too many characters for its own good and not knowing when to shorten its story. The film also hurdles at too fast a pace, as in the father gorilla escaping jail to see his son perform.

The film features more than 85 classic songs from famous artists all more than adequately performed by the animated characters as well as a few catchy original songs.

Like Moon going all out to save his theatre, one cannot help but root of writer/director Jennings in his worthwhile effort and awarding him an “A” for effort.

Trailer: https://www.youtube.com/watch?v=Y7uGHY-t80I

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Film Review: MISS SLOANE (USA/France 2016)

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miss_sloane_movie_posterDirected by John Madden

Starring: Jessica Chastain, Gugu Mbatha-Raw, John Lithgow

Review by Gilbert Seah

MISS SLOANE is a political thriller that demands the audience believe certain incredible plot points. One is that a person would serve jail time for something he or she believes in.

Directed by John Madden (SHAKESPEARE IN LOVE, BEST EXOTIC MARIGOLD HOTEL, MRS. BROWN) from a script by Jonathan Perera, MISS SLOANE the film is based on the lead character of the same name. In the high-stakes world of political power-brokers, Elizabeth Sloane (Jessica Chastain) is the most sought after and formidable lobbyist in Washington, D.C. Known equally for her cunning and her track record of success, she has always done whatever is required to win. But when she takes on the most powerful opponent of her career, she finds that winning may come at too high a price. At one point in the film when Sloane’s campaign faces a major setback, she is asked: “Why don’t you quit?” Her answer: “And do what?”
The film begins with her court case in which she is questioned on her ethical practices as a lobbyist. The senator presiding the case is corrupt Senator Sperling (John Lithgow), blackmailed to do the job by George Dupont (Sam Waterston). The film flashes back to the events leading to the inquisition and follows what happens to Miss Sloane after.

The film is quick to get the audience on Sloane’s side, no matter guilty or not. Sloane is super good at her job, dishing out her advice while tearing down her opponents without any feeling of guilt of any kind. The unfortunate victims include her team members as well, as in Esme Manuchairan (Gugu Mbatha-Raw) who at one point in the film tells Sloane as it is : You are smart enough to know that. You just don’t care.”
The film does not take sides on the issue of gun control though Miss Sloane is pro-gun control. There is also a segment in the film when the tides are turned (the attempted shooting of Esme) against Sloane’s favour. Madden never makes it clear whether the incident was orchestrated by Sloane. It looks as if it was completely planned but Madden leaves it to the audience to make up their own minds. The film also contains some false alarms such as the appearance of Sloane’s hooker, (Jack Lacy) at her trial to keep the audience on their toes.

The ultimate question on whether the film succeeds is whether the rats, in the words of Sloane, the parasites of the American democracy can be outed within the credibility of Perera’s script. The answer is barely. The film hinges 100% on the credibility of actress Jessica Chastain’s performance. Chastain is good but the plot just asks for too much credibility.

The film contains many highly charged dramatic set-ups, a few too obviously predictable for the seasoned film cineastes and the film critic. But the writing and dialogue is still good to hear. Perera writes choice quotes. Miss Sloane always has the perfect rebuttal to every argument under the sun. As Miss Sloane says in the film: “Lobbying is about foresight. It is about anticipating the moves before the opponent does.” In the same way, the film tries its best to stay one step ahead of what the audience anticipates.

Trailer: https://www.youtube.com/watch?v=AMUkfmUu44k

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Film Review: ANTIBIRTH (USA/Canada 2016) ***1/2

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antibirth_movie_posterDirected by Danny Perez

Starring: Natasha Lyonne, Chloë Sevigny, Meg Tilly

Review by Gilbert Seah

As nasty pictures go, ANTIBIRTH is one hell of a nasty piece. Halfway throughout the film, the lead character, Lou (Natasha Lyonne) remarks: “I am not pregnant. I am infected!” But writer/director Danny Perez infuses an accurate stoner humour into the proceedings. Unlike films like SAW and HOSTEL, which are nasty beyond watchable, ANTIBIRTH is very watchable and entertaining in a nasty way. In the words of director Perez, “I wanted to show the other side of pregnancy besides the feel-good and the glow; i.e. the more gruesome aspects of pregnancy and what it does to the body.” He ties the film with UFO Youtube conspiracy theories, which does not always work. Needless to say, the film should be avoided by any woman in the expectancy period.

