Like an over-stuffed kachori “Dr. Cabbie” fills its story to over flowing with dance numbers, social commentary, slapstick humor, romance and even some political intrigue. There’s something for everyone, but the movie goes for heart-warming rather than heart-burn, so what happened to the spice?
Vinay Virmani stars as Deepak, a new immigrant from New Delhi, who arrives in Toronto with a degree in medicine and dreams of following in his MD father’s footsteps. Instead he is met with bureaucracy and frustration. The medical establishment in Canada doesn’t accept his hard-earned degree and he won’t be able to practice medicine in his new country.
A friend (“The Big Bang Theory’s” Kunal Nayyar) gets Deepak a job driving cab, and in one eventful night he meets Natalie, the girl of his dreams (Adrianne Palicki), and delivers her baby in the back of the hack. When a video of the birth goes viral he becomes a something of a sensation. Soon people are flagging his taxi, looking for medical treatment. With a thriving practice on wheels, he doles out medical advice and prescription drugs to customers from the back of his cab. When one of his patients over medicates a lawsuit ensues and Deepak must prove why he deserves to call himself a doctor.
“Dr. Cabbie” means well but maybe if it didn’t mean so well it would be a better movie. The relentlessly upbeat tone of the film doesn’t allow the story, which has an underpinning in a real and compelling immigrant experience, to breathe. The story is so cluttered with stock characters, slapstick and sweetness that the seriousness of Deepak’s plight—his inability to practice medicine—gets lost. In the cartoony world the movie creates the most realistic element is the depiction of Toronto’s chaotic traffic.
As befits the story of a couple that spent almost four decades together, “Love is Strange,” a new drama starring John Lithgow and Alfred Molina, takes its time telling the story.
Lithgow and Molina are Ben and George, a painter and music teacher who, after thirty-nine years together, make it official. Marriage brings with it one unexpected consequence, George loses his job at a Catholic school because he has now officially come out of the closet. The sudden reduction in salary forces the pair out of their Co-Op building and home of twenty years. As they look for a new place they’re forced to live separately, coach surfing with relatives until an apartment they can afford comes available.
“Love is Strange” is a simple, beautiful, restrained, funny and moving movie anchored by two astounding performances. Co-writers Ira Sachs (who also directed) and Mauricio Zacharias blend humour, pathos, love and real estate in a story that is driven by the characters, not the plot.
Everything you need to know about Ben and George is conveyed in the simple glances, the unspoken ballet of their day-to-day lives, and Lithgow and Molina are completely convincing as a couple who have shared love and life. On their first night together in ages they’re forced into bunk beds. Inviting George down from the top bunk Ben says, “I have missed having your body next to mine too much to have it denied to me for the reasons of bad engineering.” It’s funny and touching, a testament to the love that permeates the film’s every frame.
Sachs takes his time, lingering on scenes, allowing the performances to revel in the moments that make up the story. It’s a pleasure to spend time with these characters, but be warned, their story packs an emotional wallop.
SYNOPSIS: Based on a series of wildly popular young adult books, The Maze Runner sees Thomas, played by Teen Wolf’s Dylan O’Brien, plopped into community of young men surrounded by a labyrinth. The rebellious Thomas wants to see if there is a way to navigate through the ever-changing maze that stands between the boys and whatever is happening in the outside world. When a girl, played by Kaya Scodelario, arrives with a note clutched in her hand, “She is the last one,” it seems like the time has come to take on the maze and hopefully avoid being eaten by its evil guardians the Grievers.
STAR RATINGS:
Richard: 3 ½ Stars
Mark: 2 Stars
Richard: Mark, the story in The Maze Runner is based on a dare. When Thomas is dropped into a mysterious walled world where a society of boys have grown up in the shadow of a giant labyrinth, he is told, “Don’t go in the maze.” Of course he does, because that’s like telling a teen, “Don’t go through that door,” in a horror flick. Based on a series of wildly popular young adult books—so yes, you can look forward to The Maze Runner 2: Electric Boogaloo coming soon to a theatre near you—and the immediacy of the story serves it well… to a point. It’s a good set-up that turns into a becomes a standard 3D sci fi chase flick. What did you think?
