Tag: movie review

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Parasite: Laughing in the face of adversity

Equal parts comedic and discomforting, Bong Joon-ho’s latest is a thought-provoking take on class struggles

In the few short weeks since its North American theatrical premiere, Bong Joon-ho’s Parasite has received extensive critical praise, winning numerous accolades and awards. A recent article from variety reports that Parasite now holds the box office record for highest per-screen average of any foreign language film. And, in addition to being awarded the prestigious Palme D’Or at this year’s Cannes Film Festival, Joon-ho’s latest is expected to sweep the Oscars come 2020.

So, what exactly is Parasite?

To put it plainly, it is a dark comedy about a family of con artists that conspire their way into jobs they are unqualified for. At the same time, it is a thriller about a heist gone awry, a horror film and a familial drama infused with thoughtful commentary on class and economic disparities.

To reduce Parasite to a single descriptor would be to do it a disservice, for it is many things all at once. Joon-ho is a veteran filmmaker and crafts a masterful, chameleon-esque melding of genres that seamlessly shifts from one tone to another, subverting audience expectations throughout the duration of its run time.

The film tells the story of the Kims, a poverty-stricken family living in a shabby basement apartment in Seoul. When the son, Ki-woo, is presented with a chance to tutor the daughter of the wealthy Park family, he poses as an English instructor to secure the position.

Seeing this as an opportunity to aid his family’s dire financial situation, Ki-woo devises a scheme to exploit the naïvete and benevolence of his employers. Soon, through deceitful tactics, Ki-woo begins acquiring jobs for the rest of his family, and the Kims begin infiltrating the lives of the Parks.

Where Parasite shines is in its poignant dissection of class, rooted in the juxtaposition of the film’s two families, the Parks and the Kims. The Parks, affluent and successful, represent the wealthy elite situated at the top of the social ladder; the father, an influential and accomplished businessman, and the children constantly touted as prodigious, destined for greatness. And yet, despite their privilege and prestige, the Parks are naïve, oblivious and disconnected from the world outside theirs. The patriarch’s constant reference to a “disgusting odor” that emits off of poor people emphasizes this disconnect and even suggests an internalized disdain for  the less fortunate.

Comparably, the Kim family are destitute and disadvantaged, struggling to survive in an economic system working against them. With the parents unemployed and the children without any foreseeable opportunities for advancements, the family resorts to scamming and manipulation in order to get ahead.

The disparity in their circumstances is highlighted when a heavy downpour envelops the area. Whereas the storm simply means a cancelled camping trip for the Parks, it results in a severe flood for the Kims, one that engulfs their entire apartment.

On a superficial level, the two families are completely different, but they are, in fact, united by a shared factor; their habitual exploitation of and reliance on others. Of course, the parasitic nature of the Kims is evident in their readiness to leech off of their oblivious benefactors. But just as the Kims comfortably take advantage of their hosts, the Parks too, are heavily dependent on their workers.

With the Kims working for the Parks as domestic help (preparing meals, cleaning, chauffeuring and tutoring), it seems as though the latter are totally incapable of performing simple tasks by themselves. They rely on the Kims to keep their household, and by extension, their personal lives afloat. Both families, while their methods differ, are simply trying to survive in a capitalist system, and with their cards so unevenly dealt, is one method truly more justifiable than the other?

Parasite raises questions of dependency and exploitation in a skewed economic system, while simultaneously examining the ways in which we respond to such a discrepancy. It is a subject that Joon-ho addresses in a frank and darkly comedic manner, seemingly laughing along at the absurdity and cruelty of it all.

Parasite is now playing in select theatres across Montreal. For showtimes, please visit cinemaduparc.com or cineplex.com for more details.

 

Graphic by @joeybruceart

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Give Joaquin Phoenix An Oscar. That’s the tweet.

As fascinating as it is disturbing, this standalone film is a lot more than it seems

I don’t see Joker as a movie about a Batman villain. For some reason, I have trouble even connecting Joaquin Phoenix’s portrayal of Arthur Fleck with the classical Joker.

