Fast reviews for busy people! Watch as I review three movies in less time than it takes to make your bed. Have a look as I race against the clock to tell you about the dark comedy “The Christophers,” the east coast crime drama “Little Lorraine” and the Montreal coming-of-age “Mile End Kicks.”
Watch the whole thing HERE!
I join CTV NewsChannel anchor Scott Hirsch to talk about the recently announced “Top Gun 3” and new releases in theatres, including the dark comedy “The Christophers,” the east coast crime drama “Little Lorraine,” the documentary “Lorne” and the Montreal coming-of-age “Mile End Kicks.”
Watch the whole thing HERE!
SYNOPSIS: In “Little Lorraine,” a new true crime drama starring Stephen Amell, Sean Astin, J Balvin and Stephen McHattie, a seaside fishing village in Nova Scotia becomes the center of an international cocaine smuggling ring in the 1980s.
CAST: Stephen Amell, Sean Astin, J Balvin, Matt Walsh, Rhys Darby, Stephen McHattie, Steve Lund, Sugar Lyn Beard, Hugh Thompson, Mike Dopud, Kaelen Ohm, Joshua Close, Auden Thornton, Manuel Rodriguez-Saenz, Mark A. Owen, Dax Ravina, Luis Javier, David Mortimer. Directed by Andy Hines.
REVIEW: Inspired by true events, “Little Lorraine” is a crime story set amid Cape Breton’s post-coal mining difficulties, that authentically depicts how far desperate people will go to support their families.
As the movie begins, hard times have come to Cape Breton’s tight-knit blue-collar community Little Lorraine. A faltering fishing industry coupled with a coal mine explosion that killed ten men and led to the closure of the local mine has left many of the community’s 60 inhabitants unemployed, desperate for work.
To keep food on the table former miner Jimmy (Stephen Amell) and two locals, Tommy (Joshua Close) and Jake (Steve Lund), accept an offer of good-paying jobs on a lobster boat run by Jimmy’s shady great-uncle Huey (Stephen McHattie).
Unfortunately, the honest work is anything but.
Turns out Huey’s boat and the secluded town are part of a global cocaine smuggling ring, with Jimmy, Tommy, and Jake unknowingly moving the drugs. The operation distributes cocaine via funeral homes, hiding it in coffins.
Faced with the choice of breaking the law to feed their families, Jimmy and his friends debate what to do as an Interpol agent, played by Colombian musician J Balvin, closes in.
Rich in atmosphere, “Little Lorraine” paints a vivid picture of a town and its people plunged into crisis.
Urgent and realistic, it succeeds because isn’t just about the crime, it’s about the people.
There’s loads of suspense, but director Andy Hines (who co-wrote the script with Adam Baldwin) makes sure that the cocaine smuggling takes a backseat to the effect of Uncle Huey’s scheme rather than the scheme itself.
As Jimmny, Amell leaves behind the high gloss of his best-known role as the crime fighting Green Arrow on the CW superhero series “Arrow” to find a welcome grittiness that serves the everyman character and the story. A man roiled by guilt, his self-destructiveness cuts through his stoicism to reveal the moral dilemma at the heart of the film.
As good as Amell is in the movie, it’s McHattie who steals scenes. A charismatic rogue, he drips menace through the malevolent smile on his face.
“Little Lorraine” is a stranger-than-fiction exploration of economic desperation, loyalty and moral dilemmas that finds the humanity in the situation without ever romanticizing or sensationalizing it.
“Target Number One” is a Canadian true crime story, but no, it’s not a retelling of Bill Miner’s railway robbery or the great Canadian Maple Syrup Heist of 2012. It’s a gritty look at investigative reporter Victor Malarek’s fight to uncover the truth behind a heroin bust orchestrated the Canadian Security Intelligence Service put an innocent man in jail.
A the-names-have-been-changed-to-protect-the-innocent retelling of the case of Alain Olivier, called Daniel Léger (Antoine Olivier Pilon) in the film, the movie stars Josh Hartnett as Malarek, a Globe and Mail reporter whose dogged determination reveals how the CSIS framed Léger, sending him to a Thai jail for eight years. “I’d be very careful before you print anything about this case,” a high-level cop tells Malarek.
