Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 24 March 2023

COLORBLIND (COLOURBLIND)(Canada 2022) **

Directed by Mostafa Keshvari

COLOURBLIND the film begins with these words on the screen heralding the use of technology to simulate colour blindness with its usage used quite a number of times during the film’s entirety. The words: “The film contains sequences of Colour Video Deficiency (CVD), mathematically devised by cloud scientists to accurately represent colour blindness. These scenes are basically black and white images of different brightness that represent different colours. Truth be told, it is the first time this film reviewer got to appreciate this disability.

The film features two main characters, both of whom are colour blind. The mother tells her son: "Colourblind is not the same as being blind, being colour blind means that we have better imagination.``

The emotionally charged and compelling feature COLOURBLIND follows the story of Magdalene (Chantel Riley from FRANKIE DRAKE MYSTERIES and MYNONNA EARP) a coluorblind black artist, and her son Monet (after the French impressionist Monet) as they move into a new neighbourhood where they are challenged when they see the true colours of people. When their racist landlord Walton is forced to babysit Monet due to an unexpected emergency, he discovers a more colourful world through the child's black-and-white perspective.

Within the film’s initial twenty minutes, the audience sees two racist incidents. One is the treatment of a white cop as she interrogates Magdalen when she first settles into the new apartment. The cop is clearly racist is=n her dealings, the excuse given by her is” I am only doing my job.” The other is the confrontation when Magdalen first meets the racist white landlord. The landlord lets it be known that he had expected a white tent from the surname. His only excuse is that he claims other landlords are not so tolerant. After he learns that she is a black artist that has an exhibit at the local gallery that is now closed, he asked her also for last month’s rent, though this has only partly to do with Magdalene’s colour. What is shown here is systematic racism. The landlord is racist right from within but tries to cover it up and also believes that he is doing the right thing. These two incidents are sufficient to anger the audience and to get the film’s message across.

The magic question this film tries to answer is whether a supreme faddist can change? The film, however, is not effective in its second half when it tries to show Walton’s conversion from racism to sympathetic human being. The audience is led to believe that the child is able to use his innocence to win over the big bad giant. Truth be told, credit should be given for the filmmakers for trying with good intent.

Besides racism the film covers other pressing issues like single motherhood, disability (in this case, a not so well-known one, thus being quite insightful) and mother-son relationship.

Gravitas Ventures will release COLOURBLIND on digital platforms on April 4, 2023.

Trailer:

Colorblind Official Trailer HD (2023) from Mostafa Keshvari on Vimeo.

DUNGEONS AND DRAGONS: HONOUR AMONG THIEVES (USA 2023) ****
Directed by Jonathan M. Goldstein and John Francis Daley

DUNGEONS AND DRAGONS, as everyone knows, was one of the most popular board games a few decades back. Dungeons & Dragons is a structured yet open-ended role-playing game. It is normally played indoors with the participants seated around a tabletop. Typically, one player takes on the role of Dungeon Master (DM) while the others each control a single character, representing an individual in a fictional setting. When working together as a group, the player characters (PCs) are often described as a "party" of adventurers, with each member often having their own area of specialty which contributes to the success of the whole. During the course of play, each player directs the actions of their character and their interactions with other characters in the game

If all these rules sound complicated, there is nothing to worry about as little to no knowledge of the game is necessary to enjoy the film. Of course if one is familiar with its theme, one can see references in the story and plot points (such as the maze) that are in the game.

Teens in particular would gather together endlessly and indulge for hours, if not days on the game. It is about time that a film be made on this popular game. Before one can shrug one's shoulders, judging how bad movies based on games can be, this latest game film is not half bad. It is a wise decision on the filmmakers’ part, to treat the movie as a fairytale fantasy, similar in vein to Rob Reiner’s highly successful fairy tale epic THE PRINCESS BRIDE. The film contains all the elements of a solid fairy tale including a magical troubled Kingdom, adventure, journeys, heroes and villains, the only thing missing being a king, queen and a princess. The film feels like a game because the film is playful, the adventures could go many ways and there are many puzzles like the maze and getting put of tight situations.

The fun starts when a charming thief, Edgin (Chris Pine in swashbuckling mode) and his female best friend, Holga (Michelle Rodriguez who does more fighting than him) escape from a very nasty prison. He wishes to reconcile with his daughter, Chloe. He bands together an unlikely group of thieves to undertake an epic heist to retrieve a lost relic ignorer to bring back to life his dead wife i.e. Chloe’s mother, but things go dangerously awry when they run afoul of the wrong people. Standing ninth way is the traitorous villain played by Hugh Grant who is exceptionally funny and coy at being bad. Pine is sufficiently dashing but equally matched by suave British trained Regé-Jean Page in the supporting role as Xenk.

DUNGEONS AND DRAGONS: HONOUR AMONG THIEVES, a fun filled romp that both players and non-players of the game can enjoy opens in theatres March the 31st. Who does not enjoy a good old fashioned fairy tale?

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THE FIRST STEP (USA 2021) ***1/2

Directed by Brandon Kramer

THE FIRST STEP is an angry but important documentary that needs to be made and seen. THE FIRST STEP is a doc on prison reform with the title referring to the importance of the first step that needs to be taken. Prison reform is so important for a variety of reasons. One is that it is a human rights issue. People serving time are also human beings. Secondly, prison reform affects everyone as everyone would have a relative or know a friend or acquaintance that has served time in jail.

In a divided America, Van Jones controversially works across party lines on landmark criminal justice reform and a more humane response to America's addiction crisis. Attempting to be a bridge builder in a time of extreme polarization takes him deep into the inner workings of a divisive administration, internal debates within both parties, and the lives of frontline activists fighting for their communities. The docosen in 2016 when Trump has just been elected President.

Facing fierce opposition from both political parties in a climate where bipartisanship has become a dirty word, Jones and his team enlist the support of justice-impacted individuals, faith leaders, grassroots activists and cultural figures — including Kim Kardashian — to pass legislation that would fix some broken aspects of the justice system and bring thousands of incarcerated people home early. The bill’s champions immediately find themselves navigating a high-stakes game of political chess in Washington, D.C. Their quest brings them face-to-face with progressive champions like Congressman Hakeem Jeffries, U.S. Senators Kamala Harris and Bernie Sanders, as well as conservative figures like U.S. Senator Rand Paul, Kellyanne Conway, Jared Kushner — and ultimately, Donald Trump himself.

While trying to pass a bipartisan bill through a deeply polarized Congress, Jones is condemned by the right for his progressive beliefs — and by the left for working with conservatives. This is a losing battle if ever there was one. No side can ever be satisfied. And no side appears willing to compromise. The film reveals an intimate portrait of an activist’s isolation and internal struggles, what it takes to make change in a divided nation, and everyday people in both political parties drawn into a historic fight for freedom and justice.

Bringing the topic of prison reform to home ofToronto, Toronto boasts a new $594 million super jail open in 2015 that contains fresh air room and flat screen TVs. But if one speaks to an inmate house in the new facility, he makes the valid complaint that there is no where inside that one gets to see the sun or the open sky. Inmates have the most valid says. In THE FIRST STEP, Van Jones spends time talking to inmates to hear their point of view.

It is also simpering to learn that Van Jones as a child lisps and could not speak properly. But he is taught that if one puts one’s shoe life into something, that one will succeed. The film also takes pains to emphasize the frustrations than Jones undergoes in his thankless task of prison reform - which is indeed inspiring.

THE FIRST STEP, a doc that is as informative as it is urgent is one that should be seen. It opens in North America with a VOD Release April 4 and on various Platforms: Amazon Prime, Vudu and more.

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IN VIAGGIO: THE TRAVELS OF POPE FRANCIS (Italy 2022) ***½
Directed by Gianfranco Rosi

In the 9 years of his Pontificate, Pope Francis made 36 trips to 53 countries focusing on important issues and speaking out on poverty, the migration crisis, dignity, solidarity and the condemnation of war.

Pope Francis, now at the age of 86 and showing fragility in his movements in the doc, is the head of the Catholic Church, the bishop of Rome and sovereign of the Vatican City State. Francis, born in Buenos Aires, Argentina is the first pope to be a member of the Society of Jesus (Jesuits), the first from the Americas, the first from the Southern Hemisphere, and the first pope from outside Europe since the 8th century papacy of Syrian pope Gregory III. Many, myself included, have the greatest respect for him as evident from the genuine kindness that radiates from his person wherever and whenever he speaks. In the doc, his most touching words are captured by director Rosi: “Society has forgotten how to weep The church is with you. The Pope is with you.” There are many segments where the camera is behind the head of Pope Francis as he stands on a moving truck waving to the crowds that line the streets. Pope Francis is inspirational too, in his speeches telling people not to be afraid to dream, even to dream for the unattainable.

As the Pope has travelled to over 53 countries, there is a whole lot of footage to select from for the film, in fact a total of 500 hours of material. Still what is seen in Rosi’s film are well selected bits that reveal many important moments.

The best is often kept to the last. The world headlining issues of abuse of native children and mass graves in residential schools and the Ukrainian War are kept to the end of Rosi’s doc. Pope Francis apologizes for the Catholic Church’s mismanagement of the residential schools. One can see sincerely in his apology on behalf of the Catholic Churches and it is indeed moving. In Malta, he is asked by a reporter the question: “What would you say to President Putin?” Pope Francis offers a clever, thoughtful and sensitive answer. Other footage of human suffering includes the prisons of Mexico, the refugee camps in Palestine and the typhoon
survivors in the Philippines.

The film’s message is subtly brought to the audience without the use of voiceover. Director Ross (he has made other humane films - on the plight of migrants in FIRE AT SEA or the suffering in the war torn Middle East in NOTTURNO) arranges his sequence of footage that emphasizes certain points. He ends many of the papal visits with the speeches of Pope Francis that summarize how he feels of the different situations. Often, only comfort and hope can be given.

The documentary premiered out of competition at the 2022 Venice Film Festival. The film is directed by renowned documentarian Gianfranco Rosi, who won the festival’s 2013 Golden Lion for Sacra Gra. It opens on March the 31st in Toronto (Hot Docs Cinema) and Vancouver (Vancity) while opening throughout the spring in other cities.

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KILL BOKSOON (South Korea 2022) **
Written and Directed by Byeon Seonghyeon

KILL BOKSOON is best described as a poor man’s (or rather woman’s) version of hit-man martial-arts action flick series JOHN WICK, but with a little more story, which could be as good as it is bad.

At work, Gil Bok-soon (Joen Do-Yoen) is a renowned assassin. At home, she is a single mom to a teenage girl. Killing is easy. It is parenting that's the hard part. “If I were you mum, I would teach my kids how to act fairly, rather than how unfair the world is.” Wise words from daughter to mother when an investigation probe on how unfair practices are used to get children into the better schools, is heard on the television. Her daughter appears to have her life mission as annoying her mother, KILL BOKSOON is clearly a female dominated film with a female protagonist, a plot which involves a female coming up on top. Even the female protagonist has a daughter that meets her match.

Hired by the killing agency MK Ent., Gil Boksoon is both a killer with a 100% success rate and a mother of her teenage daughter, Jae-young. While Boksoon might be a seasoned assassin, she struggles with parenting. When it is about time to renew her contract with her agency, she makes up her mind to retire to repair the relationship with her daughter. While on her final assignment, before notifying the company of her decision regarding the contract, Boksoon discovers a secret about the mission and breaks the rule that killers must try to execute all assignments regardless of the circumstances. Now she becomes the target of her agency and the entire hitman industry.

The film is silly and pointless. But this can be said about many films that are excellent. The question is the entertainment factor. Can a silly and pointless film keep the audiences entertained for 2 hours and a quarter, which is the long running time of the film. Worse still, it is screening on Netflix which means the audience can pause the movie or walk away to catch a snack or so.

KILL BOKSOON, besides being too long and can be shortened and optimized, has a long list of unnecessary distracting segments that could have been totally eliminated. One is the opening sequence in which Boson fights both death with a Japanese Yakuza Samurai. It is a lengthy sequence that lasts close to 15 minutes, which can be shortened as it does not make a difference to the plot. The audience gets the point that the female Boksoon is the superior fighter but the distractions are a bit much as it keeps the audience guessing as to who is the film’s protagonist or where the films leading. This is one of the film’s constant flaws.