Mark: Richard, it was dull, dull, dull, interrupted by the occasional exciting scene but it played like a dumbed down version of Lost for paranoid teens. Yes, the set up is good, but so little time is actually spent in the maze, and there’s too much time talking about it. The dialogue is mostly exposition, the acting is functional at best, and although it’s cut from the same cloth as The Hunger Games, it doesn’t have any of its bite. It’s no spoiler alert to reveal that some will survive, and the big reveal is laughable in the way it shills for the inevitable sequel.
RC: I liked it way more than you. I liked that the characters are cyphers with no knowledge of their pasts, so they have to create personas based on their abilities in the camp. That way, unlike most original stores, we don’t have to spend much time getting to know the characters; where they came from or what their inner torment is. They don’t know and neither do we. Instead they concentrate on the present—their present—and survival. Imagine if the reality show Survivor was set in a world surrounded by an impenetrable maze and the only way to get voted off the island was to be eaten by a giant, mechanical Griever beast.
MB: Actually, that’s a pretty good description of Survivor. Mazes intrigue me,and so do mad scientists. You’d think the combination would work here, but it just didn’t for me. I preferred Cube and even the much-maligned The Village as riffs on the same topic. Of course, you could see the movie as a metaphor for a cruel deity’s continuous test of the human race, but… naaaaah. And I really wanted a more shocking ending.
RC: I think there will be more thrills should the next part of the series ever get made. The first movie is just the foreplay.
MB: Foreplay perhaps, but with cold fingers and bad breath
Imagine the roar of a jet engine. Then picture yourself being blown backwards by the ferocity of the sound.
That’s the experience I had recently when hosting the Canadian premier of The Maze Runner, a new film based on a popular YA novel about a group of boys (and one girl) who must brave the dangers of a giant labyrinth to gain not only freedom but also their true identities.
There wasn’t a plane in sight, just a theatre packed with young adults. When I made the surprise announcement that some of the film’s stars would be joining us for a Q&A, you would have thought a giant electrical surge had bolted through every seat in the house. As I brought Skins’ star Kaya Scodelario, Meet the Millers’ Will Poulter and Dylan O’Brien, resident heartthrob of Teen Wolf to the stage, the place erupted.
Ears ringing, I asked a few questions, trying to be heard above screams of “I love you!” Not directed at me, but mostly at O’Brien.
As the handsome actor answered a question on bringing the character traits of Thomas alive from the page to the stage, a young woman whooped, “Thomas is hot!” O’Brien played along, saying, “That’s what I really wanted to lift from the page, his hotness. I was really focused on that.”
“You nailed it!” came a voice from the audience.
The enthusiasm wasn’t reserved just for him. Scodelario, a British actress who plays the film’s fierce female lead, could barely be heard above the din as she talked about her character’s empowerment. “I felt very strong playing her,” she said.
“A lot of times in movies, Hollywood and the rest of the world try to soften female characters. We have to see them vulnerable and we have to see them crying, and while that is a part of who we are as women, we can also be tough …”
The rest of her message is lost to the ages, drowned out by, “You go, girl!” hollers and the general melee of excited millennials.
Poulter, a 21-year-old British actor with a resumé that includes the charming Son of Rambow and The Chronicles of Narnia blockbusters, provided comedic relief. When I asked if he modeled his American accent on anyone in particular, he said, “I had to give up modeling, but that’s very sweet. Thanks for asking.”
The trio answered questions, most of which started with, “I just want to say I love you guys,” and ended with the inevitable, “Is there any possibility of getting an autograph or a picture?” for 25 minutes before being whisked away to another city, another press day and another theatre likely full of screaming teens.
Giant labyrinthine puzzles are almost as old as mankind: Prehistoric mazes were built as traps for malevolent spirits, while in medieval times the labyrinth represented a path to God. But recently, the idea of people struggling through a complicated network of paths has made for some striking visuals in movies.
This weekend, The Maze Runner sets much of its action inside a gigantic maze where frightening mechanical monsters called Grievers wander, tormenting Thomas (Dylan O’Brien) as he navigates the maze to pick up clues that help him piece together memories of his past. The sci-fi story is just the latest to feature a maze as a major plot point, but just as Labyrinth’s Sarah (Jennifer Connelly) is warned, “nothing is as it seems” in these movie puzzles.
