Even though Israel has a thriving film industry, is rare the film that makes it outside the country’s borders. Consider the last two Israeli flicks to make the arthouse rounds: Big Bad Wolves (psychopaths) and Sand Storm (arranged marriages). Not only they didn’t get any tracking. Both were bleak as flint.
The Wedding Plan breaks the mold in more ways than one. At first sight, it looks like a traditional rom-com, but carries more pathos than Katherine Heigl’s entire filmography. Michal (fantastic newcomer Noa Koler) is blindsided by her fiancé when he reveals his lack of affection for her. Out of stubbornness and religious overconfidence, Michal decides to continue with the preparations. God shall provide the groom. Continue reading “REVIEW: The Wedding Plan Is No Ordinary Rom-Com”
* Much like Ghostbusters last year, Wonder Woman has triggered a disturbing number of reactions against it because it features a female lead. This is not worth discussing and won’t be part of the review. How insecure can someone be that the idea of a woman superhero feels threatening? Or that the notion of an all-women screening is somehow an assault on men’s rights? This is toxic masculinity at its purest.
* I have nothing against DC Comics (or Marvel for that matter). My approach to review comic book-based movies is to focus exclusively on the film itself. I don’t have a “team”, at least until Haneke or Von Trier make a superhero movie.
Wonder Woman, the fourth film in the DC Comics cinematic universe (DCCU) is, without a doubt, the best one so far. It solves the most glaring flaws of Man of Steel, Batman v Superman and Suicide Squad while anchored in the same universe.
It’s not difficult to explain the enthusiasm for Wonder Woman: DC fans are hungry for a film to be proud of and females have gotten the short shift in the subgenre for decades. But the idea this adaptation solves all the franchise’s shortcomings is wishful thinking. The plotting remains shaky and those pervasive conclusion problems persist. Thankfully director Patty Jenkins (Monster) is savvy enough to identify and solve the biggest issue plaguing the DCCU: Character development. Continue reading “REVIEW: Wonder Woman Shows DC the Way”
The weakest of all Disney franchises -at least creatively-, the Pirates of the Caribbean saga is better known for being a bloated mess than delivering any narrative satisfaction. Once Pirates’ saving grace, Johnny Depp’s perennially sauced Captain Jack Sparrow has become a handful of annoying tics. The actor’s image problems of late are not doing the character any favours.
Yet, of all the franchise’s wobbly wheels, none is more problematic than Terry Rossio. A writer in every Pirates of the Caribbean movie, Rossio’s penchant for byzantine plots and arbitrary character development has made the films a challenge to watch (Geoffrey Rush’s Barbossa has been good, bad or dead for no other reason than to patch a leaky script). Continue reading “REVIEW: Pirates of the Caribbean 5: At Least it’s Shorter”
It’s no secret I’m fond of Danish cinema. It’s the one film industry close to batting 1.000 these days. This week, the remarkable The Commune arrives to the art house circuit, including Saskatoon’s own Broadway Theatre.
Written and directed by Thomas Vinterberg (one of the founding fathers of the Dogma movement), The Commune revolves around a group of people attempting to fulfill the classic 70’s pipe dream of superseding social conventions and truly live in a community (the needs of the individual are subservient to the group’s). Soon they discover the sense of self and property won’t be denied. (see The Commune review)
While a well-esteemed name among film connoisseurs, Vinterberg reached a new echelon with The Hunt, a superb drama about a pre-school teacher falsely accused of molesting a little girl. The film gave Mads Mikkelsen his first Palm D’Or as Best Actor at the Cannes Film Festival.
The Danish keep on killing it at finding new angles for family dramas. While only recently Hollywood incorporated same-sex couples’ households into their films, the Danes are so far ahead, they are wondering if the notion of family is in conflict with individual growth.
Written and directed by Thomas Vinterberg (The Hunt), The Commune is set in the 70’s but tackles very contemporary issues. Anna (Trine Dyrholm, Love Is All You Need) and Erik (Ulrich Thomsen, The Celebration) fancy themselves a modern couple, so when they inherit a manor, they decide to put their beliefs into practice and start a commune.
