movie review

Movie Review: BLACKWELL SUMMERS MYSTERY (2016)

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MOVIE POSTERBLACKWELL SUMMERS MYSTERY, 12min., USA, Action/Crime
Directed by Emily Dell

Revolves around the detective agency of Grace Blackwell and Raven Summers. A feisty duo fighting injustice and giving a voice to the defenseless using brute force, killer brains and unconventional beauty.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Blackwell Summers Mystery, a 12 minute American short from director Emily Dell, focuses on Grace Blackwell and Raven Summers, two sexy detectives with their own private investigation company in the heart of the 1970s. Smart, cunning and sexy, both ladies use their strengths and skills to take down the villain while leaving space for the audience to laugh the whole time.

This film has a satirical quality, not unlike the well-known Austin Powers franchise. The humor in the film comes from the slightly unbelievable elements, (Such as the petite Raven Summers headlocking a thug twice her size) and the campy sound effects that follow the fight scenes. The tone and color of the piece gives it an over-the-top 1970’s vibe. The plot and the characters don’t take themselves too seriously, and thus invite us as the viewers to laugh along with them. Within the fantastical world the film creates the characters are women of power and savvy, and leave the audience rooting for them in every scene.

Comic, bright and full of flare, this groovy film will leave you craving more. Well done to these maidens of mystery.

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Movie Review: MOTEL MOTEL (2016)

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MOVIE POSTERMOTEL MOTEL, 20min., Belgium, Crime/Mystery
Directed by Ellen J. Babeliowsky

When Hjalmar inspects his room in an old, worn-out motel, he discovers a severed ear in the deep-pile carpet. During his search for the origin of the ear, he stumbles from one strange occurrence into the next. The mystery of the ear ultimately gets him into a surreal situation, of which he is both the victim and the spectator.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Rich in symbology and complex layering, Motel Motel this crime mystery film by Belgian director Ellen J. Babeliowsky. It follows our hero, Hjalmar, finds himself sharing an old motel room with an unpleasant partner- a severed human ear. This ear disturbs him, erodes him, and ultimately drives him to act by reaching the motel’s owner to change his room. Curiously, no one believes his story- that his room is occupied by a human ear. Yet his consciousness becomes plagued with eerie visions, hallucinations and jarring revelations that upset and torment him. His actions become increasingly desperate and disorganized as he falls into a supernatural state of reality while ambling through the motel. Whether his experience are the result of some supernatural power, some fragmenting sense of reality, or the delusions of a mad man, the audience is left to wonder what came first- the madness or the mayhem?

This film makes nods to several well established cult classics, such as Pulp Fiction to name one of many. The unreliable narrator, the highly subjective non-lateral plot and the avant-garde supernatural air, make the film a cultural cinematic work of art. Think Wes Anderson, if Wes Anderson was dark and perturbed and less whimsical.

Undoubtedly beautiful, with spectacular imagery and stunning composition, this film has sumptuous tones and high production value. The story may be too allegorical and metaphorical for a viewer looking for a conventional short. However, a viewer will be engaged with the idea of a hero, slowly losing his mind, fighting a battle only they seem to understand. And the supernatural twist at the end will tie together the details strung throughout the piece. A deep, dark, thought provoking film chronically the descent into madness…or maybe, something more.

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Film Review: INFERNO (Da Vinci Code 3!)

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inferno_poster.jpgDirector: Ron Howard

Writers: Dan Brown (based on the novel by), David Koepp (screenplay)

Stars: Tom Hanks, Felicity Jones, Irrfan Khan

Review by Gilbert Seah

Warning: It is best not to see the trailer before the film as all the best and most important parts are shown, leaving the film to be a bit….boring!

In a few years time, you can argue, no one will even remember Ron Howard’s INFERNO, based on Dan Brown’s 2013 novel of the same name. It will open around the world, make a little money for the studios and talent, and then it will just disappear.

The film begins with a chase that results in the suicide of Bertrand Zobrist (Ben Foster), a transhumanist scientist who is intent on solving the world’s overpopulation problem before jumping from a bell tower. (This scene is also seen in the trailer. ) The film switches to Robert Langdon (Tom Hanks) awakening in a hospital room in Florence, Italy, with no memory of what has transpired over the last few days. He suddenly finds himself, once again, the target of a major manhunt. With the help of Dr. Sienna Brooks (Felicity Jones) and his knowledge of symbology, Langdon tries to regain his freedom and lost memories, all while solving the most intricate riddle he has ever faced.

The script by David Koepp (JURASSIC PARK) is a simple story laced with too many subplots that adds confusion. Every subplot does makes sense in the whole realm of the story, but the audience is not given much time to digest to the details.

The climatic sequence when all the characters converge to save the world (in their own way) is a total confusion of bad editing. The audience is uncertain how the virus might be or might not be released in a container that is immersed in a water system. The knife fight that involves a victorious Sienna feels like something out of a horror film where the slasher always appears for one last scare.