The fighting segments are exciting enough, although of course, not of the calibre of the John Wick franchise. But at least, credibility is maintained.

KILL BOKSOON streams on Netflix Saturday March the31st.

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MURDER MYSTERY 2 (USA 2023) ***½

Directed by Jeremy Garelick

As the film opens, it is four years after solving their first murder mystery (their first MURDER MYSTERY film in 2019, which was quite funny, as this one is) and Nick and Audrey Spitz (Adam Sandler, Jennifer Aniston) are now full-time detectives struggling to get their private eye agency off the ground. It is just not doing well, as the intro tells the audience. Nick says: “Business is going bad. We need someone close to us to get killed.” They are then invited to celebrate the wedding of their friend the Maharaja (Adeel Akhtar) on his private island. But as they say, be careful what you wish for, for close enough, their best friend is kidnapped. So perhaps the title KIDNAP MYSTERY would have been a more appropriate title for the film.

But trouble follows the Spitzes again when the groom is kidnapped for ransom soon after the festivities begin — making each glamorous guest, family member, and the bride herself a suspect. MURDER MYSTERY 2 sends Nick and Audrey Spitz on a high-stakes case that finally gives them everything they’ve ever dreamed of: a shot at their detective agency finally becoming successful…and their long-awaited trip to Paris.

MURDER MYSTERY 2 is an Adam Sandler movie and Sandler is always funny. The comedy here is more sophisticated though there are still a few shit (or rather Shitz) and fart (after eating all the expensive cheese) jokes. The story is set on a paradise island (as stunning as in TICKET TO PARADISE) with a luxurious Indian wedding where the best looking saris in the world are worn by the ladies and the gents are clad in Indian white posh jackets. As the ransom of $70 million in bonds are to be paid and placed at the Arc de Triomphe in Paris, the film also moves to the city of Paris, which adds to another exotic location. Being in Paris is Nora’s dream. Nick and Nora also ned to prove themselves worthy detectives. There is the running joke about them being Team Dufus.

As far as couple detectives go, like MR and MRS SMITH and Nick and Nora THIN MAN films, Sandler and Aniston make a culpable and adorable couple, bickering half the time while still supporting each other humorously. As far as whodunits go, there is a marvellous segment where the half dozen suspects all enter one by one into the couple's room to reveal a secret about another, each hiding somewhere in the vast room before another appears. The comedy is funny enough with many laugh-out-loud moments. The first joke for example is quite funny, a piece involving Nick having to listen to whale noises in order to fall asleep.

The car chase is replaced by a runaway van that Nora steers with the head of the dead driver. This is the film’s best sequence, being both funny and exciting.

The film features some strong performances from its supporting stars like Mark Strong, Mélanie Laurent, Jodie Turner-Smith, Kuhoo Verma, with John Kani, and Dany Boon.

MUDER MYSTERY 2 is a Netflix original comedy debuting on the streaming service on March the 31st.

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PATHU THALA (India 2023) ***
Directed by Obeli N. Krishna

This new Indian feature, a new release at the TIFF Bell Lightbox that opens this week on the 31st of March is the typical overlong Indian feature that comes complete with Bollywood dance sequences, songs and crazy action. At the first screening at the Lightbox, the entire audience seems to be totally Indian, as the only person non-Indian appeared to be myself. As such, there are many observations in the film that only Indians can appreciate, judging from cheers at different parts of the movie, especially with the appearance of a new character portrayed by who is assumed to be a star.

PATHU THALA is the official Tamil remake of the Kannada film MUFTI (which means plain clothes). When director Obeli N Krishna, who also scripted the film was questioned during an interview with a regional YouTube channel on why Simbu’s film was titled ‘Pathu Thala’, the director simply shared that ‘Pathu Thala’ means Raavana from Ramayana, who is a villain but has a good heart.

The Tamil film has two protagonists, one of whom is this gangster who has a good heart. The cops are after him but he has donated lots to the poor and is immensely popular among them. It is odd that this character only appears after the 1 hour mark of the 2 hour and 52 minute film and becomes the main hero after, complete with his fighting all the bad guys at the film’s climax. Simbu plays the underground gangster. An undercover cop, the other protagonist (Gautham Karthik in the lead role as a police officer) has his safety compromised.

One thing that North American audiences are just getting used to, are overlong action films. JOHN WICK 4 ran over 2 and a half hours as did the latest James Bond flick NO TIME TO DIE. The DUNGEONS AND DRAGONS film opening this weekend also runs over two hours. PATHU THALA runs a hefty 152 minutes. The film could definitely be shortened due to its sprawling script in which often nothing happens. The story is also politically focused and shows the state of how the elections in India are held. As expected, corruption is present and the story is brought up to date with the subject of a virus developed in the lab for evil purposes. The film feels all over the place because of its inconsistency of pace. A lot of plot information is presented at the film’s start and not much, if any in the most part of the film. The film is confusing to follow but everything is finally revealed right at the end of the film, so that all finally makes sense. Despite the lengthy running time, there are enough spirited action set-pieces to keep boredom at hand.

The film contains two elaborate dance sequences, well choreographed and well performed. In addition, there is music from Oscar-winning composer A.R. Rahman (S\LUMDOG MILLIONAIRE). An additional bonus is the stunning landscapes of India - the coastline, rivers and roads that are seldom seen by North Americans on the screen.

PATHU THALA opens this week at the Bell Lightbox.

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SPINNING GOLD (USA 2022) **
Directed by Timothy Scott Bogart

At the film’s start,. the film is quick to inform the audience that what transpires is based on a true story. It then goes on with a sequence in which record producer Neil Bogart (Jeremy Jordan) crashes a church’s Gospel service and sings for the rights of the song the congregation is singing. The song was “Oh Happy Day” that eventually sold 7 million records. After the sequence, Bogart confesses that he did get that song signed but it did not happen that way shown in the film in the church.

What do Donna Summer, Parliament, Gladys Knight, The Isley Brothers, The Village People, and Bill Withers all have in common with the rock band KISS? They all rose to their musical heights under the watchful ear of the music industry's most colourful and brilliant music producer, Neil Bogart, founder of Casablanca Records, the most successful independent record company of all time… Along with a ragtag team of young music lovers, Casablanca Records would rewrite history and change the music industry forever. Their mix of creative insanity, a total belief in each other and the music they were creating, shaped our culture and ultimately defined a generation. In a story so unbelievable that it can only be true, comes the motion picture event of the musical journey of Neil Bogart and how aim is to glamorize the independent record label. In the first 30 minutes, there are already 3 spirited segments - Bogart in 1967 singing ‘Oh Happy Day’ with the church congregation; a disastrous KISS presentation on stage in L.A. OF 1974 that goes awry and a so-called meeting with Warner Bros. Records.

Director Bogart’s film runs a very lengthy 2 hours and 17 minutes and it feels that long. The film contains more glamour than material and the film could easily be shortened. For example, the film’s introduction goes on to describe (though this part is very intriguing) the groove of a vinyl record. There is only one groove of 150 feet, the voiceover says but what is more important is the music that goes into the record. Moreover, the film praises its protagonist Neil Bogart to no end. (Bogart re-named himself after Humphrey Bogart. ) The reason is simple as the director is the subject’s son, with the film looking like a vanity project. The one thing going for the film is the delivery of the popular songs that were the hits of Bogart’s company, as performed by Gladys Knight and the KISS concert.

Despite the spirited and frequent dramatic set-pieces, Bogart's film drags on and one feels that a lot of hogwash could be eliminated. Neil Bogart was likely the same way in real life.

The film, one assumes, represents the true and crazy nature of the record industry. The bullying of the majors like Warner Records, as depicted in the film is definitely present and director Bogart makes it his task to show them get their embarrassing comeuppance.

SPINNING GOLD The film is confirmed to open on March 31 in: Toronto, Vancouver, Montreal, Kanata and Whitby

Trailer:

TETRIS (USA 2023) ***½

Directed by Jon S. Baird

TETRIS, the film tells the story of how one of the world's most popular video games, also called Tetris, found its way to players around the globe. Businessman Henk Rogers (Taron Egerton) and Tetris inventor Alexey Pajitnov (Nikita Efremov) join forces in the USSR, risking it all to bring Tetris to the masses.

A few things of history about video gaming should be noted prior to reading this review and watching the movie.

Tetris is a puzzle video game created by Soviet software engineer Alexey Pajitnov in 1984. This is the time the film is set though the film moves across the United States, London and Moscow. Tetris has been published by several companies for multiple platforms, (PCs; handheld and arcade) most prominently during a dispute over the appropriation of the rights in the late 1980s. After a significant period of publication by Nintendo, the rights reverted to Pajitnov in 1996, who co-founded the Tetris Company with Henk Rogers to manage licensing.

The game is an old-fashioned one and looks old, prior to all the new present video games. It is basically a non-graphics video game popular in the past. In Tetris, players complete lines by moving differently shaped pieces (called tetrominoes), which descend onto the playing field. The completed lines disappear and grant the player points, and the player can proceed to fill the vacated spaces. The game ends when the uncleared lines reach the top of the playing field. The longer the player can delay this outcome, the higher their score will be. As endgames gained popularity at the time, multiplayer games were gaining in popularity. In multiplayer games, players must last longer than their opponents; in certain versions, players can inflict penalties on opponents by completing a significant number of lines. Some versions add variations on the rules, such as three-dimensional displays or a system for reserving pieces. Though the audience never sees a complete game played in the film, but only bits of it, the idea is sufficiently put across in the film.

TETRIS plays like a spy espionage film. It is thrilling and comes complete with a car chase along the streets of Moscow, quite well done in terms of continuity and especially sound of the screeching tires and a nil biting climactic scene where the villains are about to apprehend the heroes just before boarding their plane. The outcome is a bit cliched, not to be revealed in the review, but the suspense is still intact. One wonders how much of what is seen on screen have been made up of exaggerated as it all seems too crazy and wild to be true.

The film arrives with a whole lot of talent. Scots director Baird (FILTH) is an award winning director who has worked with heavyweights like Martin Scorseses and Danny Boyle. Writer Noah Pink is himself a film director who knows how to induce thrills and suspense in his script. Main actor Egerton has proven himself an apt actor, stirring as Elton John in the 2019 biopic ROCKETMAN.

The film has nice touches and unravels like a video game with an introduction such as Level 1, 1980 and ending with a winner announced as Henk Rogers, video game style.

TETRIS, while entertaining as a suspense thriller, also shows the business side of video games, especially the dirty stuff that go on behind the business deals and licensing.

TETRIS, an Apple original film, premieres globally on Apple TV+ on March 31, 2023

THE TUTOR (USA 2022) ***½

Directed by Jordan Ross

Written by Ryan King and directed by Jordan Ross, THE TUTOR has been crucified by critics and at the time of writing this review, the film had a 22% fresh rating on Rotten Tomatoes. Truth be told that if a film has got rave reviews, that high expectations would be anticipated and vice versa And again truth be told, THE TUTOR is not that bad a film. In fact it is sexy, creepy, stylish, occasionally smart and entertaining, aided by good solid performances. It is an odd film that appears not to follow rules which include a few sick scenes such as student and tutor uncomfortable obsessional relationships. But it is this weirdness and style that makes this film stand out. Whether for good or bad, the film tries and credit should be given to the director for that.

THE TUTOR is best described as a stylish nuanced thriller. It takes a while to figure out what is happening. The film’s first 10 minutes are stylish but quite confusing. Best to be patient and to see what comes on after.

An in-demand tutor for the East Coast monied elite, Ethan (Garrett Hedlund) lands a high-paying assignment ($2400 a day including lodging in a mansion) to instruct a billionaire’s son, Jackson (Noah Schnapp), at a remote New York waterfront estate. Almost immediately, Ethan realizes that his student’s interest in his life borders upon obsession. As tension grows, Jackson’s accusations threaten to expose Ethan’s perceived dark secrets to his girlfriend (Victoria Justice) and the authorities. As sentiment turns against Ethan, it is up to him, and only him, to unearth Jackson’s accusations and prove his innocence.

