“She Said,” a new film about the New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) and their Pulitzer Prize-winning investigation of the sexual misconduct perpetrated by Harvey Weinstein, breathes the same air as other newsroom procedurals like “The Post” and “Spotlight.”
Based on the 2019 book by Twohey and Kantor, the movie begins with Twohey’s investigations into sexual assault allegations against presidential candidate Donald Trump and FOX TV commentator Bill O’Reilly. The success of those stories, which cost O’Reilly his lucrative television gig, led to a further investigation of abuse and institutional misogyny in the film business, specifically involving film producer Weinstein.
Working in tandem with Kantor, Twohey begins sorting through sexual abuse claims from Hollywood actresses like Rose McGowan (voice of Kelly McQuail) and Ashley Judd (as herself).
“If that can happen to Hollywood actresses,” Twohey says, “who else is it happening to?”
“She Said” follows their month’s long investigation, from the unwillingness of victims to go on the record for fear of repercussions and legal maneuvering to death threats and harassment.
“You have to imagine that every call you make is being recorded and you’re being followed,” warns New York Times executive editor Dean Baquet (Andre Braugher).
The story behind the story that rocked Hollywood is a boots-on-the-ground journalism movie. Director Maria Schrader and screenwriter Rebecca Lenkiewicz walk us through the uncovering of information, the dead-ends, the back-and-forth with reluctant sources in a slow-and-steady fashion. It’s a detailed portrait of the daily grind journalists go through to ensure accuracy and fairness.
Unfortunately, because this #MeToo story lived at the very center of popular discourse at the time and beyond, “She Said’s” efforts to document the making of the story contain very few surprises.
On an emotional level, however, the recollections of Weinstein’s victims, former assistant Zelda Perkins (Samantha Morton) and Rowena Chiu (Angela Yeoh), are as devastating as former Weinstein Co. Board Member Lance Maerov’s (Sean Cullen) comment—”Are you sure that this isn’t just young women who want to sleep with a movie producer to get ahead?” is maddening.
Schrader never sensationalizes “She Said,” but her retelling of the victimization of the powerless and Weinstein’s criminal behaviour is buoyed by some interesting choices, including using real audio of model Ambra Battilana Gutierrez and Weinstein as he tries to coerce her into joining him in his hotel suite. As the camera floats down a fancy hotel hallway, Schrader allows the tape to play to skin crawling effect. It is that level of detail and raw storytelling that captures the true horror of the case against Weinstein.
What to watch when you’ve already watched everything Part Five! Binge worthy, not cringe worthy recommendations from Isolation Studios in the eerily quiet downtown Toronto. Three movies to stream, rent or buy from the comfort of home isolation. Today, Ozark drug dealers, driving lessons and teenage rock n’ roll! #Winter’s Bone #TheRunaways #LearningToDrive
At the end of the chamber dramedy “The Party,” you’ll be glad you were able to be a voyeur and not actually attend the get-together in person. It’s “Who’s Afraid of Virginia Woolf?” with more characters and twice the vitriol.
Kristin Scott Thomas is Janet, the newly appointed U.K. Health Minister and host of the party. When we first see her she’s holding a gun on a guest. It’s that kind of party.
Cue the flashback.
Gathered together are Janet’s nearest and dearest. There’s sharp-tongued best friend April (Patricia Clarkson), her almost ex and professional life coach Gottfried (Bruno Ganz), Martha (Cherry Jones) and her pregnant partner Jinny (Emily Mortimer), jumpy financial whiz Tom (Cillian Murphy), whose cocaine and aforementioned gun add some spice to an already edgy situation. On the periphery, for a time anyway, is Bill (Timothy Spall), a ticking time bomb with a glass of champagne.
Director Sally Potter wastes no time in presenting her sophisticated but sour soiree. The verbal—and text—fireworks begin almost immediately. Sparkling dialogue drips from the mouths of these actors like liquid gold. When Jinny announces she’s have more than baby Martha says, “Triplets. People. Small people.” It doesn’t sound like much on paper, but the magic is in the delivery. The best lines are reserved for Clarkson, whose blunt, plainspoken words add fuel to the already hot state of affairs. “Although it may have a deleterious effect on your career I think you could consider murder,” she purrs at one point.
