Review by David Baldwin
Jenny (Gina Rodriguez) and Nate (LaKeith Stanfield) have just broken up. They were dating for 9 years in New York City, but decided to end their relationship when Jenny gets her dream job at Rolling Stone magazine in San Francisco. With one week until the big move, she looks to her friends Erin (DeWanda Rise) and Blair (Brittany Snow) to help cheer her up and go on one last adventure.
It took me two tries to watch Someone Great. Admittedly, I was extremely tired the first time I watched first-time director Jennifer Kaytin Robinson’s film and fell asleep after about 20 minutes. But I watched it again from the start the next day, and immediately realized what a terrible mistake I made. Robinson has created a raw, emotional, and charming film that speaks to what friendship means in the face of becoming an adult — and the maturity on display here may catch you off guard.
Review by David Baldwin
What I have always found fascinating about movies is the fact that once they are finished and released into the world, they rarely change. Sure there have been Director’s, Extended and Unrated Cuts released after the film’s initial release (Ridley Scott is the KING of tinkering with his movies and never being satisfied with any of his final cuts) but they rarely alter the original content or message. They merely add to and/or enrich and/or destroy the viewing experience. What does change, almost every single time, is how we as individuals feel about the movie we are watching. It’s not unheard of to watch a movie you liked for the second or third time and have absolutely no idea why you ever enjoyed it in the first place, or vice versa. And I find that this ideal happens substantially more often for films I see at festivals, specifically the Toronto International Film Festival.
I mention and namedrop TIFF because the first time I saw Unicorn Store was at its World Premiere screening during the festival back in September of 2017. It was Day 5 of the festival and my first movie of the day. I had slept in that day not just due to exhaustion from the previous four days, but I was also still reeling from seeing mother! the night before (I went into that movie completely blind as my fifth movie of the day and was not okay afterwards). I was excited to see Unicorn Store that day for multiple reasons: it was Oscar-winner Brie Larson’s directorial debut; it was playing at my favourite venue, the Ryerson; and it was not an obscenely priced Premium ticket to pick up. I sat down in my seat, took not-all-that subtle photos of the celebrity sitting behind me (the team flanking him was less than thrilled), and waited for the film to start.
Looking back at my Twitter feed from that day, it looks like I enjoyed the film for the most part. But as days and weeks turned into months, I forgot about it and it quickly became one of four movies I saw during that festival that never officially saw the light of day again. Flash forward over a year and a half later, and Unicorn Store is finally being released on Netflix. But a lot can change in that amount of time, even if the movie itself has not done much changing.
Review by David Baldwin
My exposure to Mötley Crüe has been limited at best. I played their songs in Rock Band and Guitar Hero. I was briefly obsessed with “Kickstart My Heart” after hearing it during the trailer for the all but completely forgotten Clive Owen romp Shoot ‘Em Up (do you remember that movie? I own in on DVD and remember literally nothing besides Owen’s character liked to chew carrots like Bugs Bunny and used one to stab a guy). A girl I was intrigued with had a grotesque image of a two-faced demon from Nikki Sixx’s book The Heroin Diaries tattooed on her hip. That’s pretty much where my knowledge begins and ends.
Oh, and I watched Tommy Lee and Pamela Anderson’s sex tape when I was a teenager, as you do.
So when it came time to watch The Dirt, I was at a bit of a loss. Do I wade in as blind as possible or do I look up some of the stories? Do I just trust that the filmmakers will be honest in their portrayals? And if they aren’t, will the movie and music be entertaining enough for me to completely look past it?
Review by David Baldwin
I turn 32 this weekend, so my future mortality has been top of mind as of late. I am not sure if 22-year-old me would be excited or disappointed at who I have become. I have had highs, lows and plenty of what-have-yous over the past 10 years and am literally coming off the most exciting year of my life. Some of these moments were planned, some not so much. Some were those classic “Jesus Take the Wheel” moments you can never have too many of. So while my writing situation is less than ideal at this given moment (a grungy food court in downtown Toronto where a couple is breaking up feet away from me), I was very much in the right frame of mind to watch Paddleton, the latest Netflix film from the Duplass Brothers.