THE TUTOR is a male movie all the way with dialogue leaning on the positivity of the male. One key line has Ethan screaming at his pregnant girlfriend. thus getting the audience to take the male point of view. The line: “You clearly do not trust me.” The blame shifts from him to her. Ethan cannot explain to her how he ended up drugged or why a woman has been calling him and hanging up when she hears the girlfriend’s voice when she picks up the phone. Three strong male performances in the film from mostly underused actor Garrett Hedlund as Ethan, Jonny Weston as the odd boy Jackson and the odder cousin played by Noah Schnapp - all good-lookers.

There is one strong and creepy scene in the obsession segment when Jackson reveals his obsession, crying in his pyjamas and laying his head on Ethan’s lap. Though not nude and Jackson is wearing his pyjamas, the homo-erotic scene makes its point with some hints of where the obsession might lead. There is style and teasing in the well set-up dramatic piece.

The film turns a bit silly at the end becoming a slasher flick, but this an be forgivable as there is no other way the story could have gone.

THE TUTOR opened on the 24th of March and is playing in theatres.

Trailer:

THE UNHEARD (USA 2022) ***
Directed by Jeffrey A Brown

THE UNHEARD pits a deaf protagonist, a young damsel in distress against a slasher killer. Inflicting the victim/protagonist with a handicap heightens the tension and suspense. But inflicting deafness is not as effective as blindness, as the blind can use their blindness, often in a situation to their advantage. Audrey Hepburn’s blind victim used the darkness of the room to her advantage when stalked by killer Alan Arkin. But in deafness, the disability cannot be used to any advantage. Instead it is the opposite. When the hearing damaged victim is stalked in this film, she has to survive both the killer and the overbearing noise that she is suffering from.

After undergoing an experimental procedure to restore her damaged hearing that resulted from meningitis when she was younger, 20-year-old Chloe Grayden (Lachlan Watson, from the little heard CHILLING ADVENTURES OF SABRINA) begins to suffer from auditory hallucinations seemingly related to the mysterious disappearance of her mother. Chloe can hear strobing sounds akin to jarring electrical patterns on a television set.

It all begins when Chloe agrees to housesit her father’s house while undergoing her treatment. It is an old and eerie beachfront house with dodgy neighbours that include a weird boy, Joshua who seems to be watching her house. The hearing experiment appears to be going well when Chloe slowly regains her hearing. Her doctor is very pleased as Chloe is.

Thanks to both the script by Michael Rasmussen and Shawn Rasmussen and the direction of Brown, the film teases the audience a number of times in terms of anticipating danger that is yet to come - possible danger for Chloe. When the doctor offers Chloe her email and phone number in case of trouble, one expects trouble for sure. The doctor also warns her of audible hallucinations and that the treatment may not be that smooth. When Chloe first reaches the house, she is also met by the strange boy, Joshua, which also creates some fear in Chloe. Suspense is also heightened during the sequences where she hallucinates. Chloe even confesses: "I think something's wrong with the procedure. I'm hearing things..." These sequences might be troubling to those with epilepsy with regards to strobing lights. Even for the average moviegoer, these sequences are a bit much to take in, which probably gives them the feel of what Chloe is going through.

Director Brown works well with light, sound and music to create a really creepy atmosphere of the beach front house. The film moves with a moderate pace with good suspense build-up.

The film, unfortunately falls apart during the last 20 minutes, when the film takes a 180 degree turn with the identity of the slasher killer suddenly revealed and Chloe suddenly realizing the fact and begins running from him. No solid reason is given for the killer to be the one who is revealed. Of course, the decoy to the audience, Josh appears to save Chloe and it does not take a genius to guess what will happen to him. The film takes the traditional route from here and again no prize in guessing whether Chloe escapes the clutch of the killer. The film is otherwise a watchable entertainer with a solid build-up to its climax.

THE UNHEARD streams on Shudder March the 31st.

Trailer:

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 16 March 2023

LE CINQ DIABLES (The Five Devils) (France 2022) **½

Directed by Lea Mysius

For complete review, please click on link to be directed to sister website.

https://toronto-franco.com/article/21-cinema-movies/375-film-review-le-cinq-diables

THE COLOUR OF INK (Canada 2022) ***1/2

Directed by Brian D. Johnson

It is evident the immense amount of research that went into the making of THE COLOUR OF INK which also involves travel internationally from as far as from Canada to Japan to Italy and Norway where artists who use ink-maker Joshua Logan’s special ink reside or where other ink forms are present. Toronto-based artist and ink-maker Jason Logan is the main subject of the doc, which traces the history of ink and its impact on the world in Brian D. Johnson’s lush and visually striking film shot by celebrated cinematographer Nicholas de Pencier. Director Johnson also moves from the source of ink to its prime users. Ink is the dead raw material brought back to life from its use by artists. Logan’s fans and artists range from the legendary Robert Crumb to New Yorker cartoonist Liana Finck and Japanese artist Koji Kakinuma. Finck is the most interesting of the three and given the most to say. Despite the off-putting sound of the doc’s title, (don’t let the title discourage you from picking this film) director Johnson has brought the subject to life bringing forth insight, knowledge and with the additional bonus of entertainment.

JOHN WICK CHAPTER 4 (USA 2023) ***1/2

Directed by Chad Stahelski

Time flies. It seems like yesterday that audiences flocked to see and were amazed by the first John Wick action Keanu Reeves film and the two years that have flown that marked the delay of Numero quatre due to the Pandemic. Finally action fans are ready for Wick 4, all 165 minutes of it. It is a very long sit-through made easier by the action set-pieces that are always edge of the seat exciting to watch, never mind that some of them go on for more than 15 minutes at a time. According to the director, there are 14 action set pieces in all, too many to keep track of, and true that a few of these stand out, and might be remembered in the annals of film nation history.

In New York City, John Wick (Keanu Reeves) prepares to exact his revenge against the High Table while hiding underground with the Bowery King (Laurence Fishburne). He travels to Morocco and kills the Elder, the only individual above the High Table. As a result, New York Continental Hotel manager Winston (veteran British actor Ian McShane) and his concierge Charon (Lance Reddick) are summoned to the Marquis Vincent de Gramont (Bill Skarsgard), a senior member of the High Table who chastises Winston for his failure to kill John. To punish Winston, de Gramont strips him of his duties as manager, has the New York Continental destroyed, and kills Charon. He then travels to Paris and enlists Caine (Martial-Arts and Hong Kong superstar Donnie Yen), a blind, retired High Table assassin and old friend of John's, to kill him, threatening to kill Caine's daughter otherwise.

The best action set piece takes place on the roundabout road surrounding the Arc de Triomphe in Paris. For those who have visited the French capital, it is well known that the surrounding road is always busy with fast circulating traffic. It is almost impossible to cross with the cars always whizzing by, the only way to get to the centre of the arc being walking in the tunnel beneath the road. The extended sequence of fights between Wick and his enemies amidst the cars, crashing into him and his combatants are masterfully done and credibly executed, done in the evening nights. The second most memorable set piece is the one taking place at the Sacre Coeur (Sacred Heart) in Paris. Here, Wick is thrown down hundreds of steps as he goes rolling down stair after stair, before just getting up at the bottom. No-one can survive the falls in real life, but this is the movies. Another stunning set piece, though not an action one, takes place in the tunnel beneath Paris streets, on the Seine where Wick is transported by boat on the river.

The most over the top action set piece takes place amidst water and rain in a luxurious dance club where the clubbers dance totally unaware of the fighting going on. Wick fights mainly with ex-MMA fighter Scott Adkins, complete with body prosthetics to make him look like a ‘whale’ fighter. Call it fighting in the rain if you will, and it is a very elaborate and well choreographed set piece, comparable to the one in the recent BARDO, but for different purposes.

Never mind the over-simplistic neo-noir storyline and extended running length of the movie, the main thing to be entertained with and which are all extremely well executed are the outstanding action set pieces.

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YOU CAN LIVE FOREVER (Canada 2022) ***1/2

Directed by Sarah Watts and Mark Slutsky

YOU CAN LIVE FOREVER is a touching story about a teenage girl who falls in love with the daughter of a Jehovah’s Witness elder. The film is a gentle coming-of-age sexual awakening set in the world of Jehovah'S Witnesses. As the saying goes, if one wants to embark on a project, it is best to base it on what one is familiar with. The film marks the feature debut of Montreal writers/directors Sarah Watts and Mark Slutsky. Although fictional, what transpires on screen, according to the press notes, is affected by Watts’ experiences in her life.

Jaime (Anwen O'Driscoll) loves sci-fi, The Cure and getting high. And unbeknownst to anyone around her, she is gay. When her father dies and her mother suffers a breakdown, she is sent to Quebec’s Saguenay region to live with her aunt (Liane Balaban) and uncle
(Antoine Yared), members of the town’s tight-knit Jehovah’s Witness community. Jaime feels like an outcast. But when dragged to a religious service, Jaime meets Marike (June Laporte).
As the teens grow closer – their attraction undeniable – Jaime finds herself drawn deeper into the Witness theology, which promises an eternal life in God’s promised kingdom after the world ends. Soon then girls will be forced to make a devastating choice between faith and love.

Unlike many lesbian love stories, the French BLUE IS THE WARMEST COLOUR being the best example, YOU CAN LIVE FOREVER does not contain graphic sex scenes. It proves the point that a film need not have to be excessive in order to make a point, as there are other more subtle ways to show same sex love. In fact there is also no mention of same sex attraction till the second third of the film.

Another difference is the way Jehovah Witnesses are treated. In this film, they are treated with respect, with respect for their beliefs and not for just blind faith followers. The audience also gets to share a glimpse of their meetings.

Watts and Slutsky (known for his shorts Never Happened and Sorry, Rabbi) received a 2022 DGC Awards nomination for Outstanding Directorial Achievement In Feature Film. The film is Canadian and the directors are proud to celebrate the fact, an excellent thing as opposed to Canadian films opting to pretend to be American. The film was shot in the Saguenay river valley, where the magnificent fjord landscape is used to the fullest as a backdrop to the film’s haunting romance. The film’s most stunning scene is a simple one where the two girls sit facing a lake during one sunset. The camera is behind the girls, showing their backs on a wonderfully natural landscape. Audiences will also spot locations in and around Montreal, including Cinéma du Parc (where one of the film’s pivotal scenes takes place). The topic of French and English and their compatibility in school is also brought up. Jaime confesses her French to be terrible, being from Thunder Bay, Ontario at one point in the film when she attends her new school.

YOU CAN LIVE FOREVER is a charming and gentle gay coming-of-age story set in stunning Quebec that celebrates what the difficulties of life have to offer, both the good and bad.

The film premiered at the 2022 Tribeca Film Festival. It opens on the 24th of March.

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 10 March 2023

CANADIAN FILM FEST 2023

Beginning Tuesday, March 28, the festival will run Tuesday to Saturday presenting 9 feature films, 25 short films and 1 digital series. This year the Canadian Film Fest will be showing at both Scotiabank Theatre Toronto and on Super Channel Fuse.

Super Channel and the Canadian Film Fest (CFF), an indie-spirited festival dedicated to celebrating Canadian filmmakers, team up for the fourth time to present a hybrid festival from March 28 to April 1. Canadian Film Fest Presented by Super Channel will showcase nine features, 25 shorts, and a digital series, running concurrently for audiences to enjoy in-person at Toronto’s Scotiabank Theatre and virtually on Super Channel Fuse. Tickets for the theatrical screenings can be purchased at canfilmfest.ca starting March 7.

“With the festival returning to the theatre this year, the fest is proud to be able to continue our partnership with the team at the CFF to bring these unique and engaging Canadian stories to a national audience to enjoy,” said Don McDonald, President and CEO, Super Channel.