In a small Michigan town, hard-partying stoner Lou (Lyonne) awakens one morning and finds herself experiencing bizarre symptoms. Her friend, Sadie (Oscar nominee Chloë Sevigny from BOYS DON’T CRY) believes she is pregnant and not telling her about it, despite Lou’s claims that she has not had sex with anyone in nearly a year. A mysterious stranger, Lorna (Meg Tilly), however, believes Lou. As conspiracies and stories of bizarre kidnappings around town begin to spread, Lou’s visions and grip on reality become more distorted.

Perez wrote his film with lead actress Lyonne in mind. It shows! Lyonne is perfect for the part as the stoner do-not-want-to-be-mother. “I cannot be pregnant. It is not my style.” She says. Her character, Lou smokes from a bong with the mouthpiece so large that it fits her entire mouth. She survives on donuts and cigarettes. Meg Tilly, not seen for a while on screen returns in a role as a frumpy weirdo who sees flashes of light and visions, like someone switching on and off a TV channel.

Be warned that Perez is fond of including very gross scenes. One has Lou peeling off a scar tissue at the back of her neck before extracting one of her molars with her fingers, blood and all. But the best (grossest) scene has her using a knife to break open a huge blister on the sole of one foot, followed by all the blood and pus running out. She then wobbles around with a cane, limping around until she delivers. One can appreciate if not feel her pain during the pregnancy – or infection, if one wants to call it that.

The winter setting with the ice and snow as well as the dirty mud aids in the film’s gloomy atmosphere. Her trailer home looks even more dismal in the wintry setting.
The best scene? Meg Tilly’s face covered in blood smiling after delivery of the monster baby remarking: “Oh my goodness!”

ANTIBIRTH works as a horror film with major stoner attitude. One of the best horror films of the year! See it with caution!

Trailer: https://www.youtube.com/watch?v=Gx1K4yZW5Ds

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Film Review: CAMERAPERSON (USA 2016)

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cameraperson_movie_poster.jpgDirected by Kirsten Johnson

Writers: Doris Baizley (consulting writer), Lisa Freedman (consulting writer)

Star: Kirsten Johnson

The director’s vision is seen through the lens of the cinematographer’s camera. Oscar winning cinematographers? Who can forget Freddie Young’s sandstorm in LAWRENCE OF ARABIA, Haskell Wexler’s locust invasion in BOUND FOR GLORY or Gordon Willis’ city silhouette in Woody Alllen’s MANHATTAN? In the new documentary CAMERAPERSON that premiered at Sundance this year, female cinematographer Kirsten Johnson delivers a uniquely insightful memoir-cum-critical-treatise on the nature and ethics of her craft.

At the film’s start, Johnson declares that she is a documentary cinematographer who for the past 25 years has shot footage for other films. She declares that this film is her memoir – images that have marked for life and many that have still kept her wondering. These are strong words – and sets up the audience for a documentary that will hopefully astound and mesmerize.

As for Johnson’s credit, she has worked behind the camera for well-known films like FAHRENHEIT 9/11- there is one shot of Michael Moore making a comment, DARFUR NOW and CITIZENFOUR among others. She has travelled around the globe in different continents uncovering hidden truths.

A boxing match in Brooklyn; life in postwar Bosnia and Herzegovina; the daily routine of a Nigerian midwife; an intimate family moment at home: these scenes and others are woven into the film, a tapestry of footage captured over the twenty-five-year career of documentary cinematographer Kirsten Johnson. Through a series of episodic juxtapositions, Johnson explores the relationships between image makers and their subjects, the tension between the objectivity and intervention of the camera, and the complex interaction of unfiltered reality and crafted narrative.