Above all else, when I watch Joker, I see a film about mental illness, childhood trauma and the consequences of inadequate social support. Say what you will about the film, maybe you thought it was flat, too disturbing or not disturbing enough. Before Joker was even released, there was a lot of criticism of the movie saying that it glorifies and encourages white men who feel disenfranchised to turn to violence to be noticed. Joker brings these issues to light in a way that forces you to confront them as well as your morals. There is also an interesting commentary on poverty and class which ties into the main themes and asserts itself as a significant theme throughout the film. Arthur Fleck is depicted as a struggling, lonely mentally ill man trying to make sense of his place in the world, but the film never uses this as an excuse for the actions he commits. His villainy or innocence is up to the viewer.

Now, I need to address the most extraordinary force in Joker: Joaquin Phoenix. To get straight to the point, his performance is phenomenal. He beautifully conveys Fleck’s internal pain and uses movement to emote specific emotional atmospheres. Phoenix reels you into the character’s head and makes you understand his state of mind and his actions, moral or not. It’s almost messed up how he’s able to make you feel empathetic for Arthur when you feel like you shouldn’t, but that’s just part of the magic of Phoenix’s performance. An Oscar Nomination for Best Actor is guaranteed, and I’ll be surprised if he doesn’t win. The way he makes you feel certain emotions with the simplest gestures and expressions is astonishing.

The soundtrack by Hildur Guðnadóttir, the cinematography by Lawrence Sher, and the direction by Todd Phillips brings you right into the era, location and most importantly the feeling of this film. Guðnadóttir creates a dark and distressed cello-heavy soundtrack that makes you feel like you’re in the murky depths of Gotham City… and of Arthur’s mind. Along with her previous work, like TV mini-series Chernobyl and Sicario: Day of the Soldado, Guðnadóttir is a force to be reckoned with. With Phillips, the pacing was excellent. I appreciated that he allowed some scenes to play out without much dialogue and let Phoenix use movement to flesh out the scene. Sher’s stunning cinematography was the final selling point for me to decide that, on a technical level, Joker is a masterpiece.

Ultimately, I think that Joker is one of the more important films to come out of 2019. Phoenix delivered a powerful performance, Guðnadóttir gave us a stellar soundtrack and, ultimately, I got a film that I will be thinking about for a long time.

4.5/5 Stars.

 

 

Graphic by @joeybruceart

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IT Chapter Two: This sequel ain’t clownin’ around!

This sequel ain’t clownin’ around!

… Other than the fact that it is

Walking into IT Chapter Two,  I was expecting some jump scares, some laughs, and to walk away from it without thinking much about it. However, this movie ended up giving me quite a bit to think about.

IT Chapter Two, directed by Andrés Muschietti, takes place 27 years after the events of IT and the charismatic cast of child actors have been switched out for adult counterparts. Together, they go back to their hometown to defeat Pennywise once and for all. It’s a fairly simple premise, but its long runtime of 2 hours and 50 minutes really hones in the fact that there’s much more to it. I found myself becoming invested in some characters, but several themes were under-addressed.

The look of this movie effectively establishes a dark and creepy tone, and it had a nice, crisp image that I liked. There were interesting angles and camera movements used to make some scenes even creepier. However, what it gained in visuals it lost in its script. It felt formulaic. I only felt invested in particular characters because of the work of the actor as well as my personal connection to the character’s situation. That being said, certain characters were not explored as much as they should have been, which led to a disappointing representation of themes in the film, such as homophobia and sexual violence. There could have been an interesting discussion on these themes, as well as trauma and growth. I just wish there was more effort put into the underlying emotional elements to the movie and that these major themes had been explored with more complexity and depth.

Another shining element of IT Chapter Two was its top-notch cast. James McAvoy, Jessica Chastain, Bill Hader, James Ransone, and Jay Ryan replace the kids from the first film, and Bill Skarsgård returns as Pennywise. Although I’ve already known of the talent of McAvoy and Chastain, this film allowed me to finally appreciate the distinctiveness of two other actors: Bill Skarsgård and Bill Hader.

Compared to the last film, Skarsgård has a lot more to say. He has more screen time and dialogue, and his presence was much more raw and genuine. In particular scenes, his facial expressions and voice push through the heavy makeup and effectively creeps you out. Unlike the last film, I felt a real human presence there. I admire how his performance is so deeply rooted in the character, especially since that character is a non-human, deranged clown. Hader, on the other hand, comes in full force with a seemingly comedic role that becomes heart-wrenching by the end. It is evident that he can truly draw an audience into his character and make them feel for him, and he is one of the many comedy actors who successfully proved himself to be a commendable serious one as well.