Capsule Reviews of Select Films:

BABYSITTER (Canada 2023) **
Directed by Monia Chokri

Chosen as the opening film of the festival, BABYSITTER from Quebec plays it fast and furious from the very first scene, set at an MMA match where the loser gets punched to a pulp in a ring of blood. As the winner is announced by newscaster, Chantal, Cedric ‘sexually assaults’ with the words: I Love Chantal. This sexist joke goes viral, Cédric loses his job and embarks on a therapeutic journey to free himself from sexism and misogyny. He and his girlfriend hire a mysterious and liberated babysitter to help shake things up. The comedy runs just short of 90 minutes and is a forceful and somewhat confusing look at sexism. Director Chokri shows the worst of sexism on screen, particularly at the beginning to get the message across. A relevant film that is occasionally all over the place rather than entertaining, but the film is a brave choice for the opening of the festival. The film is set in Montreal and is in Quebecois French.

Trailer:

HOW TO GET MY PARENTS TO DIVORCE (PAS D'CHICANE DANS MA CABANE) (Canada 2022) ***
Directed by Sandrine Brodeur-Desrosiers

Most children get visibly upset when their parents argue for whatever reason or even worse when they try to separate. And the English title of this Quebec comedy, filmed in French HOW TO GET MY PARENTS TO DIVORCE goes, the film takes an opposite stance. The film opens with several different kids talking about how great it is to have separated parents - such as having two closets and rooms; having more love with one parent and the new step mum or dad; having better cooked meals; seeing less of an annoying sibling and so on. The film then zooms in on one girl whose parents are always arguing and she detects an upcoming divorce. Justine is about to finish grade six and is tired of her parents fighting all the time. Maybe she'll be happier if they divorce? In order to force their hand, the pre-teen decides to create her own court. The end-of-school-year show is the pretext for this. With her friends, she must find young people from her entourage who will serve as lawyers and judges. When her plan turns into an obsession, her friendships may suffer. Especially since the situation could very well escape her… At its best the film reminds one of the spirit and sincerity of Francois Truffaut’s minor masterpiece on school children L’ARGENT DE POCHE (Small Change), the best scene being when one teacher talks to a class about children’s rights, after one abused child’s parents are taken into custody. Children have rights and more important, emotions and feelings that are often pushed aside and neglected by adults, as shown in this occasionally brilliant film.

WINTERTIDE (Canada 2023) ***

Directed by John Barnard

The closing night feature of the Canadian Filmfest is as weird as a weird film can get. The film looks and feels like an art-house zombie horror flick where what appears to be going on is not what it seems. “I do not understand what is going on,” says the protagonist Beth in the film, and she is not alone on this. Beth, a volunteer watch person of an isolated unnamed northern city that is Canadian (from the sight of a Canadian flag shown at one point) battles a plague of depression that transforms the few remaining residents into empty, zombie-like automatons. The film was shot in Manitoba, She discovers that by entering an alternative dimension through her own dreams, she’s able to stave off the illness during the long, possibly endless winter. But will her power be enough to sustain her without taking her meds? Everyone in the town who survives is taking theirs. If all this sounds confusing, it is. But director Barnard’s film’s wintry landscape and atmosphere is stunning on screen, thanks to his d.p. Markus Henkel.

Trailer:

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 10 March 2023

HUMAN RIGHTS WATCH CANADA FILM FESTIVAL

TORONTO IN PERSON | MARCH 8 - 12

CANADA WIDE DIGITAL ACCESS | MARCH 13 - 19

Free tickets for in-person and digital screenings are now available and can be reserved here

FOR Capsule Reviews of Selected Films, scroll to bottom.....

The Annual Human Rights Watch Canada Film Festival (HRWFF) in partnership with Hot Docs Cinema will be held from March 8 to 19, 2023; March 8-12 in-person at the Hot Docs Ted Rogers Cinema, and March 13-19 on Hot Docs digital platform. Following the tradition of past festivals, all tickets for both in-person and digital screenings are free and accessible to everyone in Canada with internet.

The 20th anniversary festival program will consist of five films covering a wide variety of human rights topics, including the powerful Freedom on Fire: Ukraine’s Fight for Freedom, which will open the festival on March 8. This version of the film has just been updated with recent events, so it is a Canadian premiere! The screening will be followed by a special discussion for International Women’s Day with the Canadian journalist Lisa Laflamme, focused on the experiences of women in the Ukraine conflict, and the particular vulnerabilities of women and children in wartime.

The five films selected for the festival program include (listed in order of screening date):

FREEDOM ON FIRE: UKRAINE’S FIGHT FOR FREEDOM Canadian Premiere of 2023 version

Directed by: Evgeny Afineevsky

Presented on: Wednesday, March 8 (International Women's Day) | 7:30 p.m. screening

Synopsis: Freedom on Fire is a behind the scenes and beyond the headlines view of the war in Ukraine from the Academy Award® nominated filmmaker Evgeny Afineevsky (Winter on Fire). This is filmmaking from the heart, beautifully capturing the resilience of the Ukrainian people in their fight against the Russian invasion. A logistical tour de force, with 43 cinematographers (including the filmmaker) filming in over 20 Ukrainian cities, Freedom on Fire captures the stories of children, mothers, soldiers, doctors, artists, volunteers, clergymen, and journalists as viewers witness the transformation of a country fighting for its very survival.

Programming: A post-screening discussion with Evgeny Afineevsky, the filmmaker; Lisa LaFlamme, a Canadian journalist; Valentina Kuryliw, education director at the Holodomor Research and Education Consortium; and HRW’s Crisis and Conflict Director Ida Sawyer, moderated by Canadian journalist Lisa LaFlamme, who will unpack how this conflict disproportionately affects women and girls.

“Despite the ongoing brutality, the nation is not on its knees. The movie’s essence is singing, hugging, volunteers bearing gifts, and children drawing pictures for the soldiers who are keeping them safe. That's beauty: People who know how to laugh and love,” said filmmaker Evgeny Afineevsky.

Accessibility: The discussion panel following the film will be interpreted live in sign language.

KOROMOUSSO, BIG SISTER World Premiere

Directed by: Habibata Ouarme and Jim Donovan
Presented on: Thursday, March 9 | 7:00 p.m. screening

Synopsis: Canada-based codirectors Habibata Ouarme and Jim Donovan capture personal stories and deep moments of support in a small community of women from West Africa, who are confronting social norms and embracing the inherent power in pleasure and love for their own bodies. With candor, humour and courage, a group of African-Canadian women challenge cultural taboos surrounding female sexuality and fight to take back ownership of their bodies.

Working with codirector Jim Donovan and combining her own journey with personal accounts from some of her friends, codirector Habibata Ouarme explores the lifelong effects of female genital mutilation and the road to individual and collective healing, both in Africa and in Canada. These women begin a journey of personal discovery, with discussions on the importance of female pleasure and the complexity of the female anatomy, while working to shed long-held feelings of shame and loneliness. While finding strength and joy in their own frank and intimate conversations together, Habibata and her friends continue to advocate for wider access to restorative surgery and community conversations in Canada and worldwide.

“This film brings more than an education on a harmful traditional practice that’s still practiced in parts of West Africa – it captures the stories of solidarity among these irrepressible, strong African women,” said Mausi Segun, Africa division director at Human Rights Watch.

Programming: A post-screening discussion with Regina Tamés, deputy women’s rights director at Human Rights Watch. Panelists include Habibata Ouarme, a FGM survivor and filmmaker; Jim Donovan, filmmaker, and Doctor Angela Deane, OBGYN and advocate for those affected by FGM/C.

Accessibility: The film is captioned and audio-described; the discussion panel following the film will be interpreted live in sign language.

THE GRAB
Directed by: Gabriela Cowperthwaite

Presented on: Friday, March 10 | 7:00 p.m. screening

Synopsis: The Grab reveals a new world order in which global power will be held by those who control not oil, but food. The new global thriller from the renowned director of Blackfish combines hard-hitting journalism with compelling, character-driven storytelling, taking viewers around the globe from Arizona to Zambia, China to Saudi Arabia, to reveal one of the world’s biggest and least exposed threats.

Quietly and seemingly out of sight, governments, financial investors, and private security forces are dividing up the world’s last remaining food and water resources. Communities are forced to stand by as their aquifers are sucked dry, and land they have owned for generations is grabbed from under their feet. As the scale of the run on natural resources is uncovered by a team of investigative reporters, issues bubble to the surface in real time. Russia’s attack on Ukraine uses food access as a geopolitical tool, and global food prices hit an all-time high.

Programming: Introductory remarks by Farida Deif, Canada director at Human Rights Watch, followed by a conversation with filmmakers Gabriela Cowperthwaite, Nick de Pencier, and Jennifer Baichwal.

UÝRA: THE RISING FOREST
Directed by: Juliana Curi

Presented on: Saturday, March 11 | 7:00 p.m. screening

Synopsis: Uýra, a trans Indigenous artist, travels through the Amazon on a journey of self-discovery using performance art to teach Indigenous youth that they are the guardians of ancestral messages of the Amazon Forest. In a country that kills the highest number of trans, Indigenous, and environmentalist youth worldwide, Uýra leads a rising movement through arts and education while fostering unity and providing inspiration for the LGBT and environmental movements in the heart of the Amazon Forest. Uýra’s performances are a metaphor inspired by the ecological cycle that mirrors social struggles: the destruction of the soil and violence against life, followed by the re-emergence of young plants that germinate quickly and make way for a renewed, stronger ecosystem.

Programming: Post-screening discussion with University of Toronto Professor Andrea Allan, Spoken Word Artist Sarah Lewis, Sketch Creative Director Julian Diego, and moderated by Rasha Younes, senior LGBT researcher at Human Rights Watch. Sarah Lewis will also be opening the evening with a spoken word.

Accessibility: The film is captioned; the discussion panel following the film will be interpreted live in sign language.

NO U-TURN
Directed by: Ike Nnaebue

Presented on: Sunday, March 12 | 1:00 p.m. screening

Synopsis: As a young man, the celebrated Nigerian director Ike Nnaebue left Nigeria taking the route via Benin, Mali, and Mauritania to Morocco where he was forced to turn back, unable to reach Europe. In his first documentary, No U-Turn, he retraces the life-changing journey he made over 20 years ago.

Along the way, he meets those who are taking the same trip and, through conversations with them, tries to understand what motivates young people today to expose themselves to the dangers of a passage into an uncertain future. Most are aware of the dangers of traveling undocumented by road, yet more and more are joining the ranks of those who take this risk, despite widely circulated images and terrifying testimony found online of people who have been lured into slavery and bondage. Overlaid with a powerful poetic commentary, this self-reflective travelogue hints at the deep longing of an entire generation for a better life.

“Why is it unrealistic to dream of a comfortable life in a continent of abundant resources?” said Ike Nnaebue, director, No U-Turn.

Programming: Panel discussion on Zoom with filmmaker, Ike Nnaebue and Michel Chikwanine, former child soldier and public speaker. Moderated by host of CBC Podcasts’ new weekly world news podcast, Nothing is Foreign, Tamara Khandaker. Keynote speaker to be determined.

Accessibility: The film is captioned and audio-described; the discussion panel following the film will be interpreted live in sign language.

FREEDOM ON FIRE: UKRAINE’S FIGHT FOR FREEDOM (USA 2023) ****

Directed by Evgeny Agineevsky

Directed by Academy Award nominated Evgeny Agineevsky, this doc plunges the audience right into Ukraine during the Ukraine/Russian war without actually having to be there. Director Agineevsky shows the perils the Ukrainians in different towns flee, suffer and survive the shelling and the inhumanities going on. Putin is clearly the evil one oblivious of how much harm he is doing. The film is at its most effective when the Ukrainians talk about their plight or have their say when interviewed. One of them describes effectively what war is: “When a boy comes up to a soldier who has all the weapons and tell him that he hates you, that is war!” Director Agineevsky’s fondness of using children to make a point is shown in other parts of the doc. At one point, children’s drawing serve as gifts to the soldiers. Children are shown doing their part in food distribution, and they have a say about soldiers as well. The Russians and Putin are clearly the enemy, even in the eyes of the children. The ending was recently changed to add in more recent updates from the war in Ukraine. This is the first time the new film will be screened publicly. Needless to say, this doc is riveting and one can only hope all this will soon come to an end. Narrated by Helen Mirren,.