Telling the tale on a broken timeline, director Daniel Roby skip through the details, building both sides of the story simultaneously until the two threads meld, but “Target Number One” isn’t an action movie. There is tension as Léger‘s situation worsens but the compelling part is Malarek’s search for the truth. It’s a procedural the takes its time putting the puzzle pieces in place.
Hartnett does a good impression of the driven reporter and Steven McHattie turns in another of his trademark edgy roles as Frank Cooper, a crooked RCMP officer, but it’s the work of Jim Gaffigan and Pilon that are memorable.
Gaffigan ditches his affable stand-up comic persona to create a medicine portrayal of Glen Picker, a drug dealer and police confidant.
As Léger, Pilon as an arc. From lowlife criminal, whose big score is ripping off a gas station for a full tank, to someone who can navigate survival in a squalid Thai prison, he’s simultaneously vulnerable and edgy and that makes him the film’s most memorable character.
“Target Number One” is a low-key thriller, short on action but long on intrigue.
In theatres now:
Palestinian actor/director Elia Suleiman has made a career of exploring his national identity. In his new film, “It Must Be Heaven,” he continues on that trajectory by visiting New York and Paris. In one scene Suleiman, starring as a character known as ES, pitches the very movie we’re watching to a Parisian film producer (Vincent Maraval) who rejects the idea with a scoff. “It’s not Palestinian enough,” he says. “It could take place anywhere, even here,” which, as it turns out, is the entire idea behind the story.
ES is a deadpan, mostly silent Mr-Bean-by-way-of-Charlie-Chaplin character who lives in Nazareth. He’s the star of a series of vignettes, each featuring slice-of-life situations. A neighbour steals lemons from the tree in his yard. “Don’t think I’m stealing,” the man says. “I knocked on the door, but nobody was there.” In New York he encounters heavily armed people in a Brooklyn grocery store—complete with ammo belts spilling out of baby carriages—and while in Paris there’s a sparrow who flies through his Paris window and hops on his keyboard as he tries to write.
Each disconnected story fragment uses surreal humour as an allegory to illuminate the politics and conflicts of his home but the further he travels the more he realizes that the ills of his homeland are universal ailments, not specific to his home.
“It Must Be Heaven” is a finely crafted, unique movie that revels in its absurdity. Suleiman is a keen observer, both as a director and the film’s star. He spends a great deal of the movie watching the action around him, inviting us, as the viewer, to watch and learn with him. He welcomes us to observe and decode the situations with him, gently easing us into his new, expanded world view.
“Dreamland,” Bruce McDonald’s eleventh film now on VOD, is a chaotic vision that mixes and matches contract killers, doppelgängers, human trafficking and a vampire wedding in a surreal stew of midnight madness ingredients.
The film’s strange tone is established early, with Stephen McHattie cast in two roles, Johnny Deadeyes, a hitman with a heart of gold and The Maestro, an amoral, junkie jazz trumpet player. The action begins when Johnny’s boss, gangster Hercules (Henry Rollins), upset by a personal slight, orders him to cut one of Maestro’s fingers off before a gig at a wedding thrown by crime doyenne The Countess (Juliette Lewis) and her vampire sibling The Count (Tómas Lemarquis). It seems The Count is to wed the daughter of one of Johnny’s neighbors, a young girl supplied courtesy of Hercules’ human trafficking business. The situation gives Johnny pause, and one attempted double-cross later, (MILD SPOILER AHEAD) the wedding erupts into the kind of violence that would give “Games of Thrones’” Red Wedding a run for its bloody money.