The initially reluctant Erik is the first one to take advantage of the situation when he brings a student of his into the house. Anna tries to be open-minded about it, but soon enough learns there are limits to her tolerance. By the time personal decisions are to be dealt with by committee, Anna realizes she is not cut for ‘extreme’ community living.
While the love triangle is front and center, The Commune also examines what does it mean to be part of a hive-mind (and why nine times of ten it doesn’t work). As compelling as the idea of sacrificing personal freedom for the good of the group sounds, it’s not sustainable in the long run.
The moral of the story? Never a good idea to deal with emotional issues rationally. 3 ½ planets.
The Commune is now playing at the Broadway Theatre.
Full disclosure: I recall very little about the first Bon Cop Bad Cop, in theatres ages ago. The only thing I remember for certain is that I didn’t care for it and it’s not worth revisiting.
Didn’t need to. Bon Cop Bad Cop 2 is self-explanatory. It’s also an expensive pile of clutter. I couldn’t stop thinking how many solid indies could have been financed with this unwieldy mess’ budget.
The principle that sustains the Bon Cop Bad Cop franchise is not a terrible one: The cultural differences between Anglo and French-Canadians are less vast than initially thought but allow for solid procedural comedy. The sequel uses the same principle, but transfers it to the relationship between the RCMP and local police, and Canadians and Americans. It’s more broad than you could possibly imagine. Continue reading “REVIEW: Bon Cop Bad Cop 2 C’est Ne Pas Bon”
Donkeyote (UK/Germany, 2017): Finding documentaries that make you feel good about the human condition is often challenging. Donkeyote is one of them: Manolo, a septuagenarian farmer, enjoys days-long walkabouts across Southern Spain alongside his donkey, Gorrión. His dream is to one day walk the 2200-mile Trail of Tears in the US, but not only it’s expensive, bringing Gorrión is a whole other thing.
The film follows Manolo in his efforts to put the trip together, but the campaign is just an excuse to spend time with a compelling figure, an uncomplicated man who embraces life with gusto, but slowly realizes the world may have passed him by. Donkeyote could have used a sturdier structure (towards the end, the movie feels aimless), but it’s a guaranteed good time. 3/5 planets.
Ramen Heads (Japan, 2016): A man with a cause can be a powerful force, even if that cause is to create the best bowl of ramen eight dollars can buy. The figure in question is Osamu Tomita and he is as obsessive as a Michelin-anointed chef.
Tomita believes strong flavors can be balanced, so his broth is as thick as mud He is as picky with the noodles, the ingredients and the service. The outcome is memorable. I tasted it.
Ramen Heads doesn’t entirely focus on Tomita, but he is the star of the show. The film covers the history and entire process of making ramen in dynamic fashion. The utterly dry narration manages to add more flavor to an already well seasoned dish. 3.5/5 planets.
The first instalment of Guardians of the Galaxy was treated like the second coming of Star Wars: Writer/director James Gunn took a long dormant and often derided sub-genre -the space opera- and treated it with enough respect to come up with a worthwhile film.
The praise, however, was disproportionate. Sure, GotG was cute, but didn’t reinvent the wheel. The villain was perfunctory and the McGuffin plot has been seen about a dozen times in the Marvel Cinematic Universe alone.
For his second turn at the wheel, Gunn doubles down on the most effective elements of the original: Broad comedy, rich soundtrack and candy-colored planets. Sure, the concept of “makeshift family” is beyond played out after twenty (approx.) Fast and Furious movies, but I’ll give Vol. 2 a pass on the strength of the characters, each one a fully developed entity (except Gamora, who remains underserved). Continue reading “REVIEW GotG2: Familiarity Breeds Contempt”
House of Z (USA/Canada, 2016): A problem with documentaries too closely linked to the individual being portrayed on screen is that the outcome may be too soft on the subject. It’s the case with the Zac Posen-centric House of Z, a recount of the rise and plateau of the fashion designer.
Posen, who was barely a teenager when he started making dresses for her friends (Paz de la Huerta, Jemima Kirke and other teen socialites), drafted his entire family and launched a haute-couture business, the aforementioned House of Z. Immediate success translated in growing demand. The stress plus Zac’s enfant-terrible persona caused serious tension within the Posen household, leading to a very public breakup. Continue reading “HotDocs Film Festival – Day 7: House of Z, Becoming Bond, Hondros”