UYRA: THE RISING FOREST (Brazil/USA 2022) ***

Directed by Juliana Curry

Uýra, a binary trans-indigenous artist, who calls himself Emerson, travels through the Amazon forest on a journey of self-discovery using performance art and ancestral messages to teach indigenous youth and confront structural racism and transphobia in Brazil. He claims statutory racism against indigenous people and blacks though no incidents are shown in the doc. One has to takes his word as true, This is a simply shot doc which uses its current theme to tell its important message without rewording to any theatrics. The beauty of the Amazon forest is clearly full view as well as the dark and awful contrast of the pollution of plastics and other trash that has destroyed many an Amazon river. The one shot (and the most disturbing of all) of the pile of plastic garbage piled up in one rivers enough to make one cringe at the neglect human beings have in caring for the planet, The doc stresses the importance of harmony with human beings, which is the basic message the film puts through. The film runs only and hour and a quarter with a message delivered short and sweet. One complaint is that there is too much using from Uyra and what he says is supposed tone taken as the Gospel truth.

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 10 March 2023

FILM REVIEWS:

CHAMPIONS (USA 2022) ***
Directed by Bobby Farrelly

CHAMPIONS opens in theatres on March 10th, 2023

Trailer:

SCREAM VI (USA 2023) ***

Directed by Matt Bettinelli-Olpin and Tyler Gillett

It is a pity Kevin Williamson has give-up the directing reins to serve as executive director for the latest SCREAM VI in the SCREAM franchise. Williamson was responsible for many excellent and inventive horror films, often than not, invoking a bit of fun with it. His directing hits like the original SCREAM, and other hits like THE FACULTY and TEACHING MRS. TINGLE made a mark in horror entertainment.

SCREAM VI is an American slasher film, now directed by Matt Bettinelli-Olpin and Tyler Gillett, and written by James Vanderbilt and Guy Busick, with original franchise writer and creator Kevin Williamson returning as executive producer. It will be the sixth instalment in the Scream film series and serve as a direct sequel to Scream (2022). The film stars Melissa Barrera, Jasmin Savoy Brown, Mason Gooding, Jenna Ortega, Hayden Panettiere, and Courteney Cox, all reprising their roles from previous instalments, alongside Jack Champion, Henry Czerny, Liana Liberato, Dermot Mulroney, Devyn Nekoda, Tony Revolori, Josh Segarra, and Samara Weaving. Unfortunately and noticeable absent is the franchise star Neve Campbell who announced she would not be returning as Sidney Prescott due to not being pleased with the offer presented to her, making this the first film in the franchise not to feature the actress or character.

The film continues with the survivors of the latest Ghostface killings from SCREAM (2022), sisters Samantha (Melissa Barker) and Tara Carpenter (Jenna Ortega) and twins Chad and Mindy Meeks (Mason Gooding), leaving Woodsboro behind and starting a new chapter of their lives in New York City only to again be plagued by a streak of murders by a new Ghostface killer.

Ghostface was likely taken from the composition painting of Norwegian artist Edvard Munch, though no credit has been given to him.

Apparently Ghostface is already quite famous, as shown at the film’s opening. The masks are readily sold and many have imitated the killer including two college students who are committing gruesome murders wearing the mask. The two eventually get their comeuppance. Reviewers of this new SCREAM are begged not to reveal any post points or twists in the story, so the details of the comeuppance will not be mentioned. That said, there are quite a lot of plot twists, so be prepared for some major surprises. It helps if one can recall the other SCREAM films, which admittedly is quite difficult, but true SCREAM fans will be overjoyed at the references and continuity.

The directors have inserted a few innovative scary segments as in the subway train where the train lights go on and off and the passengers are too engrossed with their own nonsense to notice that someone has been murdered. The last action set piece in which the survivors set up a trap for ghost face and end up being trapped themselves is also quite ingenious. ( Hope this does not qualify too much as a spoiler.)

SCREAM VI opens in theatres on March the 10th.

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 01 March 2023

ALL THE WORLD IS SLEEPING (USA 2022) ***

Directed by Ryan Lacen

It appears that ALL THE WORLD IS SLEEPING and that no one is aware of my problems. This is the immediate thought of the film’s protagonist Chama (Melissa Barrera), a drug addict with a daughter taken away from her by social services and with another baby on the way. She is an addict who keeps going back to the drugs. Well, that is what addicts do, and the reason the term addict is given to them.

This film was created with the aim of pushing back against the stigma faced by pregnant women and people living through addiction. ALL THE WORLD IS SLEEPING attempts its utmost best, perhaps trying too hard, as witnessed in many segments, light on the realities of addiction, and the resources that are so desperately needed for families living in cycles of addiction. Credit should definitely be given to the well-intentioned film that unfortunately shows stereotypically that a happy ending or the road to heaven is paved with rocks and stones.

The film’s main character, Chama, played by the talented actress Melissa Barrera, is an imaginative composite of the seven Women that encompasses elements of their bravery and struggles all while exposing the arduous circumstances they have endured. Barrera, along with co-star Jackie Cruz, worked with the mothers on and off set to authentically capture and represent their truth. Throughout production and post-production, the seven mothers remained an integral part of guiding the film to completion. This film is an extraordinary collaboration merging the worlds of non-profit grit and movie glamour all while working alongside a community eager to see their story represented on the big screen.

The best performances in the film, which are needed to create a movie with a powerful message of this sort, come from the lead Barrera and the supporting actress Cruz who plays Toaster, Chama’s best friend who also happens to be an addict.

ALL THE WORLD IS SLEEPING follows Chama (Melissa Barrera), who as a young girl in New Mexico, strived to be different from her mother. Now in her twenties, she’s found herself falling into a similar cycle of generational addiction. This struggle then threatens her balance as a mother to her own daughter. As Chama tries to keep it all together, a harrowing accident will spiral her out of control, causing her daughter to be taken from her custody. With nothing left, she’ll have to confront her past in order to fight for a future — one that can either guide her closer to getting her daughter back or lead her deeper into this dangerous cycle.

Though the story line follows the saying “we have seen all this before,” the film is still an important one in the message it carries. The film’s main plus is its authenticity, which is not surprising given the input the film has got from the 7 women advisors.

Gravitas Ventures releases ALL THE WORLD IS SLEEPING in theatres and on digital platforms on March 17, 2023. The film has a running time of 1 hr 50 min and will not be rated by the MPAA.

ARE YOU LONESOME TONIGHT (China 2021) ***1/2

Directed by Wen Shipei

An assured and impressive debut by director Wen in this Chinese neo-noir pic with the mood and atmosphere heightened by the famous Elvis Presley song “Are you Lonesome Tonight?” crooned by a blind night-watchman. The lives of three people converge in Wen Shipei’s thrilling debut: a young man who believes he’s killed someone, the dead man’s widow, and the policeman in charge of the investigation. A lot of the story is revealed through flashbacks, but not in the conventional format. The occasionally seemingly clumsy flashbacks that occur are often disconnected with a character and come about non-chronologically. But it is this and other daring risks that make Wen's film stand out. For instance, a major plot revelation occurs when a band delivers fanfare amidst a lion dance. A shoot out in the warehouse filmed in red is also deserving of mention. Wen’s shows ingenuity in his story-telling. Director Wen’s film is by no means perfect but his feature, filmed with spirit and flair shows promise that this director has the best that is yet to come. ARE YOU LONESOME TONIGHT premiered at Cannes in 2021 followed by screenings at the Toronto International Film Festival. This mesmerizing, twisted Neo-Noir thriller, Premieres via VOD & Digital on 3/17.

Trailer:

FULL RIVER RED (China 2022) ***½

Directed by Zhang Yimou

A Zhang Yimou film when the Chinese director was at his prime was something to really look forward to. But he had a spat of disappointing films like HERO and HOUSE OF FLYING DAGGERS which are pretentious and over-calculated compared to his more earnest historical sagas like RED SORGHUM, RAISE THE RED LANTERN and JU DOU. So with current hit and misses, thankfully, Yimou’s latest entry, a very different historical drama that has an Agatha Christie mystery whodunit element. FULL RED RIVER marks something different and is one of his better films. Through running a bit overlong at 2 hours and 20 minutes (though the time flies), the film is more playful that the usual Yimou film. The film has been described as a GLASS ONION type Chinese historical mystery whodunit.

The film opens after some massive historical information is dispensed to the audience. It is important to digest the information or if not, following the storyline would be difficult. This information is splashed on screen tab the start of the film. 800 years ago, Yue Wei was a general of the Song Dynasty known for leading forces against Jin. Qin Hui framed him and had him executed. 5 years later after Yue’s death,. Qin Hui leads thousands of imperial guards to the border to meet with Jin Delegation. They arrived at midnight. Local officials cleared the courtyard (where the film opens) for the army to rest. But mayhem occurs 2 hours before dawn which is where director Yimou’s story begins.

A mysterious murder occurs at Qin Hui's residence when he meets delegates from the rival Jin Dynasty. The two main protagonists are a soldier and a commander who become entangled in a large conspiracy as one of the Jin envoys perishes and a confidential letter is reported missing. Righteous vigilantes are responsible for the incident and want to kill a suspected traitor.

The two run round acting like chickens circling around with their heads cut off. They argue, agree and question and kill and intimidate suspects. It is all done in fun without much violence. The film at its best, can be looked at as a very funny satire on the Chinese way of governing - be it communist or communist-run. Everyone is suspicious and with good reason. Everyone is vying for a top spot or a promotion from an existing position. The system barely works whether the leaders succeed or not. All those governed survive regardless of the consequences.

Director Yimou’s film, though taking place mainly in the dark early hours of morning, is still magnificent to look at, as witnessed in his earlier films like RAISE THE RED LANTERN and JU DOU, my two favourite Yimou films. The soundtrack of old Chinese music and sounds remind one of watching Chinese opera. These create the mood of a historical epic.

FULL RED rIVER has already opened in China to great success, making its opening during the Chinese New Year celebrations lat year. FULL RIVER BLOOD makes its debut this week at the TIFF Bell Lightbox.

Trailer:

INSIDE (USA 2023) **
Directed by Vasilis Katsoupis

If INSIDE can be described as torture porn, director Katsoupi puts the audience as well as his subject, Nemo through an exhaustive human endurance. In one instance at the start of the film, he has the audience experience the same Nemo goes through, The audience hears the loud sounding alarm of the penthouse’s security system malfunctioning. The sound lasts close to 7 minutes. It is as if one’s smoke alarm has gone off and one cannot turn it off but have to listen to the alarm at arm’s length. It is a very annoying if not irritating experience, and as the audience, I am sure many have already got the point without having to sit though the probably ear damaging noise. There is no reason to have to sit through this useless exercise in the guise of a thriller of an art thief trapped in a penthouse. Also annoying is director Katsoupi’s frequent use of closeups.

Nemo, a high-end art thief, is trapped in a New York penthouse after his heist does not go as planned. His partner on the cell abandons him. Locked inside with nothing but priceless works of art, he must use all his cunning and invention to survive. This is another case of the poem ‘The Ancient Mariner’ where there is water everywhere but not a drop to drink.

Who else to play Neo the tortured soul by Willem Defoe? Defoe has played more than one of these kind of roles before, as in Martin Scorsese’s THE LAST TEMPTATION OF CHRIST and Lars von Trier’s ANTICHRIST. Defoe doesn't do anything new for the role that audiences have not seen already.

There are a lot unexplained in the film, the main one being why the security function malfunctioned in the first place. Or why no one monitors the system once the alarm has gone off. The audience is then led to believe that the penthouse is understocked and that Nemo has to survive with just limited sustenance. He has to lick the sides of the freezer of debone tropical fish from the aquarium to make a different kind of sushi, that is before the maggots get to the fish meat. All of what transpired on screen is pretty disgusting. Then there is Nemo’s gradual descent into madness. He screams to himself and talks to himself, being all alone and confined.