All in all, IT Chapter Two was flawed but it was fun, and Bill Hader stole my heart. 3.5/5 stars. 

 

Graphic by Victoria Blair

Feature photo source: New Line Cinema

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“The Lower Plateau”, a movie half a decade in the making

How Montreal local and Mcgill graduate, Liz Singh turned her life into a film

Liz Singh spent nearly half a decade working on her first film, The Lower Plateau, which was released in 2018. Made on a $19,000 production budget using just one camera and a boom mic, the film was Singh’s way of illustrating the many facets of her own life in the lower Plateau as an emerging artist. Based in Montreal, Singh obtained her bachelor’s degree in cultural studies at McGill in 2006, and went on to study film and television production at the University of Southern California.

Singh’s inspiration in pursuing this venture arose from a lack of interest in other opportunities. “I was looking for a project, and I couldn’t find anything I wanted to work on, so I made my own,” she said. Filmed in Montreal, the cast and crew consisted of about 50 people, many of whom had never worked on a movie set before. For a bunch of first-timers, the end result is quite impressive.

The Lower Plateau follows a 20-something named Jaine, who seems to be idling in uncertainty as to where to take her life. In an experience that is all too familiar to the creatively-adept young adult, she navigates toxic relationships, unemployment and a routine that seems tantalizing in its swift ability to direct her attention back to both.

A few solid friendships pull Jaine through the worst of times, though each bond bears its own set of scraps. Singh attributes the personalities of some of the supporting characters to her real-life companions. “I think probably every character that you write is a facet of yourself, and then mixed in with bits and pieces of people you know,” she said. “I wanted it to feel like my life in the lower Plateau; a lot of people I know, this is how we’re living, sort of working in bars and working at night, doing multiple gigs and making art on the side.”

Right now, Singh and co. are working on a few web series, one of which may involve “a modern take on superheroes,” Singh said. Through her production company, Dépanneur Films—which was established in 2014 under the name Cinéma La Vox—Singh has also put out a web series that resembles The Lower Plateau, called Bonjour Hi.

In listening to Singh describe her past as well as her ambitions, the parallels between her and Jaine are clear, despite one poignant detail. If Jaine is a version of Singh in any capacity, I have reason to believe that she represents a Singh of the past. The beaming woman who stood before me to eagerly discuss the details of her debut film seems to have surmounted a period of uncertainty and poured her heart and soul into her art. The result is content as beautiful as it is sad.

Though The Lower Plateau is a noticeable first attempt a full-length film, if it’s any preview of what Singh and the rest of her crew are capable of under a tight budget, I’m looking forward to whatever’s next.

The Lower Plateau was screened on April 7 at Transparent Film Festival in New York City, and will be available online next month as part of the Lift-Off Sessions.

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Dragon Ball Z offers new iteration of fan-favorite Broly hits all the marks

Dragon Ball Z Super Broly reveals another side to newly redesigned villain

Explaining the origins of Broly, Goku and Vegeta: Dragon Ball Z Super Broly takes its time to illustrate their dramatic backgrounds. Establishing Broly as the main character, this movie places him in the spotlight, providing insight into the villain’s past and allowing the audience to justify his actions.

The original iteration of Broly was a straight up villain. He wanted revenge on the protagonist of the Dragon Ball Z series, Goku, for crying too much as a child, which made it impossible for him to sleep and led to his mental instability. Broly made it his sole goal to destroy Goku.

The new iteration of Broly is more of a tragic character, newly redesigned by the creator of Dragon Ball, Akira Toriyama. Already revealed earlier in the series, as a baby, Broly was exiled to a barren planet, where he was held captive and brainwashed by his father. His power was controlled, as it was greater than Vegeta’s father’s, the king of the planet where Broly was kept. The king feared a mutiny, which led to Broly’s father failing to rescue his son and ending up stranded there as well. Broly’s father then manipulates his son in order to exact his revenge on Goku and Vegeta. When saved, Broly is revealed to be much more than a big, heartless brute.

Toei Company, a Japan-based studio, did an amazing job bringing the television series to the big screen. Their techniques allow the film to shift between flat 2D and dynamic 3D animation, allowing for very detailed graphics in the background and in the main scenes. The fight between Gogeta—a fusion between allies Goku and Vegeta—and Broly was the highlight of this film, as it featured some of the best animated fight choreography. The energy attacks were well-represented with immense shimmering orbs to show just how powerful the fighters are.