Canapés smoulder, truths are revealed—there will be no spoilers here—and lives are shattered, all in just 71 minutes. “The Party” is a delightfully nasty piece of work, artfully realized by Potter and delivered with just the right amount of venom by a dedicated cast.
In March 2016, production was shut down on Maze Runner: The Death Cure when star Dylan O’Brien was hurt filming an elaborate stunt. O’Brien, who rose to fame as the resident heartthrob on Teen Wolf, was strapped in a harness on top of a moving vehicle when he was suddenly thrown and struck by another car. WorkSafeBC reported his injuries included “concussion, facial fracture and lacerations.”
With production postponed, O’Brien’s publicist Jennifer Allen said, “His injuries are very serious and he needs more time to recover.”
Director Wes Ball tweeted, “Well, it’s been a whirlwind of emotions these past few days. I’ve been overwhelmed with feelings of anger and sadness and guilt. But, ultimately I find myself left with just a deep love and respect for Dylan. He is one tough cookie.”
The film, originally scheduled for release on Feb. 17, 2017, was delayed until this weekend.
O’Brien says he was “in a really fragile, vulnerable state,” and during the early days of his recuperation thought he may never act again. “I’ve gotten to a place where I’m OK with it,” he told People, “but it was definitely a rough year.”
The 26-year-old isn’t the first actor to be hurt performing a dangerous deed. Jackie Chan is famous for doing all of his own stunts — and breaking almost every bone in his body in the process — while Mission: Impossible 6 was recently put on hold after Tom Cruise broke his ankle attempting a jump across a building gap.
Sylvester Stallone broke ribs on the First Blood set and Charlize Theron herniated a disc in her spine while shooting Aeon Flux. Jason Statham joked about almost being drowned during the making of The Expendables 3, but it is serious business. How far should filmmakers go in the search for realism in stunts?
Industry insiders say the best way to keep everyone safe is to let the professionals do their jobs. Arnold Schwarzenegger, no stranger to films with wild action scenes, said, “With stunts, we have a rule that if you can get injured or killed, you let a stunt guy do it, because they are much more skilled in how to do the falls, being on fire, how to deal with all those things.”
Stunt driver Richard Lippert asserts that, stunt-wise, actors only have to know how to do three things: first, how to convincingly fake a punch; second, how to drive on and off a mark; and finally, how to credibly handle a weapon. Other than that, he says, “actors shouldn’t plan to do their own stunts no matter how ‘cool’ or exciting it may seem.”
Other than personal danger for the actor, one wrong move can shut down a set costing everyone their livelihoods. “Taking a job away from someone to stroke your ego is not a good way to become popular,” says Lippert.
CGI is another option, although many top directors prefer real action. After years of “following the CG evolution,” using computer-generated images to create beautiful animated films like Happy Feet and Babe: A Pig in the City, director George Miller used actual stunts performed by stunt men and women in his action epic Mad Max: Fury Road. “It was like going back to your old hometown and looking at it anew,” he said.
You may be forgiven if you, like me, thought about going to see “The Maze Runner: The Death Cure” to catch up on what happened to Shailene Woodley’s character Tris Prior.
Please be advised you have the wrong franchise.
Back in the day of the young-adult-in-peril dystopian trilogies screens were filled with good looking young actors fighting for survival in movies like “The Maze Runner” and “The Divergent Series.” Of the bunch of them only “The Hunger Games” distinguished itself as a go-to movie. The others kind of blended together to form one long post apocalyptic action series that resembled an anti-utopian Guess ad with automatic weapons and artfully tousled hair.
Since the new film, “Maze Runner: The Death Cure,” assumes you’re up to speed with the story I’ll save you the trouble of having to binge watch the first two movies.
Here’s the catch-up:
Based on a series of wildly popular YA books, 2014s “The Maze Runner” sees Thomas, played by “Teen Wolf’s” Dylan O’Brien, plopped into a 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.