The only plus of this otherwise terrible movie is the production design. As expected the penthouse is beautifully crafted as are the art paintings on display.

But wait, director Katsoupi then offers doses of arthouse philosophy for his audience. Or bullshit, if one wishes to call these musings by another name. Without destruction, there is creation, the voiceover informs. And at the film’s start, Meno reminisces on the three things he was asked as a child that he would take away if there was a huge fire this dwelling. The cat, his sketch book and an ac/dc album is his answer. The album he had lent out never got returned and animals die. So art is forever!

Directed by Vasilis Katsoupis and co-written with Ben Hopkins, this is one film where there is absolutely no attempt to let the audience be in any way entertained in what might be considered another form of torture porn. INSIDE opens on March the 17th.

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LEAVE (Norway 2022) **
Directed by Alex Herron

The new horror film opening on Shudder begins with a 9-1-1 call made about an abandoned baby in a cemetery at Jackson Hill Cemetery, in the United States. Everything appears American. It looks strange then as the opening credits appear tat all the names listed in the cast and crew appear Nordic. LEAVE is a new horror flick picked up from Norway where trolls and gothic horrors apparently exist. Last year saw,, also on Shudder one of the best horror films of the year entitled THE INNOCENTS. Though not reaching the heights of THE INNOCENTS, LEAVE is not bad a horror film as director Alex Heron plays it safe and smart.

An abandoned infant is found in a cemetery in the United States. The child is wrapped in a blanket with satanic symbols. A Wolf’s Cross pendant hangs around her neck. 20 years later: Hunter is obsessed with finding out why she was abandoned and who her biological parents are. A genetic test, the blanket and the Wolf’s Cross lead her to Norway. Hunter is closing in on the terrifying truth, but visions of a dark figure warn her: LEAVE!

The film begins, racially correct, with Hunter saying goodbye to her adoptive father, who turns out to be black. Nothing is shown of her mother, who is assumed to be passed. Maybe the audience will be informed later on. Hunter is about to drive, as the dialogue of the film informs, between adoptive father and daughter to her college campus in Georgetown. A long drive, Hunter promises to drive safe, call her father back on arrival and no boys in her dormitory. She breaks the rules when she secretly drives to the airport for a plane headed straight to Norway to discover her roots and other questions. Armed with newspaper cuttings and other clippings of information of her biological parents, she hopes to find the truth. Director Herron tells his tale in a straightforward fashion, with no flashbacks or confusing mechanisms though it turns just a little during the last 30 minutes, so that his film is relatively easy to follow and enjoy. His film is also down to earth displaying certain truths such as what fear and apprehension exists for a young girl of 20 like Hunter going to a strange city, in this case Bergen on the west coast of Norway. Bergen is a beautiful city where one can get a day tour of the gorgeous fjords, but none of these can be seen in this horror film. (Review’s note: Bergen is one of the most beautiful cities I've visited.)

The film weirdly dispenses stereotypes. Black metal, though frowned upon by many, is given a fresh look in the film. The lead singer is a kind and helpful lady who helps Hunter all the way from their first meeting. Hunter’s father, initially shown in the institution, is not that crazy or as first thought to be.

The film’s only complaint and a main one at that is the climactic last 30 minutes or so when credibility is pushed to its limits. Hunter is rescued just in the nick of time by her father who suddenly appears, free from the institution. How does he know where she is at that time?

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SHAZAM! FURY OF THE GODS (USA 2023) **

Directed by David F. Sandberg

This week sees two Hollywood blockbusters burst into North American screens, courtesy of spring break. This week SHAZAM! opens and next week comes JOHN WICK 4. Firstly for the older students such as college and university undergraduates, there is the ultra-violent and ultra long JOHN WICK CHAPTER 4. If you fall into the much younger student crowd comes Warner Bros.’ SHAZAM! FURY OF THE GODS based on the dc. comics. This super action hero film has a group of teens becoming adult super-heroes. They all attend school in their true human identities and they undergo teen love, strict parenting and other teen issues.

Upon exclaiming the word SHAZAM! 18-year old Billy transforms into an adult action superhero. Zachary Levi who was born in 1980- making him over 40 years off age here speaks like 18-year old Asher Angel who plays Billy Batson. Shazam is supposed to be the champion of an ancient wizard, who possesses "the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles, and the speed of Mercury”.

Billy Batson and his foster siblings, who transform into superheroes by saying "Shazam!", are forced to get back into action and fight the Daughters of Atlas. They must stop them from using a weapon that could destroy the world

orced to get back into action and fight the Daughters of Atlas. They must stop them from using a weapon that could destroy the world

Two heavyweight actors play the villains and put in the bit of polish largely needed in this film. Lucy Liu and Academy Award Winner Helen Mirren play the daughters of Atlas with more seriousness than comedy.

The film that cost a whopping $130 million to make is the utter bore and silliness, particularly for the adult audience. Yes one understands that the target audience for this film is the younger crowd - teens that worship their superheroes. The jokes are infantile, the characters speak too fast and often say silly things while contradicting themselves within the same sentences and do all the annoying things teens do. There is no excuse for a teen film not to also cater to an older crowd as seen in many blockbuster teen hits like SIXTEEN CANDLES and many of the John Hughes films.

The one plus of the film are the action scenes, particularly those that involved mythical creatures. The dragon creature is stunning and worthy of mention, credit going to the special effects/creature development department. The disaster set piece, done to the lyrics of the song “Don’t Be a Hero” with the super heroes saving people in their cars where a bridge is in the midst of collapse is the best segment of the film.

The film touches a few teen issues. The bullying in school is seen as a problem though never satisfactorily solved with the bullies neither punished or getting any comeuppance. The characters are an eclectic cast of races and even has one disabled family member.

SHAZAM! FURY OF THE GODS called Fury of the Kings in other countries where the word God cannot be uttered opens in theatres on March 20th, the ending week of March break.

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YOU CAN LIVE FOREVER (Canada 2022)

Directed by Sarah Watts and Mark Slutsky

YOU CAN LIVE FOREVER is a touching story about a teenage girl who falls in love with the daughter of a Jehovah’s Witness elder.

Review to be posted next week when it opens

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 10 February 2023

CREED III (USA 2023) ***½

Directed by Michael B. Jordan

CREED III is a sports drama film directed by and starring Michael B. Jordan (in his feature directorial debut) from a screenplay by Keenan Coogler and Zach Baylin. The film is the sequel to Creed II (2018), the third in the Creed series, and the overall ninth installment in the Rocky film series.

After the events of Creed II (2018), Adonis "Donnie" Creed (Jordan) is thriving in both his boxing career and family life. When a childhood friend and former boxing prodigy, Damian "Dame" Anderson (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face-off between former friends is more than just a fight. To settle the score, Donnie must put his future on the line to battle Dame – a fighter who has nothing to lose.

The story offers no real surprises in terms of clearing any cliched territory. There is the argument between fighter and his wife, the care for their daughter (here a deaf/mute one); the enmity between the fighter and former friend now turned foe; the hard training; the climactic fight at the end where the underdog must win and the list goes on.

Jonathan Majors steals the show as the villain of the piece. As he had proved in the recent QUANTUMANIA: ANT-MAN and WASP. Majors proves himself a superb actor to be reckoned with.

Michael B. Jordan does an admirable job with his directorial debut. He has acted in boxing films before (the other two CREEFD films) and with the production team of Chartoff/Winkler of over 2 dozen films to their credit, Jordan is in good hands with probably lots of advice given. Sylvester Stallone, who does not appear in this film, also serves as a producer.

Director Jordan shoots in a linear timeline with very few flashbacks. The only confusing plot point is when at the film’s start, the two teens run from the police. How this act affects their lives later on are gradually explained and satisfactorily.

Jordan’s film is necessarily violent with some slow motion shots of the combatants being hit. The film is as violent as the other ROCKY and CREED films in the franchise but not as bloody as the more serious boxing film, Martin Scorsese’s RAGING BULL.

The climatic match between Adonis and Damien is shot with some variety. The spectators are blackened out during part of the match. At another pat, jail bars enclose the ring, making the match look like a caged fight. Director Jordan also limited the sue of edits during the match of the faces of the spectators, concentrating more on the fight between the two combatants. But ultimately the fight with the spectators shown without any vibration proves the most effective. But credit to Jordan fro attempting something novel.

Running at around the two-hour mark, CREED III is not bad a sports boxing drama with exciting enough match scenes that should keep ROCKY fans at the edge of their seats, despite the cliche ridden script.Creed III

A LITTLE WHITE LIE (USA 2022) ***
Directed by Michael Maren

A LITTLE WHITE LIE is based on Chris Belsen’s novel entitled ‘Shriver’, also the name of the famous author and title character featured in the book and film. The script is written and the film directed by Michale Maren in what is a decent and no-nonsense story about a poor down on the luck individual who does not realize how to make good.

Shriver (Michael Shannon) is a down-on-his-luck handyman who has the same name and therefore mistaken for a writer who has disappeared forever 20 years, A desperate college literary department headed by a pretty Professor Simone Cleary (Kate Hudson) decides to invite Shriver for their annual literary event to boost their name and reputation. Trouble is that Shriver has never read a book in his life. When he gets the letter, he happens to be fixing the toilet. When he tells his friend he got a letter, the immediate response is: “Are you in trouble?” His friend comically says at another point to Shriver: Are you having a lack of confidence or are you really drunk and an imposter?” Probably all the above. Shriver is thus mistaken for the famous writer that has been in hiding for over 20 years. With nothing to lose, he accepts an invitation to attend a college literary festival and finds himself surrounded by adoring fans and an English professor who captures his heart. Shriver must do whatever it takes for his shot at love in this fish-out-of-water comedy.

Maren’s film moves slow and steady without much incident for the first half of the film. The audience is treated to a little laughter while the story and characters are introduced. It is at the half point of the film when a detective suddenly appears on the scene, a Detective Karpas (Jimmi Simpson) that the story takes a more intriguing turn. There is an unexpected twist in the story that will surprise everyone, this surprise will not be revealed in the review, except to say that it makes a big difference to whatever has been seen in the film’s first half.

There is a bit of a hint of romance between Simone and Shriver though there is not one scene of kissing or touching.

A SIMPLE WHITE LIE is a small little film with a slight story. One wonders the reason Kate Hudson was so enamoured by the book that she served as a producer for the film.

The film benefits from Michael Shannon, always good in playing off-beat and odd out of whack characters. M. Emmet Flash, veteran of more than 200 movies and best known for the Coen Brothers’ BLOOD SIMPLE has a small role as ProfessorArthur Baldwin. Walsh is showing his age, is given a few funny lines to say but without such effect. Young actor Zach Braff and older actor Don Johnson deliver supporting performances.

A LITTLE WHITE LIE is writer/director Michael Maren’s second feature after his little seen debut A SHORT HISTORY OF DECAY (2012). Maren began working as a screenwriter. selling scripts to HBO, Sony and independent producers.

A LITTLE WHITE LIE In theatres and on Digital and On Demand March 3, 2023

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PALM TREES AND POWER LINES (USA 2022) ***
Directed by Jamie Dack

Two films coincidentally open in March that have the protagonist in a field of transformer power lines. Both are relationship dramas, the first film being the Canadian BROTHER by director Clement Vito and the second PALM TREES AND POWER LINES by American director Jamie Jack who also co-wrote the script with Audrey Findlay.

Seventeen-year-old Lea (Lily McInerny) spends her summer break aimlessly tanning in her backyard with her best friend, tiptoeing around her needy mother, and getting stoned with a group of boys from school. This monotony is interrupted by a chance encounter with Tom (Jonathan Tucker), an older man who promises an alternative to Lea’s unsatisfying adolescent life. This is both a case of falling in love and peer infatuation But as things progress between them, red flags about Tom’s life begin to surface, and Lea chooses to ignore them. Under Tom’s influence, Lea begins to see her mom as unfit and her friends as a waste of her time. Isolated from those around her, Lea discovers Tom’s true intentions and finds herself in a situation that she never could have imagined.