Paddleton revolves Michael (Co-Writer Mark Duplass) and Andy (Ray Romano), best friends who live in the same apartment complex. They are both single and hang out together often – mostly at Michael’s place, which is on the ground floor directly below Andy’s. Michael has terminal cancer and has been given only months to live. Neither are ready to lose the other, but Michael wants to be sure he makes the decision on how he leaves this world.
Review by David Baldwin
When I pitched watching Velvet Buzzsaw to my wife, I mentioned that Dan Gilroy had written and directed two other films: Nightcrawler, which I love, cherish and still to this day remain devastated did not land Jake Gyllenhaal a Best Actor Oscar nomination; and Roman J. Israel, Esq., a total mess of a movie that landed Denzel Washington a Best Actor Oscar nomination, despite featuring the single worst performance Denzel has ever given. The film was better used as a punchline in a Weekend Update sketch involving Bill Hader’s Stefon which still makes me laugh just thinking about it.
So needless to say, it was a 50/50 shot going into Velvet Buzzsaw. I refused to watch the trailer (and you should too) and tried my very best to stay away from any and all of the Sundance reviews. But even after seeing Gilroy’s mash up of satire and horror set in the world of art dealers, creators and critics, I am still sort of confused about what a Velvet Buzzsaw is. But I would be lying if I said I didn’t enjoy the hell out of whatever Gilroy thought he was making here.
I didn’t hate Fifty Shades of Grey when I watched it at a packed screening back in 2015. And I didn’t hate Fifty Shades Darker when I watched in at home last Spring in all its timid “Unrated” glory. Both films were badly written and badly acted, but they were functional pieces of entertainment that were clearly not designed for me. They provided some intentional and unintentional laughs, and were not nearly as bad as some of the films I actually went to see purposely.
But the finale, Fifty Shades Freed — or climax as the posters so playfully tease — is a whole other beast entirely. And while I joked on Facebook that it was a “triumph of cinema”, it is easily the exact opposite.
When Pixels came out earlier this year, everyone took their turns hating on it. I was excited to see it because of the Toronto connection (I walked through a literal war zone near my girlfriend’s apartment on Queen West), but there was not much else drawing me to it. And after watching the movie, I can say I did make the right decision skipping the theatre.
It’s not that Pixels is a bad movie — no, it is certainly far from. There is a lot of fun and wild imagination going into some of the battles with classic 1980’s video game characters. If you know the characters and the games, then you will be astounded by some of the details that have gone into bringing these characters to life. And they all look and sound authentic to the time period — a feat in itself considering the money that must have gone into licensing them all (Mario shows up for a brief cameo, and I’m sure that alone cost millions). It reminded me a lot of the wonder I had watching Who Framed Roger Rabbit? when I was a kid, and the fascination I have to this day of seeing Bugs Bunny and Mickey Mouse talking to each other.
Nearly two weeks later, and I am still not quite sure what to make of Charlie Kaufman’s Anomalisa. It was a curiosity when I first picked it in my TIFF package, and remained that way well after it premiered at Telluride and Venice. I have always admired his work, and he was one of my favourite screenwriters for a very long time. But he has been entirely absent from the big screen since 2008’s Synecdoche, New York — a film that is easy to admire but hard to sit through — and his only credit since is for an unaired FX pilot starring Michael Cera.
But you would never think any of that based on how wonderful a film Anomalisa is. Michael Stone (David Thewlis) is a motivational speaker on a trip to Cincinnati. Michael has no real drive, and nobody stands out to him — everyone just sounds and looks the same. He meets Lisa (Jennifer Jason Leigh), and is immediately quite taken with her.