In the movie theatre, the audience cheered when Gogeta unleashed the Stardust Breaker, which is a little easter egg throwback to Dragon Ball Z: Fusion Reborn (1995). It was in this movie that Gogeta first used the technique to destroy his enemy. Goku exposed his shining silver hair and aura, better known as his Ultra Instinct Form, which not only increases his power tremendously, but does not require thought, giving them more time to attack. The Dragon Ball fan base was hoping Goku had finally mastered the form’s transformation to use it against Broly. This was the first time the creators have given the audience detailed transformations throughout the entire Dragon Ball series.

Dragon Ball Super: Broly is now playing at the Pepsi Forum and other select theaters. You can catch a new episode of Dragon Ball Super dubbed in English every week on Adult Swim, or buy episodes 1 through 78 on Blu-Ray and DVD at Sunrise Records.

 

Graphics by @spooky_soda

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A Cure for Wellness: Style over substance

Gore Verbinski’s latest horror film is nice to look at, but lacks interest

Gore Verbinski’s latest film, A Cure For Wellness, falls into the trap of focusing so much energy on making the film look pretty, that it’s not interesting.

The film was written by Justin Haythe and stars Dane DeHaan, Jason Isaacs and Mia Goth. It is set in a surreal “wellness centre” located in the remote Swiss Alps. Lockhart (DeHaan), an ambitious Wall Street broker and the epitome of the movie banker cliché, must leave his busy life in New York to retrieve his company’s CEO from this secluded location after receiving a strange letter from him.

As one would imagine, there is something amiss in this hospital, as all the patients seem to be under the influence of a mind-controlling substance. As the plot advances, weird and sometimes downright ridiculous situations unfold as our protagonist looks for his business partner and, consequently, a reason to leave this unsettling place.

The main issue with this film is its lack of effective pacing and editing. The movie drags for 150 minutes and the audience can feel every second of its runtime. Nothing happens for several scenes, and the biggest scares come from the perpetual nudity of the senior patients. Suspense-building music is used in a very frustrating manner. One scene uses a 30-second musical build-up to reveal a lipstick, and I couldn’t help but chuckle at the sheer lack of competence from the film’s director.

Moreover, most of the film’s twists were revealed in its trailers, aside from one disturbing and unnecessary incestual subplot. There is little to no explanation for this awkward narrative device, which ends with the most unpleasant sex scene I’ve had to watch in recent memory. There is a feeling of hatred towards the viewer, and the director seems to be playing a sadistic game with his audience.

The only good aspect of the film is its artistic direction—the sets are interesting and showcase compelling visuals. Despite the loathing I have for this cinematic mess, I must recommend it for those who love poorly-executed and overly-pretentious vanity projects, as some scenes in this flick have to be experienced just for the sake of “it’s so bad it’s good” entertainment. I, on the other hand, prefer my viewing experience to be devoid of such sadomasochistic elements.

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Moonlight: A story of friendship, guilt and identity

Moonlight’s engaging coming-of-age story weaves notions of identity, sexuality and the fact that only you can decide who you want to be.

Directed by Barry Jenkins, the film has racked up eight Oscars nominations

Moonlight, a coming-of-age story of a young African-American growing up in inner-city Miami while coming to terms with his own sexuality, may not exactly seem universal at first. But its themes of identity, friendship, guilt and acceptance certainly are.

Written and directed by Barry Jenkins, the film stars Trevante Rhodes, Ashton Sanders, Mahershala Ali, Alex R. Hibbert, André Holland, Naomie Harris and Janelle Monáe. Based on the play In Moonlight Black Boys Look Blue by Tarell Alvin McCraney, the film has received universal acclaim and has been nominated for eight Oscars.

“At some point, you gotta decide for yourself who you gonna be. Can’t let nobody make that decision for you.” This is the proverbial maxim in Jenkins’ modern masterpiece, Moonlight. The film chronicles its protagonist in three chapters of his life: the young “Little” (Hibbert), the adolescent “Chiron” (Sanders), and the adult “Black” (Rhodes).

Those simple words of wisdom are spoken early on in the film by Juan (Ali, in a career-defining role), a kindly, if not modest, local drug dealer who befriends the often bullied and neglected Little. In fact, his enlightening words arguably set into motion the often painful process of self-discovery that our young protagonist undergoes throughout the film.