The chemistry between McInerny and Tucker is solid and their performances credible, important factors as their two characters carry the story. Both actors create sympathetic characters that the audience has sympathy for despite their shortcomings.

Director Dack takes his time to tell his story, sometimes lingering on for too long a while at the important scenes. The encounter between Lea and her older ‘client’ can be seen to be stretched out in order for the audience to feel as discomforting as Lea’s character feels.

The film takes an unexpected turn. For a film with a story such as this one, one expects Lea to come to her senses and turn back to the mother, which she does for a bit and totally rejects Tom. That she does not, leaves the audience with a somewhat unsatisfactory (though braver and more risky with credit going to the director) ending and a nasty taste in the mouth.

The film serves as Lea’s coming-of-age story. Though Lea still cannot decide for sure what the right decision is to be made, she has at least witnessed both the good and evil that lie before her. Her unplanned teen lifestyle of hanging around is typical of many in small towns and the film is also a reflection of the troubled youth of America. This is a problem that has no simple solutions as is evident by the events that occur in the film. The power lines depict the danger and the palm trees the comfort that might appear before the youth.

The film has won multiple festival awards. Dack, winner of the Sundance Film Festival directing award in the U.S. Dramatic section, also received Torino’s prize for best script The film was also nominated for four Independent Spirit Awards, including first feature for Dack and Leah Chen Baker; first screenplay for Dack and Audrey Findlay; supporting performance for Tucker; and breakthrough performance for McInerny.

PALM TREES AND POWER LINES opens in theatres and VOD on March the 3rd.

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QUEENS OF THE QING DYNASTY (Canada 2022) ***
Directed by Ashley McKenzie

“I’ll be your housewife making you dinner.You can be my husband,” so says the Chinese hospital volunteer caseworker from China to a young female patient, Sarah suffering from mental trauma at a local hospital. The scene plays out for some 10 minutes or so with Sarah replying, “I am not queer. You are evil, you are giving me poison,” before the two eventually bond in a rare friendship.

QUEENS OF THE QING DYNASTY is a queer friendship romance that breaches the absurd and poetic. In a remote small town, Star (Sarah Walker), a neurodiverse teen, forms an unlikely rapport with An (Ziyin Zheng), an international student from Shanghai volunteering at the hospital. Between the two, a bond forms, cemented by their candid conversations, nightly text messages, and exchange of their deepest secrets. The boundaries of their friendship quickly expand into something special, altering both Star and An’s inner alchemy.Both intimate and intense, it explores the intrinsic beauty and innate flaws of what it is to be human, the profundity of connection, the vortex of mental illness, and the creativity of neurodivergence. The electronic music score blurs between cinema foley and sound design to create a feeling of an alternate plane. An affectionate ode to women, asexuals, and genderqueer individuals who exist beyond the norms of society by writer and director Ashley McKenzie.

Actor Zheng is himself in real life suddenly from China, arriving partly to find a gay soulmate besides completing his studies.

Director Ashley McKenzie (she/they) is a filmmaker who has made the mark as a rising star director based in Unama’ki–Cape Breton Island, Canada. The director writes and directs films in collaboration with people in the community, compelled by the stories near that may otherwise be overlooked. McKenie’s debut feature WEREWOLF won the Rogers Best Canadian Film Award from the Toronto Film Critics Association in 2017, the most generously endowed film prize in Canada. It was theatrically released by Factory 25 in the US and Les Alchimistes in Europe. Film Comment called Werewolf "an austere, marvelously focused debut feature,” while The New Yorker named it to their “Best Movies of 2018” list. Ashley’s films have screened at the Berlinale, New York Film Festival, and Toronto International Film Festival, as well as been curated by the Criterion Channel, MUBI, and Anthology Film Archives. QUEENS OF THE QING DYNASTY premiered in the Encounters Competition of the 2022 Berlinale, before going on to screen at TIFF and NYFF in the Wavelengths and Currents section respectively. The film is a slow trudge but often than not, it takes time to tell a story that needs to be settled in - a real story with real life characters.

The film will have its theatrical release across Canada beginning on March 3, screening at TIFF Bell Lightbox in Toronto, followed by March 10 in Ottawa and Winnipeg and March 17 in Vancouver with more cities to be announced soon

THE QUIET GIRL (An Cailín Ciúin) (Ireland 2022) ***** Top 10

Directed by Colm Bairéad

THE QUIET GIRL is very Irish, shot in the counties of Co Dublin and Co Meath, while keeping on the tradition of the Irish language. The film exhibits stunning countryside cinematography that includes shot of the trees in the forest and a natural well to boot. It has the feel of the old Charles Dickens films directed by David Lean. One difference in that THE QUIET GIRL contains only a slight story of a girl who spends her summer away from her dysfunctional family. No great tale but an equally moving one of simplicity and raw emotion. The film is based on Foster, a 2010 novella in English by Claire Keegan. The film was originally titled Fanacht ("Waiting").

The story is set in the summer of 1981 with its subject as a nine-year-old Cáit (Catherine Clinch), one of many siblings, living with her impoverished and neglectful parents in rural Ireland. With her mother pregnant again, it is decided to send their quiet daughter away to live with middle-aged distant cousin Eibhlín Kinsella (Carrie Crowley) and her husband Seán (Andrew Bennett) .

Eibhlín immediately welcomes Cáit into the Cinnsealach home, showing her love and teaching her how to do chores around the house and farm. She also shows Cáit a well on the property, claiming that the water has healing powers, while warning that the well is deep and to exercise caution when retrieving water from it. As Cáit arrived at the Cinnsealach home with no luggage, Eibhlín places her in a spare bedroom and initially dresses her with boys' clothes left in the wardrobe. It is later revealed that the couple had lost their son some time back. She later buys Cáit new girls' clothes.

The film is more a film about women, or one with a strong female slant. The men in the story are peripheral and they are shown to be ones that hide their emotions.

Director Colm Bairéad elicits an almost perfect and wonderful perfjoamcne from the young Catherine Clinch who plays Cáit, who appears in a most every scene in the film.

If there is one film that should be seen this year, THE QUIET GIRL is the one. Written and directed by by Colm Bairéad, THE QUIET GIRL is a quiet, simple story that drives the fact that the simplest tale can create the greatest emotional impact. The film is both a coming-of-age story of a 9-year old girl, who while still wetting herself occasionally in bed, discovers love and kindness in a temporary family for the first time. And the effects are incredibly moving. THE QUIET GIRL is filmed mostly in Gallic, with subtitles and has been nominated for the upcoming Academy Awards for the Best International Feature. It is the highest grossing Gallic language film so far. THE QUIET GIRL has opened in Ireland and makes its debut this week in theatres.

The film is dedicated to the late Jim Crowley.

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SPOONFUL OF SUGAR (USA 2022) ***
Directed by Mercedes Bryce Morgan

The innocent sounding title SPOONFUL OF SUGAR (think also the MARY POPPIN S song, “Just a Spoonful of Sugar”) is nothing compared to what is in store for audiences brave enough to venture into watching a really nasty piece of horror, the film recently picked up by Shudder, the horror streaming service. The sugar of the title refers to lysergic acid, a medication taken by the young protagonist to control her behaviour. The more common name for lysergic acid is LSD, the hallucinatory drug much used in the 60’s. Very few people have died from overdose but many have died from the effects of the hallucinations like jumping in front of danger, not knowing any better.

Director Mercedes Bryce Morgan delivers an incisive psychological horror laced with nightmarish visions of hallucinogenic beauty and horror.

The film begins with the familiar song “Oh My Darling, Clementine '' followed by an interview for a new babysitter. This song has been sung and heard many times by kids, but the words are actually quite scary under closer examination. “ You are gone and lost forever dreadful sorry, Clementine.” The young babysitter, Millicent (Morgan Saylor) lies about everything and completely fools the mother, Rebecca (Kat Foster) who is interviewing her. She is not what she claims to be, a point that enforces the importance of having valid references for a job. The boy to be looked after, Johnny (Danilo Crovetti) is no ordinary kid as he is first seen wearing a spaceman costume. The reason is that the b oy is allergic to everything from sugar, inorganic good to allergies in the air. The boy has also never spoken. The strict and over-bearing mother insists: “My instructions are to be followed to the utmost. The boy must never, under any circumstances leave the compound.”

But every character in the story appears to have a dark secret.

This disturbed babysitter also experiences a sexual awakening while using LSD to alternatively treat a seemingly “sick” child from a family with dark secrets of their own.

Firstly, Millicent is quite an overbearing, manipulative little bitch, despite her innocent exterior. When examined by Dr. Welch (Keith Powell), she says and answers the questions that she knows the doctor wishes to hear. She manages to have him describe more LSD for her treatment, which she believes will also help Johnny. Millicent laces Johnny’s medication with LSD. It is also revealed that another secret Millicent has is her secret desire to have a family at all costs. The father is a sexy Jacob whose primary weakness is sex. He can be manipulated by sex by his wife and later on, by Millicent.

SPOONFUL OF SUGAR turns really nasty in its second half - so be prepared. There are a lot of masturbation scenes as well as graphic violent acts like Johnny stabbing the back of his mother’s hand as well as others too nasty to mention. The film is generally devoid of humour except maybe for one laugh-out loud scene when Millicent is hallucinating while on the bus.

SPOONFUL OF SUGAR succeeds as a horror film and a very nasty one at that. As for a happy ending, the best that can be said is that every character in the story gets their comeuppance, which makes a satisfactory, rather than a happy ending.

SPOONFUL OF SUGAR streams on Shudder Thursday March the 2nd.

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THERE’S ALWAYS HOPE (UK 2021) **
Directed by Tim Lewiston

There is a an obvious play of words in the title of this new British comedy THERE’S ALWAYS HOPE for two reasons. Firstly, the main character is named Hope, a grown up daughter who desperately, ‘hopes’ that her estranged parent get together again. What child of separating parents does not? This is a predictable and unimaginative comedy that requires no genius to guess the final outcome of whether the father and mother patch it up. At least it is all done within the 90 minute mark, so that everyone can go home.

THERE'S ALWAYS HOPE is a comedy drama in which a young woman, Hope (Hannah China) travels to Portugal in an attempt to orchestrate a reconciliation between her parents, Jonathan (Colm Meaney) and Samantha (Kate Ashfield). The film is shot in beautiful Algarve and the cinematography shows. Sam has meanwhile had an affair with her work partner, the rather dashing Luke (John Light, the actor in Florian Zeller’s THE SON in London).

Irish actor Colm Meany (Stephen Frears’ THE SNAPPER) is always so entertaining to watch, but the script by Lewiston does not offer him much opportunity to show his true colours.

The scene in which the two males, Luke and Jonathan argue by the swimming pool is so contrived, even with Luke standing, slanted just by the edge of the pool, as if waiting to be pushed in, Jonathan does push him into the water which is of course, of no surprise.

If one has never heard of director Tim Lewiston, THERE’S ALWAYS HOPE is his second feature after THE HOT POTATO in 2010 that also starred Meaney. London born Lewiston started his career in the film industry in the cutting rooms working on commercials and documentaries. He also worked as a 2nd assistant director to legend, Karel Reisz on commercials and on Love from A to Z, directed by Mel Stuart and starring Liza Minnelli.

THERE’S ALWAYS HOPE appears to be and actually is a lame comedy that shows privileged and wealthy Brits on holiday abroad, in this case the Algarve in Portugal, flaunting their wealth (Jonathan wears posh clothes and drives a sports Jaguar) in all their pomposity.

THERE’S ALWAYS HOPE opens in theatres across Canada on the 3rd of March.

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 09 February 2023

Unlike last year when the doc provided the strongest section, only one this year stands out - HAULOUT that gets my vote for best Documentary short.