Revealing anymore about this unconventional romance would be a disservice to Kaufman, his co-director Duke Johnson and their extremely talented production team. The description may not have hinted at it, but Anomalisa is filmed entirely in stop motion, with puppets, and only has three credited voice actors starring in it (the other is character actor Tom Noonan, who does his very best to make every character sound just as mundane and ordinary as the next). But I cannot even begin to imagine this as a live action film. It just has too much imagination and wonder compacted within its 90-minute running time. While the look of the film is truly wonderful, the details of each puppet are even more spectacular. The emotions they display are nothing short of astonishing, and truly compliment the impeccable voice work.
Kaufman’s screenplays have by and large been about people on the fringes of life, wrestling with internal conflicts and how mundane life can become. And Anomalisa is no different. It says so much, by saying very little. I enjoyed it by and large, but there is something about it that is compelling me to revisit it as soon as I possibly can. And with Paramount buying and releasing the film by year’s end, it will not be nearly that long a wait.
Anomalisa does not quite measure up to the brilliance of Eternal Sunshine of the Spotless Mind, but it is yet another eclectic and unique treasure that only a man like Charlie Kaufman can deliver.
Well the cat’s out of the bag — Michael Moore’s secret documentary Where To Invade Next premiered on Thursday night at TIFF and it was nothing like anyone expected. Instead of skewering the American government and their foreign policies abroad, Moore decided to travel various European countries and discuss social/economic improvements they made that could help improve the quality of life in the US. The only footage on US soil is archived news and cell phone videos.
What he discovers abroad is initially ludicrous in how wildly different it is from American (and by proxy Canadian) life. 8-week vacations in Italy. Amazing school lunch programs in France. Free college education in Slovenia. Some of the things he discovers are downright mind-boggling. Of course, he avoids all of the social problems each of those countries have in favour of cherry-picking the best elements to contrast to American life, but that is besides the point. Instead of grabbing American government by the throat, Moore calmly and carefully lays out the ways life can be improved. It is a very different kind of movie for him, and I think that’s why it resonates so well. It provokes discourse in the best possible way, and is moving, hilarious and downright disturbing all at the same time. This is easily his best work since Bowling for Columbine, and one that does not feel like it is entirely agenda driven.
If I hold anything against it, it is that it feels a bit sluggish at 2 hours (but this could also have been due to the delayed and increasingly late time I watched it), and I’m not entirely sure his culminating thesis is sound. He presents a lot of information, and by the time the film comes to an end, it does not feel all that conclusive. Almost as if something is missing.
But that said — Moore is tired, and he wants to continue campaigning for change. But he does not want to be the only one. And Where To Invade Next may just be his last attempt at trying. Hopefully it helps.
If you can score tickets (or want to test your luck in the rush line), the film is playing at the Ryerson on Friday September 18 at 12pm and Sunday September 20 at 6pm.
Another Blu-ray/DVD release #ShortCuts review for you this week — this time for Cameron Crowe’s Aloha. Pretty proud of how quickly I wrote this one up. It came out a lot longer than I thought it would. But trust me, be glad I saw it and you didn’t.
Remember when I was complaining about how awful Hot Pursuit was a few weeks back? Well, I had the privilege of watching Aloha a short time later – and I think I may have found the worst movie of the year. Even that retched excuse called The Wedding Ringer was better than whatever the hell this is. Is it a comedy? Is it a romance? Is it a drama? Is it some hybrid mix of the three with thinly veiled allusions and commentaries on…everything? I could not tell you for the life of me, and I doubt writer/director Cameron Crowe could either.
Now it may sound like I am just jumping on the bandwagon and bashing this movie like everyone else did when it was released in May. But I am a huge Crowe fan – Almost Famous is legitimately one of my top five favourite films of all time. I love Fast Times at Ridgemont High, Say Anything…, Vanilla Sky and Jerry Maguire, and I did not hate Elizabethtown or We Bought A Zoo (Singles is sitting in a pile of movies waiting to be watched). But Aloha is easily the worst film he has ever done. It just lacks any form of cohesive story, the performances are all wasted, and it just comes off like a total disaster. I can readily admit I was not fully paying attention at all times, but it felt like the film had new ideas being introduced every 15 minutes, and then fully resolved without much conflict quickly afterwards.