Any lingering questions regarding the unlikely friendship between an older, genteel drug dealer and a quiet, reserved young boy are quickly made irrelevant in large part because of the instant, tender chemistry between both characters. Juan and his girlfriend Teresa (Monáe) quickly establish themselves as surrogate guardians, filling the emotional void left by Little’s erratic mother Paula (Harris)—a young single parent in the throes of drug addiction. When Juan angrily confronts Paula, asking, “You gonna raise your son?,” she defiantly shoots back, “You gonna keep selling me rocks?” There is a definite power struggle between these two parental figures.

The middle chapter focuses on the emerging bond between adolescents Chiron and Kevin (Jharrel Jerome). While Kevin is reserved, mostly silent and continuously bullied, his friend is much louder, more boastful and much more confident. Their pivotal scene on the beach, under the moonlight, is perhaps Jenkins’ finest-directed one in the entire film—the dialogue is eloquent, the setting is serene and its conclusion is satisfyingly romantic.

By the time we revisit our protagonist as an adult 10 years later, Black (now played by Rhodes) looks to be in stark contrast to his past self. He is physically imposing and intimidating, and stylistically, he is an homage to Juan. However, the facade quickly reveals itself the moment he receives a surprise call from Kevin. The vulnerability is evident in Blacks shifting gaze, as if he is instantly reverted back to his younger, unsure self. In the emotionally-devastating climactic end of the film, Kevin bluntly asks him, “Who is you, man?” and we are reminded of Juan’s words of wisdom. “At some point, you gotta decide for yourself who you gonna be…”

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When the dead fight back

The film raises the terror factor through masterful use of creepy settings and uncomfortable situations.

The Autopsy of Jane Doe brings a fresh breath of terror to the horror genre

The Autopsy of Jane Doe is the type of film that will leave you too terrified to sleep alone. Directed by André Øvredal and starring Emile Hirsch, Brian Cox and Ophelia Lovibond, the film’s unique concept makes it both a refreshing and chilling addition to the horror genre.

The Autopsy of Jane Doe tells the story of Tommy Tildon (Cox) and his son, Austin (Hirsch), as they perform an autopsy on a woman’s body that was found at a crime scene earlier that day. The father-son team soon discover this is no ordinary body. While her exterior appearance seems in perfect shape, the autopsy reveals that her body is rife with inexplicable internal injuries, hinting at a history of intense suffering.

Soon after they begin the autopsy, strange occurrences and unfathomable terrors take place, and the two characters struggle to complete their examination in an attempt to uncover the secrets of Jane Doe and hopefully put an end to her malice.

The movie is very much about the relationship between Tommy and Austin. Tommy is knowledgeable and experienced, while Austin—though he still has a lot to learn—is filled with curiosity. While in the morgue, Tommy tells his son “down here, if we can’t see it, touch it, it doesn’t matter” in response to his son’s curiosity about the horrid condition of Jane Doe’s internal organs.

Jane Doe is representative of the father and son’s relationship: there are deeply hidden problems, such as that Austin wants to leave his father’s practice, that they need to dissect and work on together to overcome.

The film does an excellent job of brewing terror. The setting is terrifying on its own. What could be a creepier profession than dissecting the dead? The audience gets thrown into a morgue, somewhere unfamiliar and uncomfortable, which is the perfect state to be in to reach the maximum level of terror. Slow, menacing shots are used to build up the tension, keeping the audience in suspense by not revealing too much. Combine that with the emotional connection between the characters, a unique and well-executed plot and a soundtrack that will haunt your dreams, and you have a solid horror flick.

The Autopsy of Jane Doe is now playing in theaters.

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Fifty Shades of Grey was a painful experience, and not in a good way

Maybe my tastes are too singular, but this fifty shades of sucked

Full of self-loathing and holding our heads low, my date and I sauntered into the AMC on Valentine’s night to join the throngs of bored vanilla couples and gaggles of barely-legal girls going to see Fifty Shades of Grey.

We were off to a bad start before the preview reels even began: the theatre, packed to the brim, had seats left in only the three front rows—not the ideal viewing spot for anybody, as you’re forced to crane your neck and stare into the distorted giant faces of the cast, but even less so for a farsighted individual like myself. I never thought I’d feel so intimately connected with every little bump on Dakota Johnson’s nipples.