Remember Harry Potter and the Goblet of Fire? Like Thomas in The Maze Runner, the boy wizard has to make it through a maze (in this instance to find the Triwizard Cup), but instead of fighting magical creatures, this hedge maze is magical; shape shifting to make the journey extra difficult. The 1972 horror film Tales from the Crypt contained an even more sinister maze.
Made up of five stories, the film culminated with the tale of a labyrinth told with razor-sharp wit. Set in a home for the blind, the patients get even with the institute’s cruel director by placing him in the centre of a maze of narrow corridors lined with razor blades. It’s a cutting edge story, that, according to besthorrormovies.com “rivals the ‘death traps’ of Saw and ‘tortures’ of Hostel while only showing a single small cut of the flesh.”
In The Shining, the axe-wielding father Jack Torrance (Jack Nicholson) chases his son Danny (Danny Lloyd) through the Overlook Hotel’s hedge maze. The quick-thinking boy escapes by retracing his steps, confusing his maniacal dad. The documentary Room 237 offers up a number of interpretations of what the maze and Danny’s escape represents. One theory suggests it reflects Greek hero Theseus’ slaying of the Minotaur and escape from the labyrinth, while another speculates it’s a metaphor for conquering repression. Whatever the subtext, it remains one of director Stanley Kubrick’s most tense scenes.
And finally, Francis Ford Coppola’s version of Dracula sees Lucy (Sadie Frost) sleepwalking through a garden maze, chased by Dracula (Gary Oldman) in wolfman form while Pan’s Labyrinth features a maze as a place of safety for Ofelia (Ivana Baquero) to evade her attacker.
Appearing in one of the movies! I was in Red Alert, a short that played before the movie Wet Bum. IT’s not enough that I cover 100 movies during the fest, now I have to be in them too! I even got a review. “@richardcrouse is great in Red Alert…” Mike Bullard wrote on twitter. “I’d like to tell you I didn’t know he was a redhead but I knew… I just knew ok.”
In person Benedict Cumberbatch’s voice sounds like hot melting wax. I liked Sherlock well enough and have seen him in several movies, but for me, and I know I’m the last to get it, his performance in The Imitation Game is a game changer. He plays real-life character Alan Turing, a Cambridge mathematician who volunteers to help break Germany’s most devastating WWII weapon of war, the Enigma machine. It was a top-secret operation, classified for more than 50 years, but that wasn’t Turing’s only secret. Gay at a time when homosexuality was illegal, punishable by jail or chemical castration, he was forced to live a world of secrets, both personal and professional.
Robert Pattinson telling me about how Hollywood was before camera phones: “When I first started going to LA everyone was underage and if you were a famous actor the rules did not apply. You could be a sixteen-year-old and go into a club but now that there are camera phones everywhere that doesn’t exist anymore. That period was so weird. You’d see a fourteen-year-old actor wasted, doing lines of blow on the table. It was crazy. Now they just do it at their parent’s house.”
Julie Taymore telling me that A Midsummer Night’s Dream “It was the first play I ever saw. I saw it here in Canada at the Stratford Festival…”
Michael Moore’s answer to my question about his reaction to all the celebrity he gained after appearing at TIFF 25 years ago with Roger and Me: Asked what was going through his head while all this was swirling around him, Moore says: “Why didn’t I go to Jenny Craig three months ago?”
“I don’t know where they are,” Kingsley says about his characters, “if they’re inside me waiting to come out or whether they are outside of me. Are they hunting me or am I hunting them? I don’t know.”
Repairing Dustin Hoffman’s watch. During a roundtable interview the alarm on his watch went off several times. He gave it to me and I looked up the instructions on how to fix it on Google. “How did it you look it up on line? They have instructions to fix Timexes on line? I don’t automatically go to those things,” he said. During the interview he said: “I was told to take acting. Nobody flunks acting.” Later he said that it wasn’t such a bad choice because, for instance, “No one ever says, ‘I want to be a critic when I grow up.’”
Lowlight… waiting for BIll Murray for seven hours. (Although I love this from @ZeitchikLAT: Bill Murray, offering implicit proof on the merits of Bill Murray Day: “If this is really my day, why do I have to do so much work?”)
Sitting next to next to Boo Radley, Bill Kilgore and Tom Hagan. (Robert Duvall!)
