Iris Henderson (Margaret Lockwood) is a British tourist about to head home from the country of Bandrika. A train delay forces everyone who was going to travel to spend a night at the local inn.
Iris is disturbed by music playing in the room above her getting the young musician Gilbert Redman (Michael Redgrave) kicked out of his room. Gilbert retaliates by forcing Iris to let him stay in her room. Meanwhile elderly Miss Froy (Dame May Whitty) is listening to a local musician play a tune outside her window. Unbeknownst to Miss Froy, the musician is killed shortly after playing the tune.
One could describe God’s Own Country as a slightly more graphic Brokeback Mountain, but that would be selling it short. The low-budget, emotionally rich drama paints a dire picture of England’s countryside, with farmers dealing poorly with social change (immigration, homosexuality) and economic depression.
God’s Own Country’s main character is strangely unlikeable. Johnny (Josh O’Connor) is a young man forced by his father’s disability to manage the family farm. Not one capable to deal with his emotions in healthy fashion, the farmer festers in resentment and only finds solace in alcohol consumption and anonymous sex. Johnny is also a closeted gay man, but the idea of a relationship, as limited as going for a pint with another fella, is laughable for him. Continue reading “REVIEW: God’s Own Country Is More than that Other Gay Cowboys’ Movie”
Movies about nuns have a curiously high batting average: From The Sound of Music to The Innocents, there is something fascinating about women choosing a life of worship and deprivation. Novitiate is a fairly realistic depiction of life inside a convent and the result is unbearably dull.
Set during the early 60’s, Novitiate tackles the effects of the Second Vatican Council over a nunnery in Tennessee. The Reverend Mother (Melissa Leo) is reluctant to implement the changes (no more Latin, develop a relationship with the community, no more self-laceration as penitence), fearful it may undermine the nuns’ calling.
We witness the nunnery begin to crumble through the eyes of a novice, Cathleen (Margaret Qualley). Born to an agnostic mother and an absentee dad, Cathleen becomes fascinated by the idea of an intimate relationship with God, but her budding sexuality won’t be denied.
Cathleen is the main problem of the film, but is far from the only one. Qualley, so good in The Leftovers and so terrible in Death Note, is underserved by the script and fails to convey her inner struggle in any interesting way. At the opposite end, Melissa Leo chews the scenery uncontested. She is all fire and brimstone and takes it on the sisters.
If faith is underserved (the movie fails to explain why Vatican II is such a problem in any sensible way), sexuality is treated just as perfunctorily. Novitiate hints at the notion that lesbians joined convents as an alternative to be shun by their communities, but doesn’t have the audacity to develop the idea. Writer/director Margaret Betts is a first timer and it shows: The actors run amok, the plot is flimsy and the character development is very limited.
The film’s mediocrity is highlighted by the coda: The audience is summarily informed that Vatican II inspired nuns to abandon their calling in massive numbers. One wishes Novitiate had tackled the matter head on as opposed to through low-impact drama. Two planets (out of five).
Novitiate opens November 18th at the Roxy Theatre.
Following a shaky start, the DC Extended Universe has reached a modicum of stability (thanks Wonder Woman!). There are still some kinks to work out, but glaring problems like cohesiveness and that whole “Martha!” business seem to be a thing of the past.
Considering the problematic installments that preceded it, Justice League is fine. The story is constrained and doesn’t take itself all that seriously: The Flash notwithstanding, it’s still grimmer than Thor: Ragnarok laugh-fest, which may not be a bad thing. Continue reading “REVIEW: Justice League’s Trial Run”
There is not a lot of absolutely bat shit crazy cinema but during the 1970s exploitation era there was some amazingly unique movies. Today’s Sunday Matinee for example is a 1975 action/horror exploitation flick Wolf Guy based on the Japanese manga of the same name.
Trying to describe this movie takes a bit of work. Shinichi “Sonny” Chiba runs into a yakuza who is fleeing something. The man manages to get out of a crowd and into a back alley where an unseen force tears the man to shreds. Chiba catches up to the man finding him dying and mentioning a woman named Miki and a tiger. Continue reading “Sunday Matinee: Wolf Guy”
There is no denying Loving Vincent is an extraordinary achievement. All 65,000 frames of the movie are oil paintings, courtesy of 115 artist who aped Van Gogh’s style for almost a decade. The outcome looks like a living, breathing canvas.