If there is one saving grace of the film, it is the performance of “Sidse Babett Knudsen” as Elizabeth Sinskey, head of the the World Health Organization. One of Denmark’s best actresses, she makes the most of what would otherwise be an underwritten role. Her presence gives a new definition to screen presence. “Irfan Khan” and “Omar Sy” (UNTOUCHABLES) are both not bad as the polished no-nonsense Harry Sims and Christoph Brüder, head of the SRS team respectively.

The film is shot in a few exotic locations such as Florence, Venice and Istanbul that should provide a few bright moments.

What is most puzzling is the supposedly surprise ending with Dr. Langdon and the Dante’s mask (it is already shown in the trailer so the twist isn’t really a twist!).

The link to the trailer is provided below. See it, if you must, but after watching the film, again, only if you must.

Watch Trailer

Venezia, 29/04/15 – Set del Film “Headache” (Inferno).Felicity Jones. ©Marco Sabadin/Vision – Set del Film “Headache” (Inferno).Felicity Jones. – fotografo: ©Marco Sabadin/Vision

Deadline October 31st

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Film Review: JACK REACHER: NEVER GO BACK (USA/China 2016) ***

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jack_reacher_never_go_back_poster.jpgJACK REACHER: NEVER GO BACK (USA/China 2016) ***
Directed by Edward Zwick

Starring: Tom Cruise, Cobie Smulders, Aldis Hodge

Review by Gilbert Seah

Director Edward Zwick (GLORY, THE LAST SAMURAI) takes over the Jack Reacher director’s reigns from Chirstopher McQuarrie in the second instalment of Tom Cruise action hero movie.

Armed with a toothbrush, this lone wolf is still out to dish the justice America needs and never gets in today’s world of corruption and politics of Trump and Clinton. At the film’s start, the cocky Reacher (Tom Cruise) is almost arrested but tells the sheriff that the phone will ring and that he and his men will be sent to jail. Of course, the prediction comes true just as the cocky hero says. But this loner is presented in this updated story with a 15-year old Samantha (Danika Yarosh) that the bad guys are after. Samantha could or could not be the daughter that Reacher never had. The film switches from lone wolf mode to father protecting his daughter in human element mode. The film works in both modes, though one would never want for example to see a James Bond in a film where Bond is protecting a could-be daughter from the past.
The plot is nothing spectacular. Jack Reacher must uncover the truth behind a major government conspiracy in order to clear his name. On the run as a fugitive from the law, Reacher uncovers a potential secret from his past that could change his life forever. The story contains a few forgettable plot twists.

Zwick is not known as an action director and the film lacks any memorable action set-pieces. The chase on the roofs is exciting enough but has been done before in other action films. Reacher dangles from a gutter, climbs a drain pipe and skids down the roofs. The climax through the New Orleans Halloween parade where killers chase Samantha looks something right out of the James Bond flick, LIVE AND LET DIE. The car chase is also lacklustre. But the editing is sharp enough to satisfy action fans.

Cruise is no longer in his 20’s and his age is beginning to show. His co-star Cobie Smulders outshines him as Major Susan Turner as does hunk Patrick Heusinger as the super efficient killer who is all out to get Reacher even after his boss has been taken down. But Cruise still looks good as the lone wolf action hero. The image of him in the black leather jacket with Smulders sprinting makes a good poster.

As far as humour goes, the running gags of “I don’t like to be followed” and his utterance “Ex-major” whenever a military man calls him major work well. He is a loner and Major Turner is a female military major. When he insists on going after the villains alone, she takes offence. The feminist banter between the two is a good update in terms of political correctness even though these dialogue lines are mildly funny.

The film ends, expectedly with loner Reacher leaving everything behind and thumbing a ride with nothing more than his toothbrush. Another Jack Reacher movie? Why not? 10 million fans of each Reacher book guarantees success of the Jack Reacher films. Also being a U.S. China co-production, the film is almost guaranteed box-office success in the two largest nations in the world.

Trailer: https://www.youtube.com/watch?v=aRwrdbcAh2s

 

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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.

AMERICAN PASTORAL Day 19 Scene 51
AMERICAN PASTORAL Day 13 BTS
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american_pastoral_poster.jpg

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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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Movie Review: WE’LL SEE IF WE DROWN (2016)

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MOVIE POSTERWE’LL SEE IF WE DROWN, 20min., France, Comedy/Crime
Directed by Hugo Becker

Mickey, Voltaire, and K.O are twenty-five. Mickey works at the butcher’s shop. Voltaire’s a con man in training. K.O fancies himself a boxer. All three have decided to stop eating pasta and skip town. But that’s where things get complicated: when you want something, you got to go get it.

Shown at the September 2016 COMEDY FEEDBACK Film Festival

Movie Review by Kierston Drier

Everyone loves an anti-hero, whether you are watching a scripted show, reality TV or even the news, people naturally look for the bad guys. We’ll See If We Drown, a French smash-hit directed by Hugo Becker, is a story about three such delinquents. Mickey, Voltaire and K.O are three twenty-something pseudo criminals up to no good, with plans to rob the Butcher shop that Mickey works at and skip town to go fishing.