The following year “The Scorch Trials” saw the virtuous Thomas and his gang take on the worst people in the world, W.C.K.D., a group of evildoers that appear to use an Instagram acronym as their name.
After a three-year wait Thomas is back with his stylishly dishevelled hair and chiselled face to break into The Last City, a fortified town where doctors work to find a cure for a plague that turns people into snarling zombies. The good doctors, including Thomas’s former flame Teresa (Kaya Scodelario), are experimenting on the Maze Runners who are immune to the disease. In particular Thomas wants to rescue Minho (Ki Hong Lee), a pal being mercilessly poked with needles in search of a cure.
“Maze Runner: The Death Cure” features lots of ominous music, attractive stars in motion, dusty dystopian landscapes and something gets blown up or shot at every 10 minutes or so. What’s missing is the emotional content that might make you care about Thomas and Company. The movie really wants you to love the characters. The camera endlessly caresses their determined and often tearstained faces but the ham fisted big emotional moments are as empty as the jars of gel thrown in the trash after being used to poof up the cast’s hair. The characters are mannequins mouthing generic dialogue—speeches begin with, “I knew I know you have no reason to trust me,” and every few minutes someone says, “We have to get out of here!”—for two hours and twenty minutes. Think what else you could do with that time!
Ben Kingsley is an Academy Award winner and one of the most recognizable faces in movies. He is an actor, and a very good one but he prefers to be called something else.
“I’m sure I am a storyteller,” he says. “I’m sure that is the right place for my DNA to be.”
Whether he is playing Darwan in this weekend’s Learning to Drive or Mohandas Gandhi, Itzhak Stern in Schindler’s List or Sexy Beasts’ Don Logan, he strives to tell stories that get under the audience’s skin.
“Something happened to me and it stayed with me forever,” he says. “I had the privilege of playing Hamlet for the Royal Shakespeare Company and I was walking and it was always in my head. It is a very all-consuming role.
“I was in Snitterfield, an open field just outside Stratford Upon Avon. A lovely young woman was on the opposite side of the field and seemed to be walking towards me, so I decided to tack to my right to avoid her feeling that I was intruding on her space. She tacked to her left. In other words, she mirrored me. Then I went the other way and she mirrored me. She was determined to meet me in the middle of this field. Then face-to-face, she said, ‘I saw Hamlet last night. How did you know about me?’
Something (I did) must have gone right in there (he points to his heart), straight through the sternum and said, ‘I know.’ That’s the connection.”
In his new film Kingsley makes a connection with co-star Patricia Clarkson. She plays Wendy, a divorcee who hires Darwan to teach her how to drive so she can travel to upstate New York to visit her daughter. As she learns to navigate Manhattan’s mean streets, they form a bond, teaching one another about life and love.
“I think in a really beautifully fashioned play or screenplay you have a feeling that the gods look down and say, ‘I’m going to bring you two together.’ I love that idea in mythology that the gods look down and send somebody to somebody. It is only through very unfortunate, heartbreaking circumstances that she finds herself in a taxi.
Heartbroken. I am driving a heartbroken woman. And I loved in the way, as in all great stories, the little coincidences are the gods guiding and bringing people together for some purpose. Here it is not for a great romance, it is to heal.”
The are driving lessons in “Learning to Drive,” a new film starring Patricia Clarkson and Sir Ben Kingsley, but learning how to parallel park or merge into traffic isn’t the point of the story.
Clarkson is literary critic Wendy, a recent divorcee who hires Darwan (Kingsley) to teach her how to drive so she can travel to upstate New York to visit her daughter (Grace Gummer). Still stinging from the separation she learns to navigate Manhattan’s mean streets, as the unlikely pair form a bond, teaching one another about life and love.
“Learning to Drive” is a Prius hybrid, a well-meaning movie that isn’t as flashy as other contemporary models. It is, however, a smooth ride, fuelled by the lead performances. The lessons learned aren’t revelatory—“It doesn’t matter what is going on in your life out there,” says Darwan, “you must shut it out. When you are at the wheel of a car, that is all there is. Your life right now.”—but because the characters are so compelling the simple metaphors kick into gear.