Then the film started, with a long establishing shot showing Jamie Dornan as Christian Grey, putzing around his millionaire’s walk-in-closet, going for a jog, and generally setting him up as a filthy-rich, put-together, virile-type person.

Then we see Johnson as Anastasia Steele, looking doe-eyed and waif-like as we would expect, in an ill-fitting cardigan and wispy bangs. Because, as everybody knows, all virgins must wear glorified sacks and gratuitous floral prints (and white underwear as we will soon see). Luckily, once she’s deflowered her wardrobe is no longer highly dependant on florals.

I came into the theatre with very low expectations. I’d read excerpts of the novel and enough reviews of both the books and the movie to know to keep an eye out for the psychological manipulation and emotionally abusive tendencies of Grey, the misrepresentation of BDSM practices, and the overall lack of chemistry between the two leads who have more than once openly admitted to despising each other.

I expected, however, despite my own reservations about the plotline and relationship between the characters, to be at least slightly tantalized if not semi-aroused throughout most of the film. This was being billed as softcore erotica, after all, and if nothing else I expected delivery on that front.

Sadly, even my most meagre of expectations were not met. Of the four or five sex scenes in the film, two were decently hot, and really only because it’s pretty hard not to get at least a quarter-arousal going when there’s an attractive woman writhing around, bound-up and suspended from ropes while the now-infamous slower, deeper, headier version of Beyonce’s “Crazy in Love” swells in the background. Unfortunately, that was about one minute of pleasure out of 122 minutes of cringeworthy pain.

Now, let’s just skip past the whole psychological abuse thing, Grey’s unhealthy tendency to stalk Steele like she’s his prey, and his obsession with owning her and controlling her (see her confession of being a virgin, to which he responds “Where have you been?” as if this is the greatest gift he’s ever been given; also buying her a new wardrobe, computer, and car; and setting up quarters in his home for her. Strangely though, he does not replace her ‘90s throwback flip phone).

We can also look past the fact that Steele never did sign that contract agreeing to be his submissive, despite them engaging in a dominant/submissive relationship throughout the film—a relationship that she was skeptical of, if not outright terrified to partake in (and was quite vocal about these reservations throughout the film). And hey, I guess it also isn’t a big deal that there were no instances of aftercare, even after Grey goes too far and leaves Steele crying on the floor as he whips her and, when she confronts him about it, responds that he’s “fifty shades of fucked up” so, I guess it’s not his fault. Nobody understands him, poor baby.

All these things are fine though, because he’s like so intense and like so hot and she just loooves him so much. And how can he be blamed when she has the audacity to bite her lip like that in front of him because she knows what that does to him.

Yes, perhaps all these slight details could be ignored if the actors had even an ounce of chemistry between them, or said their lines with any sort of inflection or feeling. The script, which was no winner to begin with, completely flatlined under the monotone delivery of both Dornan and Johnson. It was like they were speaking at each other the whole time, and were bored doing it. The hatred between them was palpable, and not in a hot, tense, Ryan Gosling-and-Rachel McAdams-hatred-for-each-other-circa-The Notebook-type-way, but rather in an “I’m completely bored and disgusted to have to be in the same room as you let alone have to simulate sex with you”-type way.

Moments that were presumably meant to be fraught with tension were so cringeworthy that the entire theatre alternately laughed and groaned out loud pretty much every time Grey revealed a new kink or made a new request, and likewise every time Johnson seemed to be climaxing before Grey even began to touch her.

The entire film came off like a bad spoof. It was so incredibly awful that I have to wonder if director Sam Taylor-Johnson perhaps intended it to be that way. Maybe the film is actually meant to be a meta-experience of sadistic pain, masquerading as pleasure, for the audience itself. Maybe we’re all Steele, wanting so hard to feel something that we’ll accept any kind of horseshit that hits us first.

In the end, I cannot possibly do justice to this spectacle in words, and I urge you all to arm yourselves with a bottle or two your poison of choice, and illegally download (for the love of God don’t make the same mistake I did and actually pay for it) this shipwreck to see for yourselves.

And hey, maybe I do have more masochistic tendencies than I gave myself credit for, because a deep, dark part of me can’t wait for the sequel.

How to get fifty shades of fucked up for Fifty Shades of Grey (which is really the only way to experience it):

 

You will need:

 

  • an alcoholic beverage of your choice, perhaps Fifty Shades of Grey wine?