Playing at the TIFF Bell Lightbox

THE ELEPHANT WHISPERERS (India 2022) ****

Directed by Kartiki Gonsalves

This ode to elephants is a poetic and stunningly photographed documentary of a connection to nature and its wild animals. The short from Netflix, India follows an indigenous couple Bomman and Bellie as they fall in love with Raghu, an orphaned elephant given into their care, and tirelessly work to ensure his recovery and survival. Raghu was never thought to survive when the baby elephant arrived injured with maggots on its open wounds and in really bad shape. Bomman nursed the elephant back to health with the help of the Indian government in the elephant sanctuary. Director Kartiki Gonsa lves is an Indian Natural History, Social Documentary photo-journalist and filmmaker currently based out of the Nilgiris and Bombay in India. Her work has two foci. One is the environment, nature, and wildlife, where she seeks to raise awareness about the marvellous diversity of nature and wildlife and the importance of conservation. She has made this wonderful doc that will bring the world with oneness with the Indian elephant.

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HAULOUT (UK 2022) ****

Directed by: Evgenia Arbugaeva and Maxim Arbugaev

Simply amazing. Everything from its cinematography of the Arctic landscape to the 100,000 walruses on display, this doc provides unforgettable scenes of extreme beauty and horror. On a remote coast of the Siberian Arctic in a wind-battered hut, a lonely man, a scientist waits to witness an ancient gathering. But warming seas and rising temperatures bring an unexpected change, and he soon finds himself overwhelmed by a walrus invasion. Walruses gather on the island in thousands, tired and exhausted, not having any ice to rest on, as they migrate, the fact of limited ice due to global warming. They barge into his hut and trample on each other. HAULOUT gets my vote for the best documentary score for reason of sheer astonishment.

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HOW DO YOU MEASURE A YEAR (USA 2022) **

Directed by Jay Rosenblatt

For 17 years, (from the age of 1)filmmaker Jay Rosenblatt filmed his daughter Ella on her birthday in the same spot, asked the same questions by the mother. The questions are “What is a tower?” “What do you want to be when you grow up? etc. rather uninteresting questions. The responses are likely to be more interesting to the Rosenblatts or parents with young children. The whole exercise is nothing really new, and in fact rather boring and feels like someone else’s home movies that one is forced to sit through. All these filming at different ages have been done before, most notably in British Director Michael Apted 7UP series inn= which a cross section of children and filmed every 7 years, thus producing the films 14 UP, 28 UP and so on. Thiamine a a real chore to sit through.

THE MARTHA MITCHELL EFFECT (USA 2022) ****
Directed by Anne Alvergue and Debra McClutchy

THE MARTHA MITCHELL EFEECT is known to be the state when a person is deemed delusional for his or her beliefs but later shown to be true. This was the case of the wife of John Mitchell who was ex-President Richard Nixon’s right-hand man in the Watergate scandal that forced Nixon to ultimately resign. The tell it as it is, warts and all doc short is a riveting account of what the woman had to go through in order to speak out what iSight and to do what its right for the country. She was ridiculed deemed delusional and crazy but when truth cam out, she was hailed a hero. The doc examines her life up to her death when she was presented with a white wreath of flowers saying boldly that ‘Martha Was Right’. A story that needs to be told, a doc that matters that many non-Americans are unaware of. A completely compelling watch from start to finish of a true hero that in her own words, will make politicians honest again. (…till Trump came along!)

STRANGER AT THE GATE (USA 2022) ***
Directed by Joshua Seftel

The subject of STRANGER AT THE GATE is what another character in the doc, Dr. Bahrani describes as a redneck. And indeed, Richard McKinney is one. He has served 25 years as a US marine in Afghanistan and has an inborn hatred for Muslims. He has PDST, hears voices in his head and can be described as the kind that would do extreme harm to others. He now plans to bomb a Muslim mosque. Director Settle must be given credit for being able to interview Richard asking him candid questions such as: “How does killing change you?” or asking his stepdaughter, Emily “How does it feel staying in the same house as a mass murderer?” But nothing is what it seems in what canoe described as an audience-manipulative documentary, even though director Seftel has good intentions. Eventually, it is the good of man that prevails in this feel-good doc that shows that it never hurts to show kindness to a fellow human being.

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 09 February 2023

A strong section for animation this year with THE BOY, THE MOLE, THE FOX AND THE HORSE coming as a sure shoo-in as the winner. Canada has THE FLYING SAILOR in competition.

THE BOY, THE MOLE, THE FOX AND THE HORSE (UK 2022)***** Top 10

Directed by Peter Baynton and Charlie Mackesy

This marvellously animated short is a story of kindness, courage, and hope in traditional hand-drawn animation, following the unlikely friendship of the title characters as they journey together, in the boy’s search for home. Nothing beats kindness, says the mole. It sits quietly among all things. The short is set in the winter and has the feel of a fairy tale like LE PETIT PRINCE when the landscape is all white and pure. The short is based on director Charlie Mackesy’s internationally bestselling book, THE BOY, THE MOLE, THE FOX AND THE HORSE, that was published in October 2019 and holds the record for the most consecutive weeks in the Sunday Times Non-Fiction Chart across all formats as well as being the longest running Sunday Times Non-Fiction Number One of all time. The book has been translated into over 40 different languages and dialects. The book and this animated short is nothing short of a minor masterpiece. Definitely the best of all the shorts and my bet for a shoo-in win. The short soars to magnificent heights ever so often just as the horse soars as it reveals a secret at the end that he can fly.

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THE FLYING SAILOR (Canada 2022) ***1/2

Directed by Amanda Forbis, Wendy Tilby

THE FLYING SAILOR is animated from a true story involving a huge explosion at the Halifax harbour in 1917 in which two ships collided, one carrying large amounts of explosives. This is the remarkable account of a sailor who, blown skyward from the docks, flew a distance of two kilometres before landing uphill, naked and unharmed. The Flying Sailor is a contemplation of his journey. Nothing much happens but the animation is excellent from the smoke emitting from the steam ships to the water in the harbour. It is only 7 minutes long and is from the NFB (National Film Board of Canada.

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ICE MERCHANTS (Portugal/France 2022) ***1/2

Directed by João Gonzalez

Every day, a father and his son jump with a parachute from their vertiginous cold house, attached to a cliff of an ice covered mountain, to go to the village on the ground, far away where they sell the ice they produce daily. Trouble in paradise begins with global warming and the ice that they sell turns into water. Worst still, their house grounded in the ice on the side of the mountain starts giving way. Their lives are threatened. The animation is seen as if shot from different cameras giving the film a realism seldom seen in animation. The ice and snow and landscapes are also stunningly captured by director Gonzalez’s animation which makes this short totally magnificent.

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MY YEAR OF DICKS (USA 2022) **

Directed by Sara Gunnarsdóttir

Written by Pamela Ribon and directed by Sara Gunnarsdóttir , MY YEAR OF DICKS is the only animated short unsuitable for children for it is about losing a girl’s virginity. It is likely chosen for the Oscar owing to its ‘special’ title and material. The short is told in 3 chapters and it does not take a genius to guess when the girl loses her virginity. It tells of a fifteen year-old stubbornly determined to lose her virginity despite the pathetic pickings in the outskirts of Houston in the early 90’s. This is an adaptation of her mortifying memoir NOTES TO BOYS (AND OTHER THINGS I SHOULD NOT SHARE IN PUBLIC), which is not really very funny or enlightening.

Trailer:

AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT

(Australia 2022) ****

Directed by Lachlan Pendragon

Running at only 11 minutes and hilarious as hell, this is one animated short that one would not want to end, but it does just as the telemarketer’s world has come to an end. If one recalls the premise of THE MATRIX where it is revealed that all mankind are nothing but computer generated beings being designed by some higher power human, the similar premise is used in this film with the long preposterous title of AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT. A young telemarketer is confronted by a mysterious talking ostrich, he learns that the universe is stop motion animation. Funnier is that he has to put his current problems aside - his dwindling toaster sales and focus on convincing his colleagues of his terrifying discovery. Sharp animation and even sharper humour make this my vote for second Best Animated Short!

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Details: Written by: Gilbert Seah; Parent Category: Articles; Category: Movie Reviews; Published: 09 February 2023

LIVE action section:

- the strongest of the 3 sections this year; a hard fight for the best, with 3 outstanding ones that are riveting and moving. Every short in this category reviewed!

INVALU (Denmark 2022) ***
Directed by Anders Walter and Pipaluk K. Jørgensen

INVALU is an indigenous Danish film that exhibits stunning cinematography and tells a tale of abuse. The short is dead serious which is necessary to tell its tale but also serves as a negative in watching the short. A girl wakes up one morning to find her elder sister missing. It is the day of the Danish Queen’s visit to her local school. She hunts for her sister, but to not avail. The directors film a raven flying through the cold Arctic skies and the girl reminisces of the good times she had spent with her sister. She wears the dress her grandmother made former sister. It is at this point of the short that it becomes dead serious. Perhaps a tale that needs to be told but one is not sure whether this short should have been in the doc category or in the live action category?

AN IRISH GOODBYE (Ireland 2022) **

Directed by Tom Berkeley and Ross White

AN IRISH GOODBYE is the second collaboration from writer-director duo Tom Berkeley and Ross White, following their breakout debut ROY. On a farm in rural Northern Ireland, estranged brothers Turlough and Lorcan are forced to reunite following the untimely death of their mother. The ashes are in an urn. Turlough wants Lorcan to leave the farm in Ireland and go live with Auntie Margaret in England but not until mum’s list of 100 things to be done is fulfilled. So, the two go about accomplishing the 100 tasks that include things like learning tai-chi, going up in a hot air balloon among other things. The short is ok for a few laughs but it is not as funny as it thinks or likes to be. The jokes are occasionally crass and include a few fart jokes. Any episode of FATHER TED would bring more laughs. The short has a little twist at the end.

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NIGHTRIDE (Nattrikken)(Norway 2020) ****

Directed by Eirik Tveiten

This surprisingly charming and daring short gets my vote for the best live action short. It starts of as an unexpected little film and appears to be allover the place but turns out to be a sweet story of courage and friendship celebrating the best of human qualities. One has to overcome one’s prejudices and timidity to excel in helping others and coming up on top. On one cold night in December around Christmas, an older midget, Ebba waits for the tram to go home after a party. She is not a;lowed tented theorem but told tomcat for 30 minutes for the driver but enters the tram anyway, She starts the tram up, learns how to drive it, open the doors and stop it, and but the ride takes an unexpected turn, to the surprise of the audience. She witnesses and a trans abused by two other passengers. She tries to ignore the situation but she finally decides enough is enough. An exceptional tale of courage amidst injustice.

LE PUPILLE (Italy/USA 2022) ****

Directed by Alice Rohrwacher

This surprisingly charming and daring short gets my vote for the best live action short together with Norway’s NIGHTRIDE. This short ism also a Disney original produced by Alfonso Cuarón (ROMA), From writer and director, Alice Rohrwacher, and Academy Award® winning producer, Alfonso Cuarón, LE PUPILLE is a tale of innocence, greed and fantasy. This live action short is about desires, pure and selfish, about freedom and devotion, and about the anarchy that is capable of flowering in the minds of girls within the confines of a strict religious boarding school at Christmas. The sisters are as strict as hell but they face their match when they encounter Seraphina, a little girl too innocent to know how to be good. She is deemed a ‘bad girl’, that she believes but her deeds show the beauty of innocence and kindness. The young actress portraying her is also super adorable, which helps the tale. Director Rohrwacher cannot help it but close her film with a frame of Seraphina giving a wry smile.

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LA VALISE ROUGE (THE RED SUITCASE) (Luxembourg 2022) ****

Directed by Cyrus Neshvad

Directed by Cyrus Neshvad, LA VALISE ROUGE is a suspense thriller that sends a powerful message just as this short is a powerful one. Director Neshvad’s thoughts are with the

Iranian women right now who are fighting for their rights and it is his hope this short movie can help change the situation. An Iranian girl decides to remove her Headscarf/Hijab in a life changing situation. She has just arrived at the airport where her father had sold her to be married. She sees the older groom and decides to escape her doomed future planned by her father. Her father tells the waiting groom that the daughter is carrying a red suitcase that she hides as she dodges him a couple of times at the airport. The film feels like a Hitchcockian thriller at times, especially in the bus scene where she hides as he enters the bus looking for her (the Hitchcock bus scene in TORN CURTAIN). Totally entertaining while sending a powerful message as well!

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