The only thing worse than someone who says, “I had the craziest dream last night,” and then tells you all about it is… well, hardly anything. There are few things worse than suffering through a disjointed story that barely makes sense to the teller and absolutely no sense to you.
But, just imagine if everyone, family, friends, strangers, told you about their dreams, because you were in them. Every single one of them. That’s the nightmarish idea behind “Dream Scenario,” a new “Twilight Zonesque” Nicolas Cage social satire, now playing in theatres.
Cage plays humdrum evolutionary biology professor Paul Matthews. He’s an unexceptional, almost invisible man, mocked by his students and colleagues at work and a sad sack at home with possessive wife Janet (Julianne Nicholson) and two teen daughters.
His unremarkable life is made noteworthy when inexplicably, he begins to appear in the dreams of millions of people.
He’s viral all over the world, except, tellingly, in the nighttime visions of his wife. Why not? “Because you get the real deal,” he says to her. “It wouldn’t be fair to get both.”
“Why me?” he asks. “I don’t know. I’m special I guess.”
Trouble is, he doesn’t do anything special in the dreams. He mostly just appears in the background, watching unresponsively as strange things happen to the dreamer. “He occupies the space like an awkward guest at a party,” says one dreamer.
As his fame grows, it brings with it some unexpected repercussions for the unassuming Paul. “You know,” says Sidney (Marc Coppola), “fame can come with some less desirable side effects. You should be prepared for that.” At first, he almost enjoys the intense glare of the spotlight, but when his presence in the dreams goes from passive to active, and he becomes as repugnant to the public as he was once popular.
“Dream Scenario” does feature some surreal dream sequences, but it’s not really about dreams. It’s about life as a modern, viral celebrity, on display in the unblinking eye of the public, social media and cancel culture.
Cage plays Paul as a man who claims to love his anonymity, but fights a former colleague for credit when she alludes to one of his thirty-year-old theories in an academic paper, and, when fame comes, he’ll pose with anyone who wants a selfie. He’s tired of being invisible, but wants fame on his own terms. But, as the movie ably points out, fame is a three-headed hydra, untamable and uncontrollable.
It’s a perfect role for Cage’s sensibility. As Paul’s life switches from dreamlike to nightmarish, Cage embraces the tragicomic elements of the role—a man who can’t live up to expectations in real life or dream life—and pulls off a great trick by making a forgettable man memorable.
“Dream Scenario” is a clever, timely film that details everything from mid-life crisis and cancel culture to viral fame and social media marketing in a bizarre, funny and thought-provoking way.
What to watch when you’ve already watched everything. Binge worthy, not cringe worthy recommendations. It’s a long title, I know but in self isolation I have more time on my hands than usual. Here are three movies you may not have seen that are available to rent or buy on VOD and streaming services that can help pass the minutes, hours, weeks… whatever, until we are allowed to touch our faces again.
“Gloria Bell,” a new film starring Julianne Moore, tells a story about one woman navigating between loneliness and love.
In the remake of his 2013 film “Gloria” Chilean director Sebastián Lelio casts Moore as the title character, a fifty-something divorcee looking for love. An office worker by day, she haunts the discos of suburban Los Angeles in the evening. One night she meets Arnold (John Turturro), a recently divorced man still tethered to his former wife by his ever-present cell phone. They hit it off; he serenades her with quirky, romantic poetry, teaches her how to play paintball and makes her laugh. He meets her family, including the ex-husband (Brad Garrett) and son (Michael Cera) and seems to be falling hard for Gloria. Except for that damn cell phone. Every time it rings it splits his attention between his dramatic former family and Gloria. The prospects for long-term love become more distant every time his phone rings.
“Gloria Bell” is a shot-for-shot remake of Lelio’s 2013 film. It’s a movie that doesn’t rely on conventional narrative but rather focuses on the characters to tell the tale. To that end Moore works wonders. In each episodic snippet Moore illuminates Gloria, giving us everything we need to know in the subtlest of ways. A turn of the head, a too-loud laugh or the way she sings along to the radio. Each of these flourishes breathes life into a character fighting against becoming invisible in a world that values youth.
It’s an astounding performance especially in its understated moments. When Gloria gearshifts from tears to laughter as the weight of a bad relationship lifts or finally dances to her own beat on the dance floor, Moore is vulnerable and jubilant, awkward and comfortable, and always relatable.
If “Molly’s Game” wasn’t a true story it would be unbelievable.