  • a receptacle for said beverage

  • a liver of Steele (see what I did there?)

 

Rules:

 

  • Take a sip when…

    • there is a gratuitous shot of Dakota Johnson’s boobs

    • she bites her lip

    • Christian Grey appears topless

    • Anastasia is naked while Christian is clothed

    • There’s a shot of a full bush

    • There is phallic imagery (skyscrapers, pencils being sucked etc.)

    • He buys her something

    • They stare into each other’s eyes

    • She rolls her eyes

    • He threatens to punish her

    • She appears innocent and virginal

    • She tries to assert herself by sassing him

    • he plays piano

    • she cooks

    • he alludes to being psychologically damaged

    • he recoils at her touch

    • she whines about their sleeping arrangements

    • someone makes an astute observation (ex.: is that a car? do you play piano?)

 

  • Chug throughout any sex scenes (these are fewer and farther between than you’d think)

 

Good luck. You’ll need it.

 

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The American dream is alive in McFarland, USA

Actor Kevin Costner gives insight into the social complexities of Disney’s new film

McFarland, USA, a new Walt Disney film set to release on Feb. 20, is based on the true success of McFarland High School’s cross country team in 1987. The team was created by coach Jim White, played in the film by Kevin Costner, after he spotted potential in a group of students from Hispanic farmworker families. The narrative follows White’s character as he creates the team and proceeds to train the group to achieve athletic success. That may sound like one of the biggest clichés in Hollywood, but the social commentary presented in this film proves it to be one that’s worth risking cinematic redundancy for.

“I’m looking for kids that have a desire to do something better,” said the real Jim White when asked in a conference call what inspired him to start the cross country team. “These boys didn’t slack off and jog and walk like everybody else was doing, they actually loved to run— and so you try to look for things like this in young people.”

To Costner, this goes even further. “What it is, is a combination of young men and a man with a level of wisdom, a level of desire, to come together with one goal in mind, and through work they achieved that.” He also added his insight on another facet of the film: commentary on education: “Coaching is not always about the finish line, coaching is about the big picture which is how [the boys are] going to be as men.”

Costner stated that before this project was even conceptualized, he had read a story about McFarland in Sports Illustrated some years before. “I actually played against this community,” said Costner, who grew up in nearby Compton, California. “I played McFarland in baseball.”

Coach White spoke about his portrayal in the movie by stating that the character, “truly shows a love for the kids and a love for the town and the community. I think that you’re going to get that feeling when you see it and that’s a wonderful feeling.”

Costner went on to speak about his efforts to portray White accurately: “I think he’s quintessentially ‘what you see is what you get’ and I fought to try to make no more of that other than the passion that he had to have running deep inside him everyday when he went to coach these kids.”

White emphasized the film’s focus on the migrant field workers of McFarland saying, “the hardships that the kids have to go through working in the fields, that is so, so important to understand.”

“Seeing these people first-hand, up-close, in these fields … they’re simply working these incredible hours through very difficult weather conditions everyday of their lives,” said Costner. “The American Dream in McFarland is alive and well, there’s nothing more American than a parent trying to make their life better for their children.”

The film follows the classic sports drama narrative, but such Hollywood formulas can often hold both objective and subjective worth. Whether it’s in the variations, details, aesthetics, or thoughts provoked.

“Films are emotional experiences: they’re not intellectual, they’re emotional,” said Costner, “When movies are working at their very best, they become about moments that you’ll never ever forget and we carry the moments of films throughout our whole lives.”

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Still Alice is heartbreaking, memorable

Julianne Moore shines as a professor diagnosed with early-onset Alzheimers

With the 87th Academy Awards less than one month away, a movie like Still Alice’s (2014) release in theatres this week is perfectly timed. The movie’s leading lady, Julianne Moore (Far From Heaven, The Kids Are All Right), is nominated for best actress alongside contenders like Marion Cotillard, Rosamund Pike, Felicity Jones and Reese Witherspoon.

In the movie adaptation of Lisa Genova’s book, Moore plays the role of Alice Howland, a 50-year-old woman diagnosed with early-onset Alzheimer’s. Her life as a wife, a mother and a well-respected college professor is slowly torn apart from her as words, discussions, plans, faces—and eventually her own self—escape her memory.