Most quotable actors of the festival? Robert Duvall who said, about acting, “There’s no right or wrong just truthful or untruthful.” He calls Billy Bob Thornton “The hillbilly Orson Welles…” and said “Brando used to watch Candid Camera.” Jane Fonda was a close second when she said acting is great for the heart but terrible for the nerves… “Butts have become more in fashion… (since Barbarella) and “Television is forgiving to older women and making it possible for us to have longer careers.”
“I have distilled socialism in this box and am taking it back to America.” – Robert Downey Jr in my roundtable interview.
#TIFF14 socks day 3. Chris O’Dowd called them “powerful.” and Rosamund Pike said, “I’m enjoying your socks. They make me happy.”
Watching “Whiplash” knock the socks off an audience at an IMAX P&! screening. It is part musical—the big band jazz numbers are exhilarating—and part psychological study of the tense dynamics between mentor and protégée in the pursuit of excellence. The pair is a match made in hell. Teacher Fletcher, played by J.K. Simmons is a vain, driven man given to throwing chairs at his students if they dare hit a wring note. He’s an exacting hardliner who teaches by humiliation and fear. This movie doesn’t miss a beat.
Love this quote: “Being in the military,” said Adam Driver of This Is Where I Leave You, “believe it or not, is very different than being in an acting school.”
Telefilm Canada’s Talent to Watch series of panel sessions is designed to spotlight the creative talents of our country’s emerging and established filmmakers. Whether it’s making the transition from shorts to features, the creative possibilities afforded by new technologies, or the cultural, artistic, and linguistic diversities of our landscape, a panel of young Canadian directors at various stages in their careers reflect on the art of storytelling and engaging audiences. Richard hosted this panel with Jacob Tierney, director Preggoland, Jeffrey St. Jules director Bang Bang Baby, Andrea Dorfman director Heartbeat and Mathieu Denis, director Corbo.
Anna Kendrick is perhaps best known for her break out role as the ambitious Human Resources person in Up in the Air who suggests conducting layoffs via videoconferencing to save money. Her performance opposite George Clooney created a stir at the 2009 Toronto International Film Festival, and now she’s back at TIFF with a much different movie.
The Last Five Years is a musical based on Jason Robert Brown’s Off-Broadway hit of same name. It’s the story of the five-year relationship between actress Cathy and her novelist husband Jamie, played by Smash star Jeremy Jordan. It’s told from two different perspectives. Her storyline begins with the breakdown of the relationship. His starts at the beginning (it’s a very good place to start, as they say in musical theatre) as they court and eventually marry.
Kendrick, last sang on screen in Pitch Perfect and will soon be seen as Cinderella in the much anticipated movie version of Into the Woods, says the decision to sing live in front of the cameras, instead of prerecording in studio, aided her performance of the complex role.
“Doing it live was something we wanted to do whenever possible,” she says. “We didn’t want to make a point of it or be precious about it because it was equally important for us to be visually dynamic and change locations and be outside occasionally. I thought I would feel that the pre-recorded days would be a breeze, but it was so much easier to act the songs live because you weren’t retroactively going, ‘Oh yeah, that’s how I was playing that in the recording booth four weeks ago.’ So doing it live was a physical challenge, because, you know, it’s your voice, but it was so much easier to be present and honest and all that with singing live.”
Kendrick plays a struggling actress and in one memorable scene details the pain of auditioning for roles. In the Climbing Uphill sequence she sings, “I’m up ev’ry morning at six, And standing in line, With two hundred girls who are younger and thinner than me.” It;’s a feeling Kendrick says she knows well.
“It’s a competitive business by nature,” she says. “I know that room and that line of two hundred girls. I didn’t have to dig all that deep to know the anxiety and self-doubt. That was a fun thing to perform and see inside her head and talk about the indignity of not being paid attention to when you are trying to perform for somebody.”
Even though she is a Tony nominee for her work on Broadway in High Society and has starred in high profile films like Twilight and Scott Pilgrim vs. the World she says she still auditions.
“If there is something really incredible everybody wants it so I audition,” she says. I see friends of mine and we’re all in business suits and then at the next one we’re all in leather jackets. I’m like, ‘Yeah, this is so embarrassing.’ But that is the grind.”
Like an over-stuffed kachori “Dr. Cabbie” fills its story to over flowing with dance numbers, social commentary, slapstick humor, romance and even some political intrigue. There’s something for everyone, but the movie goes for heart-warming rather than heart-burn, so what happened to the spice?