High-quality, high-concept and high-voltage, this film is set at a lightening fast pace that can easy leave a slow-reader stumbling to keep up with the English subtitles, but that is no reason to avoid it. This film has genius undertones layered under slapstick-style high jinks. Our anti-heroes are undeniable assholes- they lack compassion for the people they damage in order to get what they want, they are each individually narcissistic, misguided and vice-driven and yet there is a note of sympathy in all of them. To an audience conforming the the nine-to-five white-picket fence “American Dream” these three represent who we all may be on the inside if we followed only our momentary whims and desires. And each character has their soft spot- a love of fishing or a family pet, that makes them remarkably human and, in their own perverse way, likeable.

This comedy may not sit well with a North American audience, use to a more linear story style, or a less condensed plot- but this reviewer would argue that a true film-lover should experience foreign films as frequently as they can. It is our deviation from the cinematic comfort zone that allows us to learn more about the wonderful world of film. We’ll See If We Drown has elements of slapstick, elements of irony and elements of melodrama. It also has undertones of anarchical philosophy, symbology and nihilism that will tantalize the astute academically minded. Check out this film! It’s a riot for any viewer who loves watching the bad guys do all the bad things.

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Movie Review: THE SOUNDS OF STREET VENDORS (2016)

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MOVIE POSTERTHE SOUNDS OF STREET VENDORS, 8min., USA/Cuba, Documentary
Directed by Michael Brims

A portrait of the music and the sounds of street vendors in Havana.

Shown at the September 2016 DOCUMENTARY FEEDBACK Film Festival

Movie Review by Kierston Drier

The Sounds of Street Vendors is a soundscape portrait of Havana’s bustling daily marketplace. As colorful as it is musical, this piece, directed by Kyle Chen is especially interesting given the recent changes to the political and economic scene in Cuba. This film stands as a testament to Cuba’s economic essence: entrepreneurs sell their wares- flowers, peanuts, fabrics kitchen supplies- or their services, like knife sharpening, all in order to make a living. This cinematic piece is as engaging to the ear as it is to the eye, every vendor seems to be singing to attract their business. As though each vendor where birds, chirping to attract their mates.

To the arm chair sociologist or the culturally curious, this piece is a cultural rosetta stone- likening itself to market places everywhere. To a cinema-buff however, it may be frustrating, as the film is more an exploration of a city’s streets and sounds, than it is a dedication to a specific plot or storyline. The film is framed nicely with the larger-than-life vaudevillian style peanut vendor, whose sultry and enticing voice both opens and closes the piece. Beyond that, however, there is not much in the sense of story development. Instead a story that develops following central cast, crew or plot you are brought along as through a journey of discovery, as thought you were a tourist in the street yourself. The characters we see are each individual vendor, and while their moments in the film may be short, they are colorful and clear. Each vendor with their own song, their own items or services and their own clear selling tactics.

Fun, light, bright and whimsical musical The Sounds of Street Vendors is a rich documentary, that shows the audience another type of world. Like many other excellent documentaries, you are not told what to think, but if you leave this film craving peanuts, the vendors of this marketplace have worked their magic on you.

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Movie Review: WAR OF SPACE (2016)

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MOVIE POSTERWAR OF SPACE, 5min., USA/Kenya, Documentary
Directed by Matt Mays

As human and elephant populations increase across the Serengeti ecosystem, the Maasai Mara region of Kenya is struggling with room for both to exist peacefully. Conflict is daily and sometimes deadly. A group of dedicated rangers is working to find a way to end the war of space.

Shown at the September 2016 DOCUMENTARY FEEDBACK Film Festival

Movie Review by Kierston Drier

A stunningly beautiful short, War on Space, by Matt Mays, tells the story of on-going conflict between the human and elephant populations of the Maasai Mara region of Kenya. Poignant musical composure and spectular footage of the Kenyan Landscape are not the only strengths of this piece; this film is an investigation of human ingenuity and hope.

Human-elephant relations have been a long troubling issue in the Maasai Mara region- with human growth crowding out the roaming lands for herding elephants. Elephants attacks have claimed human lives and the ever shrinking room for elephant movement have lead to attacks on elephants as well. Yet War on Space investigates the solutions to these problems with human advancements in technology. In an effort to find harmony with humans and wildlife, new legions of troops now assist in peacefully navigating elephants away from human habitats via GPS devices and drone usage, sparing countless elephants lives. To help instruct the future generations, local schools teach the importance of protecting the elephant population.

This film shows a beautiful type of hope. A future where humans live in peace with the world we are a part of. It shows the transformative power of education and technology. It brings light to an issue many North American audiences have never known about. It is gorgeously produced and exceptionally well executed as a piece of cinema. Most importantly for our cinema lovers- it it successful in it’s attempts to create a visually beautiful spectacle while also weaving a compelling and meaningful message. A wonderful documentary about humans and our impact on this amazing, awe-inspiring world.

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