Jessica Chastain plays Molly Bloom, a one-time Olympic class skier sidelined by injury. Leaving the slopes behind she found her way into the world of high stakes poker but not as a player, as a purveyor. In Los Angeles and then again in New York she cultivated a guest list of rich and powerful men of movie stars, Russian mobsters and Wall Street hedge funders. They bet, lost (and sometimes won) millions of dollars, catered to by drink slinging models and Bloom’s huge line of credit. With the game come wealth, drug addiction and ultimately, an FBI arrest for a variety of charges. Money seized, drug addiction kicked, all the Poker Queen has left is her integrity and a supportive criminal defense lawyer in the form of Charlie Jaffey (Idris Elba).
Written by ninety-words-a-minute screenwriter Aaron Sorkin (who also directed), coats the unlikely tale of a dedicated athlete who uses the dedication an skill she developed in her sport to create a new life for herself with an elegant sheen. The dialogue is top notch, the performances very good but it’s all surface. The psychology—her father (Kevin Costner) is a pontificating psychologist—doesn’t provide the kind of depth we need to truly care about Molly, before or after her downfall. She’s all ambition and little else. Chastain breathes life into her, rattling off Sorkin’s impressive dialogue, ripe with pop culture references, mythology and bon mots, but it’s the performance that illuminates the character for the audience, not the script.
Sorkin doesn’t exactly deal “Molly’s Game” a bad hand but he does bog down the story with clever asides and details instead of moving the plot forward. Aside from Bloom, his characters are all sharp-tongued creations whose personalities are become increasingly interchangeable as the same Sorkin-esque style of witty dialogue spills from all their lips.
In many ways “Molly’s Game” overplays its hand. It’s neither a searing indictment of high-stakes illegal gambling nor a psychological study of its main character. Instead it’s a pair of deuces when it should have been a full house.
Director Guillermo del Toro sings the praises of Jessica Chastain, saying she brings authenticity to everything she does and is “interested in being chameleonic.”
Indeed. Earlier this year the two-time Oscar nominated actor played World War II Warsaw human rights activist Antonina Zabinski in The Zookeeper’s Wife. Soon we’ll see her as 1890s era portrait painter Catherine Weldon, as screen legend Ingrid Bergman and as a mysterious alien with shape-shifting abilities in X-Men: Dark Phoenix.
This weekend in Molly’s Game, she is Molly Bloom, an Olympic-class skier who also ran the world’s most exclusive high-stakes poker game.
She is the very definition of versatile, a performer who is hard to pin down.
“I feel like the bigger risks I take, the more I learn,” she says. “I know I learn more from my failures than successes.”
From big films like Interstellar and The Martian, to small ones like A Most Violent Year and Miss Julie she is always distinctive and always interesting.
For instance contrast her work in two recent films, Miss Sloan and Crimson Peak.
In Miss Sloane she plays Elizabeth Sloane, a sleep-deprived D.C. lobbyist “at the forefront of a business with a terrible reputation.”
She’ll represent anyone, it seems, except the gun lobby, who offer her a lucrative contract, only to be laughed at and rejected. Soon after she leaves her firm—one of the biggest in the country—to join a small, scrappy group who aim to whip up support for a bill that will demand background checks for all gun owners.
Zippy dialogue flies off the screen probably easier than it would actually fly off the tongue, giving voice to colourful characters who say mostly interesting things.
“When this town guts you like a trout and chokes you with the entrails don’t come snivelling to me,” snarls Sloane.
It’s a catchy line and Chastain spits it out with conviction and often transcends the rat-a-tat dialogue by bringing some actual humanity to a character largely made up of bon mots and a bad attitude. It’s a struggle for Chastain to grow Elizabeth Sloane as a character but in her rare quiet moments, when she isn’t mouthing Jonathan Perera’s carefully crafted words, she finds warmth and vulnerability in a person described as the “personification of an ice cube.”
In Crimson Peak she is Lucille Sharpe who, along with her brother Thomas (Tom Hiddleston), is British gentry in America to raise money to perfect and build a machine to mine the rich red clay that lies under Crimson Peak, their family estate.
The movie is love letter to both V.C. Andrews and Edgar Allen Poe. Madness and murder are front and center, coupled with Chastain’s arch performance that embodies the Hammer Horror style of wild-eye-acting. To play Lucille she worked with a dialect coach to perfect her English accent, learned to play piano and, most unsettlingly, never blinks. “Lucille not blinking is her trying to say, ‘Look at me, I’m normal. Everything is fine.’ And there’s effort in that,” she said.
As the scoundrel of the piece the versatile actress is a commanding presence, one who drips with evil.
“My God, she creates one of the truly scary villains I have seen, so dark,” says Guillermo del Toro. “Jessica took this to 11. She went full Spinal Tap here.”
You will be amazed at the level of intimacy the filmmakers behind the documentary Dina are able to achieve. The story of a middle-aged woman preparing to marry her boyfriend benefits from the level of access awarded to co-directors Dan Sickles and Antonio Santini but is deepened by the fact that the bride and groom are on the autism spectrum.