Clarkson is a live wire, a fiery woman torn between a lust for life and the shattering realization that in the wake of the divorce her life is unalterably changed. Kingsley brings warmth, vulnerability and charm that nicely mirrors her heartbreak.
“Learning to Drive” is a touching movie that isn’t so much about the destination—frankly that part is a mild let down—but about the journey and the words. The pleasure of the film is taking the trip and listening in to these two professionals deliver them.
Patricia Clarkson’s new thriller, October Gale, sees her working with frequent collaborator Ruba Nadda and starring opposite Callum Keith Rennie, Tim Roth and Scott Speedman.
“Can you imagine I got to be in a film with those men?” she says. “I arrived on the set and said, ‘Oh my God Ruba I have died and gone to heaven.’ Not only are they beautiful men, physically, but if you threw all their handsomeness out the window, they’re gorgeous actors. First class, top of their game, singular actors.”
The New Orleans native, an Academy Award nominee for Best Supporting Actress for her performance in Pieces of April, plays a doctor mourning the loss of her husband. For solace she retreats to a remote cottage in Georgian Bay. Her time of quiet reflection and healing is disrupted, however, by the appearance of a mysterious and seriously injured young man, played by Speedman.
October Gale is the second collaboration between Clarkson and director Ruba Nadda.
“Ruba and I are very similar gals,” Clarkson says. “We like our hair and our lipstick and our high heels. I have four older sisters and Rubba is truly like the little sister I never had. We are like family. We have a second language now. It’s kismet. I think I’m just the luckiest gal to know her and to have her so deeply in my life; in my professional life, in my personal life. I know her family now. I know her sisters. I know her parents. She knows all my friends in New York City and Los Angeles. We’re just family and yet we are able to separate all of that when we enter the workplace. We’re both workhorses. We’re very high energy, we don’t take no for an answer, we’ll fight to the death. She’s Syrian-Palestinian and I’m Southern, so watch out.”
Their first film together, Cairo Time, was the Best Reviewed Romance on Rotten Tomatoes for 2010 and soon they will begin work on a series for HBO. Clarkson says her on-set relationship with Nadda is based on respect and the director’s unique vision.
“Ruba has the courage to make films that people want to make,” she says, “the kind of movies auteurs think they’re making but she actually has the courage to do it.”
October Gale, for instance, Clarkson says, doesn’t have “a traditional thriller pace. It’s Ruba Nada pace.”
“October Gale,” a new film from “Cairo Time” director Ruba Nadda, is a hybrid of romance and thriller that cares about it’s characters more than it does about moving the audience to the edge of their collective seats.
Patricia Clarkson is Helen Matthews, a Toronto doctor grieving the loss of her husband (Callum Keith Rennie). For solace she retreats to a remote, picturesque cottage in Georgian Bay. Her time of quiet reflection and healing is disrupted, however, by the appearance of Will, a mysterious and seriously injured young man, played by Scott Speedman. She plays nurse, they talk and flirt and soon Helen finds herself drawn to the stranger. Trouble is, Tom (Tim Roth), the man who wounded Will to begin with, has every intention of dropping by to finish the job.
“October Gale” has all the elements of a thriller—people with mysterious pasts meet in a remote location on a dark and stormy night—but Nadda subverts the conventions of the genre by taking her time getting to the thrills. Instead she builds the tension carefully, walking through Helen’s grief in a beautifully played first act. Clarkson is at her best here, subtly and beautifully showing not only her loss but also her resiliency in the face of sorrow. Once we get to know Helen, William appears adding another layer to the story. By the time we get to the thriller aspect of “October Gale” Nadda makes sure we care for and are invested in the characters.
“October Gale” isn’t a typical thriller. It’s a thriller without many thrills, but lots of soul. Nadda does not slavishly try and ape Hitchcock or the other masters of the genre, but follows her heart instead.