If only the same amount of care had been put on the script.
Story-wise, Loving Vincent is a pedestrian affair, practically pulled from Wikipedia: A year after Vincent van Gogh’s death, Armand, an adrift young man (Douglas Booth, Noah), is tasked with delivering the artist’s final letter to his brother Theo. Doesn’t take too much digging for Armand to discover the brother has been dead for a few months. Finding Theo’s surviving family proves a little more difficult, especially after stumbling on clues that suggest Vincent may not have killed himself.
The mystery of Van Gogh’s death is amped up for dramatic purposes, but the investigation never feels too pressing. The red herrings are painfully obvious and the information is dispensed in roundabout and clumsy ways. Clearly the wrong person for the job, Douglas Booth overdoes it as the lead, as if believing the animation technique may prevent his acting from coming across.
All we are left with is the gimmick. Thankfully, it’s a memorable one. Loving Vincent recreates the artist’s most magnificent creations: Much of the fun of the movie comes from recognizing Van Gogh’s masterpieces on screen, from his many portraits to the ubiquitous “Starry Night”. Pick any detail -cigarette smoke, a windmill in the background- and you will discover remarkable artistry and attention to detail.
One can certainly appreciate the effort put into the making of Loving Vincent, but film is a different medium and requires a more holistic approach than just pretty pictures. 2.5 planets (out of five).
Loving Vincent is now playing at the Roxy Theatre.
I wanted to add this to this year’s 31 Days of Horror but it just didn’t quite fall into the horror category. This British/Canadian production by director Bob Clark has Sherlock Holmes going after Jack the Ripper in 1979’s Murder by Decree.
Those familiar with the Space Channel cult horror-comedy Todd & The Book of Pure Evil may remember the show ended its two-year run on a cliffhanger. Five years later, the resolution has finally arrived: As a feature-length animated film.
Todd & The Book of Pure Evil: The End of the End starts shortly after the events of the series finale, in which relationships became strained and one of the main characters was killed off during the vanquishing of said book. The film doesn’t quite resets the story but reshuffles alliances and gives the student body of Crowley High new reasons to fear attending school.
Quirky as ever, animation frees Todd‘s creative team to up the ante (two words: acidic acne). You don’t necessarily have to know the show to enjoy the film (a thorough recap is provided), but it enhances the experience. The comedy in display is a bit of an acquired taste. That said, those with tolerance for gore and gross-out humour are in the clear.
Todd & The Book of Pure Evil: The End of the End will play only tonight at 9.30 pm at the Roxy Theatre, with director Craig David Wallace and actor Alex House (Todd himself) in attendance.
As high as Marvel’s batting average is, there is a ceiling the MCU movies struggle to break through. Outside the first Iron Man, Captain America: The Winter Soldier and Spider-Man: Homecoming, Marvel has had a hard time generating stakes. Sure, the MCU movies are a guaranteed good time (especially when compared to the DCEU), but I can’t say I’ve been all that invested in the wellbeing of the people of Sokovia, Xandar or New York.
The lack of emotional weight rears its head again in Thor: Ragnarok, but the movie makes up for it with charm and laughs. Far and away the best movie about the God of Thunder and the funniest comedy of the year not involving Stalin, the third Thor movie benefits greatly from having Taika Waititi (What We Do in the Shadows) at the helm. Waititi understands the character better than his predecessors, brings his dry, sharp comic sensibility to the table and makes the most of Chris Hemsworth’s considerable comedy chops. Continue reading “REVIEW: Thor: Ragnarok Is Pure Kiwi Fun”
Another October has come and gone and another year of 31 Days of Horror is over. To wrap things up is Black Christmas from 1974.
It Christmas time and the women at a sorority house has are having party while getting ready to go home for the holidays. Soneone climbs up into the attic of the house. Jess (Olivia Hussey) answers a phone call to house and lets the other women listen to what seems to be an obscene phone call. Barb Coard (Margot Kidder), Phyllis “Phyl” Carlson (Andrea Martin), Clare Harrison (Lynne Griffin) and several others listen in. Barb provokes the caller who threatens to kill the women. Continue reading “Aiiieeeee!!! Canada: 31 Days of Horror – Black Christmas”