“Dina has known me since before I was born,” says Sickles. “My dad met her because he was her teacher in high school. Around the time she graduated he started a group for adults with developmental disabilities called the Abingdon Kiwanis Aktion Club. I grew up going to these meetings so I have known Dina all my life.
“I lost my dad back in 2013 and because of that Antonio and I ended up going back to Philadelphia to continue post-production on our first film. It was only a few months after that when she started telling me about Scott and that he had proposed. The film really began from this opening created by my dad’s loss.”
The cinéma vérité doc follows Dina Buno and Scott Levin. She is a 48-year-old widow with Asperger’s syndrome, obsessive-compulsive disorder and depression, who has lived on her own for decades. He is a security guard at Walmart with Asperger’s who loves singing and still lives at home. We witness their courtship as they navigate through complicated feelings regarding his disinterest in sex—she gives him a copy of The Joy of Sex to help fire his imagination—and their future life together. A revelation regarding Dina’s traumatic past sheds light on her hypersensitive temperament.
“I wouldn’t say there were moments where we viewed what was happening on camera through the lens of exploitation,” says Sickles. “I think if you are going to make a film about a couple that is based on a real life relationship you have to be willing to go to uncomfortable places and moments. Part of our job was to create and maintain an atmosphere where anything could happen but that Dina could also feel free to be honest and open.”
Sickles and Santini were flies on the wall, uninvolved in the story and as such allowed the story to play out, warts and all.
“I don’t think the camera being there ever threatened them,” says Santini. “Because we were always hanging out when the camera was on and it was so small it wouldn’t change anything in the room. We’d say to Dina, ‘Now we’re not in the hang out mode, we’re in the filming mode,’ but we still have so much footage of Dina looking at us and laughing with us.’”
After the end credits roll there may or may not be a happy ending for Dina and Scott and no effort is made to suggest a fairy tale romance. The film, which won the U.S. documentary grand jury prize at Sundance, is simply a heartfelt look at two people facing and hopefully overcoming considerable problems.
“The more she watches the film and travels with Dan and me to promote it,” says Santini, “the more ownership she takes over the project which is what we wanted. To feel proud and confident enough in it to be the face of the film instead of having Dan and me speak on behalf of her.”
You will be amazed at the level of intimacy the filmmakers behind “Dina” are able to achieve. The story of a middle-aged woman preparing to marry her boyfriend benefits from the level of access awarded to the directors but is deepened by the fact that the bride and groom are on the autism spectrum.
This cinéma vérité doc follows Dina Buno and Scott Levin. She is a 48-year-old widow with Asperger’s, obsessive-compulsive disorder and depression, who has lived on her own for decades. He also has Asperger syndrome, and is a security guard at Walmart who loves singing and still lives at home. We witness their courtship as they get to know one another on a day trip to a New Jersey boardwalk and navigate through complicated feelings regarding his disinterest in sex—she gives him a copy of “The Joy of Sex” to help fire his imagination and encourages foot rubs—and their future life together. A revelation regarding Dina’s traumatic past sheds light on her hypersensitive temperament.
“Dina” is an up-close-and-personal look at this couple. Co-director Daniel Sickles (with Antonio Santini) is a family friend, which could explain the level of informality we see on screen. Whatever the reason, “Dina” offers a fascinating character study that looks at romance and how intimacy blossoms for these two.
Sickles and Santini are flies on the wall, uninvolved in the story and as such allow the story to play, warts and all. After the end credits roll there may or may not be a happy ending for Dina and Scott and no effort is made to suggest a fairy tale ending. “Dina” is simply a heartfelt look at two people facing and hopefully overcoming considerable problems.
You can take the boy out of Canada but you can’t take Canada out of the boy.
When I meet with Brampton, Ont.-born Michael Cera to chat about his new project, The Lego Batman Movie, he’s having lunch, eating a Waldorf salad.
The 28-year-old began his career in Canada with a Tim Hortons summer camp commercial before decamping to the United States, finding fame with Arrested Development and a string of successful movies like Superbad and Juno, but has retained his disarming Canadian politeness.
I walk in, he jumps up, “Do you want anything? Cheese? A coffee? How are you doing?”
Declining the snacks and coffee I ask him about the two-year process of recording vocal tracks to play half of the Dynamic Duo, Batman’s ward Dick Grayson, a.k.a. Robin.
“You are only focussed on your voice,” he says on the difference between live action and animation. “That gives you a certain amount of freedom to experiment in ways that you wouldn’t normally. And there’s nobody around. All self-consciousness that exists on a set where there is all this infrastructure put in place to set the camera up and point it at you and then you have to deliver. All that pressure is not there when you’re in the studio. They just press record. They’re not even recording on tape, it’s digital. You just go and experiment and fail as many times as you want.