Alice desperately tries to remain who she is. As a language expert, it is particularly striking to witness her means of communication diminish one word at a time. “Sometimes, I can see the words hanging in front of me, and I can’t reach them, and I don’t know who I am,” she tells her youngest daughter Lydia (Kristen Stewart).

For Alice, it isn’t just an issue of vocabulary. Her intellect is a fundamental part of who she is, and she had always been defined by it. If she loses this aspect of herself, who will she become? She is ashamed of her condition; she explains that people don’t understand it and tells her husband in a moment of anguish, “I wish I had cancer.”

Through it all, an important message is delivered. As Alice puts it, though one’s life may be shorter than anticipated, what matters is that it is filled with moments of joy, which she still experiences with her family. People with Alzheimer’s should not be treated as though they are suffering, but rather as though they are “struggling to stay connected to who [they once were].”

Richard Glatzer, who directed the film with his partner Wash Westmoreland, was diagnosed with ALS in 2011, only a few months before they were approached with this project. Perhaps this personal experience has influenced his way of portraying, and directing, how degenerative diseases affect people’s lives.

This candour is without a doubt nourished by Moore’s performance, which is impeccable—it is no surprise that she is vying for an Oscar for this role. She portrays Alice with sensitivity, in her character’s determination as well as in her growing vulnerabilities.

As for Stewart, her acting potential may have been underestimated in the past. She gives the best performance of all the supporting cast, with a somewhat bigger role than her on-screen siblings Kate Bosworth and Hunter Parrish, who nevertheless have touching moments. Alec Baldwin is unremarkable as Alice’s husband, John Howland.

Still Alice is a touching, tear-jerking movie which brilliantly demonstrates how Alzheimer’s disease affects human beings’ most fundamental gifts: individuality and autonomy.

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Arts

Interstellar looking galaxies away from a win

Christopher Nolan’s film will likely be overlooked come awards season in favour of traditional movies

With awards season just around the corner, I thought I would take the time to showcase what I believe is the best movie of the past year: Interstellar, a movie written and directed by Christopher Nolan, a movie that has been overlooked so far in the first of Hollywood’s awards shows.

The film explores the distant and bleak future in which Earth’s days are numbered because drought and famine are slowly killing all forms of life, featuring astronauts who go searching for a new planet that can sustain human life. Matthew McConaughey, fresh off of last year’s Oscar win, plays Cooper, a retired astronaut who decides to go on the last mission to try to save mankind.

As a proud film buff I can honestly say that of every movie that I have seen grace the silver screen in 2014, Interstellar is the one I am still thinking about months later.

Nolan impresses with his astonishing visuals and thought-provoking themes, but decides to enter unchartered directorial territory by adding a surprising amount of emotional depth to Interstellar. The father-daughter relationship within the film feels so authentic and honest that it is comparable to real life.

As I was travelling through the CGI depths of space, I was amazed by the film’s ability to provoke thoughts not only about the future, but also religion, life, family, and love. I found it to be truly refreshing, especially when you consider other science fiction movies that are stuck in tunnel vision, with traditional linear plots that usually limit the possible “what ifs” about our future.

With a running time of over three hours, you would think this film would have you growing restless in your seat, or would perhaps lose your interest sometime during its exaggerated length.

Instead, boasting a brilliant score by the masterful Hans Zimmer, this film envelops you into its world, making you beg and plead for this journey not to end.

It had been eons (ha) since I left a film ready and willing to watch it immediately again, knowing very well that I wasn’t going to get sick of it no matter how many times I watched it.

Honestly, no collection of words can possibly describe how brilliant and exciting this film is in my eyes. Nolan has once again proven that he is one of the greatest filmmakers of the modern cinema-scape, with yet another film capable of standing the test of time because of its rewatchability and simply timeless plot, which will make for one hell of an exciting adventure.

Sadly, this is yet another film in Nolan’s already legendary filmography the members of the academy will brush aside like brussels sprouts, in favour of some historical film that took place during a time when they were actually young, or something comparably depressing.

If you haven’t seen Interstellar, please take the time to go enjoy it on the big screen, and join me in the fight to bring original films to the front of the Oscar race, because it is truly astounding to watch something spectacular that started off as a small, preliminary idea in someone’s head.

Since Interstellar likely won’t win best picture this year, here’s hoping Birdman or Grand Budapest Hotel becomes the figurative “first stone cast,” benching historical films from awards season in favour of some more original movies.

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