Her documentary uses images to tell the story. There is little voiceover to put the audience into any perspective of the images or places or people on display. By looking at her images on screen, the audience is to make up their own minds on what is perceived. But each snippet is preceded with a title, mostly the name of the place where the images to be seen are taken – from as diverse locations as Foca, Bosnia, to Westport, New York. Certain placers are re-visited again in the film. Some snippets last no more than a minute while others longer.

There are plusses and negatives for this approach. The plusses include the audiences having a less biased opinion of the activities that take place – and some of these are political. A few teases the audience’s curiosity. One snippet for example traces a boxer’s activities just before he enters the ring and then ends. Other images are plain stunning and need no commentary. On the negative side, some feel out of place and difficult to follow – especially the reason for Johnson’s inclusion into her film. The short snippet of the outside of an airline as shot from inside that lasts about minute is a puzzling one. One would also like to know more about Johnson’s background, her influences and who she respects working for in the past or who she would like to wok with in the future. Her take on cinematography for fiction films would also be an insightful inclusion for this film. The closing credits list the details of all the films Kirsten has used in this doc.

Regardless, CAMERAPERSON is still a fascinating film for all those who love cinema. It is these pioneers that capture the stuff of dreams and translate it into celluloid for everyone’s benefit and pleasure.

CAMERAPERSON will have a limited run at Toronto’s Hot Docs Ted Rogers Cinema.

Trailer: https://vimeo.com/179496166

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Film Review: LION (Australia 2016)

festreviews 2016 movies, movie, Movie Review, Uncategorized , , , , , ,

lion_movie_posterLION (Australia 2016) **
Directed by Garth Davis

Starring: Nicole Kidman, Rooney Mara, Dev Patel

Review by Gilbert Seah

When a feel-good story as in LION is made into a film, filmmakers often still feel the need to add on additional sweetness. PLAY IT LIKE BECKAM, BILLY ELLIOT and the more recent QUEEN OF KATWE are examples of films that fall into this trap.

Audiences do not seem to mind as observed in the box-office success of the first two aforementioned films though QUEEN OF KATWE bombed. Critics, however are never impressed with sugar-coated feel-good films. Unfortunately, LIONS falls into this category. Director Davis is still not ashamed to show a tear or two dripping from the face of the main protagonist, Saroo (Dev Patel), not once but twice.
Dev Patel (THE BEST EXOTIC MARIGOLD HOTEL, SLUMDOG MILLIONAIRE), Rooney Mara and Nicole Kidman star in the true story of Saroo Brierley, who was adopted by an Australian couple after being separated from his family in India at the age of five, and then located his original home using Google Earth 25 years later.

The film begins with overhead shot of Tasmania, Australia before settling, oddly in India. Here, the audience sees precocious five-year-old Saroo Khan (Sunny Pawar) in a very poor family. Over-eager to help his older brother Guddu with any odd job that will provide their family with much-needed money, Saroo follows Guddu everywhere he goes. One night the two boys are separated on a train platform in their native Madhya Pradesh, and Saroo winds up nearly a thousand miles away in Calcutta where he is fortunately taken in by a government orphanage. When an Australian couple (Kidman and David Wenham) adopts him, he is taken to live with them in Hobart, Tasmania. It’s not until Saroo leaves that island as a young Australian man (Dev Patel) that he begins to wonder what became of his first home and the family he so adored. Saroo falls into romaine with an Australian (Rooney Mara) in an awkward romance. It does not take a genius to figure out that Saroo will eventually be united with his mother in India through the help with Google earth.

Adapting Brierley’s own book, A Long Way Home, screenwriter Luke Davies and first-time director Garth Davis infuse the story with just too much heartbreak. Nothing is gained or learnt from this predictable true tale made worse with its tear jerking at every possibility. This is an example of the worst of a based on a true story, tear at your heart-strings film.

The reason the film is called LION is revealed at the very end of the film. Not that it matters any. The film LION arrives with much less than a roar.

Trailer: https://www.youtube.com/watch?v=s3ns9XjWKws&t=7s

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