“As far as improvisation goes, it was very loose on this. The script is good and he jokes at work and everything … you feel encouraged and take chances.”
The Lego Batman Movie is part parody, part homage to the Batman origin story. When we meet Batman, played by Cera’s former Arrested Development co-star Will Arnett, he may have outlived his usefulness as Gotham’s main do-gooder. What does a Caped Crusader do when the city no longer needs a vigilante crime fighter? Alfred Pennyworth, the superhero’s loyal butler and legal guardian suggests, “It’s time to face your greatest fear, being part of a family again.” Enter Dick Grayson.
“There’s a great foundation there,” Cera says about Batman’s backstory. “I think the reason Batman keeps getting rehashed is because it is a great core story with this great character and the world around him. There is a lot to play off of in that.”
It sounds heavy, but this isn’t Christopher Nolan’s long dark night of the superhero soul. “The best thing I can say about the tone is that it is a little like Chuck Jones,” Cera says. “Joke. Joke. Joke. It has that kind of rhythm.”
Cera’s willingness to be irreverent with the Batman mythology isn’t a lapse of manners — he is Canadian after all — it’s because, “I’m not an overly enthusiastic Batman fan. I didn’t grow up with the comics. Comics just didn’t land with me. I was really into cartoons and Nintendo. That was where my head was at. I loved watching the Batman movies but I don’t live and breathe it for some reason.”
“The Lego Batman Movie” movie begins with a pretty good joke. Over a darkened screen Batman’s raspy voice (Will Arnett) intones, “All important movies begin with black.” Unfortunately as the film goes on it becomes clear that it wasn’t just a gag, that director Chris McKay is trying to make an important, capital I, movie.
The movie kicks off with a wild opening sequence as The Joker (Zach Galifianakis) tries to destroy Gotham City. He brings along some super villains you have heard of, like Two Face and Harley Quinn, and some you haven’t like Gentleman Ghost and Condiment King. Mayhem ensues until Batman shows up. The resulting showdown sets up a familiar theme: without the bad, the good doesn’t exist.
“I’m fine with you fighting other people,” says The Joker, “but when people ask who your favourite villain is… You say Joker.”
The Caped Crusader refuses to acknowledge any bond with his nemesis. “Batman doesn’t do ships… as in the relationships.”
Later, police commissioner James Gordon retires, putting his daughter Barbara Gordon (Rosario Dawson) in charge. As the new commissioner she brings in a new crime clan called It Takes a Village… Not Batman. “Despite all the work he’s done for us Gotham is still the most crime ridden city on earth,” she says.
As Batman’s importance to Gotham lessens The Joker changes the dynamics of their relationship by surrendering, thereby rendering Batman completely useless. “I’m off the menu, you won’t get to fight any of this anymore!”
But what does Batman do with the city no longer needs a vigilante crime fighter? Alfred Pennyworth, the superheroes loyal butler and legal guardian suggests, “It’s time to face your greatest fear… Being part of a family again,” but will the man who says, “I don’t feel anything emotionally except rage,” be able to embrace a home life?
Infected by some disease as the live action DC films “The Lego Batman Movie” is not content to simply be what it is, a silly movie about superheroes made of toy bricks. Instead it stretches to be a feel-good movie about the importance of relationships and friendships, even between friend and foe. What should have been a straight up parody becomes something else. It does poke gentle fun at Marvel and DC’s habit of squishing far too many characters in their movies and The Joker’s “unnecessarily complicated bombs,” but the main “you mean nothing to me, no one does” storyline could have been lifted from any of Christopher Nolan’s dissections of Batman psyche. It’s more tortured Batman this time but with 100% more jokes then anything Zack Snyder could ever imagine.
There are jokes and even a song or two—although nothing as catchy as “Everything Is AWESOME!!!” by Tegan and Sara—but this is more about relationship feels than it is about belly laughs. Sure, it’s funny when Batman sings, “I’ll turn Two Face into black and blue face,” but the rest doesn’t feel irreverent enough. This is a new world, a Lego universe where anything is possible so why is Batman still clinging to the anger generated by his parent’s death? Arnett has fun with the voice, giving the character an almost Trumpian level of self-regard, which raises a giggle or two but overall this doesn’t feel like a parody of Batman as much as it does a fuzzy carbon copy.
“The Lego Batman Movie” zips along at a tremendous pace with in-your-face animation and some jokes but the overwhelming amount of CGI muffles some of the charm of the original, creating a less organic, homemade feel. The first contained loads of CGI as well but disguised it better. The result is a hybrid, an animated action movie that both parodies and pays tribute to the comics and comic movies that inspired it.
