“Relax, I’m From the Future” is remarkably thoughtful for movie that bills itself as a “dirtbag time travel comedy.” The low-budget sci fi flick plays like an absurdist riff on “The Terminator” or maybe a more serious “Sleeper.”
Rhys Darby is Casper, a time traveler who crash lands in the present-day Canadian suburbs. “I thought it would be cool to come to the twenty-first century,” he says. “Not as cool as the twentieth, but… I found a portal. Accidentally. Instead of reporting it, I did some prep and I went through.”
He is a fish out of water, a man out of time, with a hope to ensure a bright future for the world. Trouble is, he doesn’t really have a plan to a place to stay.
His fortunes change when he meets Holly (Gabrielle Graham). At first the cynical former activist doesn’t believe he’s from the future, but when he correctly predicts random, upcoming events, she buys in. Using his knowledge of the future, they make money on the lottery and betting on sports, enough for him to rent a dingy bunker from Chuck (Zachary Bennett). “I’ve got money now,” he says. “I can buy a hot dog whenever I like.”
He collects artefacts from present day, what he calls forgotten art, introduces Holly to Percy (Julian Richings), a fast-food clerk whose political cartoons will one day change the world, until the arrival of Doris (Janine Theriault), a ruthless bounty hunter from the future.
“Relax, I’m from the Future” is a quickly paced slice of silly speculative fiction that appears written as a showcase for the energetically off-kilter comedy stylings of New Zealand actor and comedian Darby. He’s an edgy Mork from Ork, an otherworldly being, charmingly childlike but not above doing the drugs Holly offers him.
He’s nicely paired with Graham who is as grounded as Darby is whimsical. They are an interesting odd couple, keeping our interest as the movie rushes through a bunch of third reel plot additions and story twists that slow the movie’s momentum.
But despite an overstuffed final twenty minutes or so, “Relax, I’m From the Future” is a bit of fun that might actually make you think about the possibility of an individual’s impact on the world, the search for meaning and the repercussions of an overly optimistic attitude. It’s pop psychology, and ultimately succumbs to a preventing-the-end-of-the-world twist, but writer/director Luke Higginson manages something unique with the doomsday/time travel genre.
Imagine if Samuel Beckett wrote “Squid Game,” minus the giant Kewpie doll, and you’ll understand “Stanleyville,” a new darkly humorous social satire now on VOD.
The ennui of a dead-end job and unsatisfying relationship with her husband and daughter has draped over apathetic suburbanite Maria Barbizan (Susanne Wuest) like a shroud. One day, tired of… well, everything, she rids herself of her money and purse in a mall trashcan and wanders aimlessly.
Numb.
Into this fugue state walks the smartly dressed Homunculus (Julian Richings), a mysterious figure with an intriguing offer. She, he tells her, has been chosen, alongside a group of other idiosyncratic characters— spoiled brat Andrew Frisbee Jr (Christian Serritiello), Felice Arkady (Cara Rickets), Manny Jumpcannon (Adam Brown) and muscle-head Bofill Pancreas (George Tchortov)—to take part in a “platinum level contest” to “probe the very essence of mind/body articulation.” She doesn’t understand what that means, and the prize of a used habanero-orange compact sport utility vehicle doesn’t interest her either but the promise of true enlightenment or an “authentic personal transcendence” lures her in.
The promised so-called “platinum level contest” is actually a “Lord of the Flies” style reality show competition with Homunculus as host and referee. A series of strange games—at one point they are challenged to “write a national anthem for everybody everywhere through all time”—with escalating consequences pits the players against one another. Along the way they earn points and gain insight into their deepest held beliefs, “every man for himself” ethos and worst inclinations.
Actor-turned-director Maxwell McCabe-Lokos paints his characters in very broad strokes. Each one is an archetype that range from nihilist to failed performer to a Bay Street type, with easy-to-read characteristics that speak to one element of the human condition.
That, however, is the only easy-to-read aspect of “Stanleyville.”
Willfully weird, the movie is all journey. The strange situation doesn’t really go anywhere, and, given Homunculus’s ambiguous motivations, the movie doesn’t offer any closure to the characters or many questions it presents. It’s about the competition, the win-at-any-cost vibe so often evident in competition shows. This is an absurdist take on the same, but as the situation begins to unravel so does the story. The social commentary remains, but viewers hoping to for enlightenment, may enjoy the story’s oddball but thought-provoking themes, but, like Maria, leave the movie still in search of life changing spiritual illumination.
Road movies might be the great Canadian genre. From “Goin’ Down the Road” to “Highway 61” generations of Canadians have travelled from Cape Spear to Tofino in search of story, enlightenment and cold cans of Molson Export. With ruggedly beautiful terrain in the background and characters criss-crossing in the foreground, our filmmakers have often hit the road in search of cinematic success.
The latest Canadian director to hit the road is Kire Paputts. In his feature debut he tells the story of Eugene (Dylan Harman), a nineteen-year-old man with Down syndrome. When we first meet Eugene he’s living with his mom in a cramped Toronto apartment. She lies in bed hacking up a lung, her smoker’s cough filling the air, as and he fills his time watching “The Littlest Hobo,” the great canine Canadian traveller, on TV while drawing pictures of rainbows. “They say that at the end of the rainbow there is a pot of gold,” he says. “If I found the pot of gold I would buy video games.” He believes rainbows are a symbol of hope, so when tragedy strikes he sets off across country, on a bicycle with training wheels, greeting strangers with a simple question, “Have you seen the rainbow?”
By their nature road movies are episodic. The great ones tie their segments together thematically, building on a central thesis. “The Rainbow Kid” plays itself out in chapters but feels more like a series of random situations banged together to form a whole rather than a complete narrative that runs from start to finish. There are highlights along the way. Eugene’s rainbow hunt yields Elvis Grimes—Julian Richings doing a memorable riff on his “Hard Core Logo” character Bucky Haight—and Anna (Krystal Hope Nausbaum), a young special needs girl who introduces our hero to the carnal side of her nature.
To the film’s credit, as these segments drift together, Paputts is fearless his treatment of Eugene and the story. The tale takes a dark, unexpected turn near the end, but the tone of the film is less important than the way it portrays Eugene’s single mindedness of pursuit. He’s on a hero’s journey and nothing—irate stepfathers, old rock stars or criminals—will stop him. “The Rainbow Kid” happens to have a character with a disability but doesn’t use its non-traditional lead as a gimmick. Instead Harman’s emotional, charming performance grounds the fanciful film in humanity.