As the title would suggest “Dreamland” operates on its own indefinable wavelength. It is wonderfully weird, a movie that exists in some sort of twilight zone where logic doesn’t matter. McDonald, no stranger to genre flicks, embraces the weirdness, creating a world where the mundane and the absurd go hand in hand. Keeping it from spinning out of control is McHattie who grounds his two world-weary characters with primal thoughts regarding their mortality. They fall on either side of the will-to-survive divide, but that little bit of humanity plays nicely against the loud-n-proud performances from Lewis and Rollins. Both are fun and energetic and both feel like they stepped out of a comic book compared to McHattie’s work, which, while still outrageous, feels more anchored to reality.
It makes sense that one of “Dreamland’s” lead characters is a jazz trumpet player because McDonald has made a Bebop movie, a deconstructed genre flick with a fast tempo and unexpected story angles with only occasional references to the expected genre tropes. This quote from cornetist, pianist, and composer Bix Beiderbecke about the music he loved could also apply to “Dreamland.” “One thing I like about jazz, kid,” he said, “is that I don’t know what’s going to happen next. Do you?” One thing is for sure about “Dreamland.” You won’t know what comes next.
Family reunions are often fraught with tension. Old wounds are opened by familiarity bred by contempt but few reconciliations have turned as dark and twisted as the father and son get together in Elijah Wood’s new thriller “Come to Daddy.”
Wood is Norval, a self-described music industry big deal, raised by his single mother in Beverly Hills. After receiving a letter from his estranged father requesting a face-to-face meeting, he makes the trip to a remote California home to meet a man he barely knows. He’s met by Brian (Stephen McHattie), a flinty, drunken older man with a sharp tongue. When Brian tries to impress the older man by dropping Elton John’s name, Brian calls him out in an embarrassing and cruel way. The situation doesn’t improve with the introduction of alcohol and soon the situation becomes dangerous.
That’s it! No spoilers here. Trust me when I say that unless your family gatherings include torture and excrement dripped shivs, you haven’t experienced a father and son situation quite like this before.
Darkly humorous and disquieting, “Come to Daddy” is a gonzo thriller that revels in the off-kilter nature of the escalating intrigue of the story. As the running time clicks through to the end credits the stakes for Noval surge in increasingly outrageous ways. It’s all good, gory fun that plays up the absurdity of the situation while still maintaining the complexity of the father-son relationship. It’s a mish mash of revenge, squeamish violence and surreal family drama that should please midnight madness fans but leave others reaching for a barf bag.
“Crown and Anchor,” co-written by and starring “Arrow” actor Michael Rowe, is billing itself as a “punk rock drama.” Shot on location in St. John’s Newfoundland, the crime drama embodies punk’s DIY ethic but don’t expect thrash and trash.
To stretch the musical analogy one step further, this well measured movie has more to do with the introspective stripped-down sounds of a band like Television than the loud ‘n fast rush of The Ramones. In other words, it’s like punk with guitar solos.
Rowe plays police officer James Downey, a disciplined man who fled Newfoundland years before to get away from his abusive alcoholic father Gus (Stephen McHattie). Returning for his mother’s funeral he must confront the past he left behind. Gus is safely tucked away behind bars but cousin Danny (Matt Wells) is loose, desperate for money and wallowing in booze and drugs. He’s also involved with some very bad people. Thrown back into the kind of family drama that forced him to leave the island years before, Downey stays put confront the past and present.
Don’t expect a tourism board approved view of Newfoundland and Labrador. “Crown and Anchor” is all about the dark corners. The echoes of the grief, tragedy and violence of James and Danny’s lives reverberate throughout. Director Andrew Rowe is unflinching and uncompromising in his presentation of the underbelly of St. John’s life.
Shot in long takes, often in uninterrupted close ups, “Crown and Anchor” showcases its strong performances. The leads, along with Natalie Brown as Danny’s wife Jessica and Robert Joy, bring authenticity to roles that could have veered into caricature.
“Crown and Anchor” is a slow burn. It takes its time getting where it is going, building tension with long scenes. Rowe gives his scenes room, allowing them to marinade. It’s old school indie, but in our era of frenetic editing it feels fresh and new.
THE BAD (in alphabetical order)
CHIPs: It’s a remake, a comedy and an action film and yet it doesn’t quite measure up to any of those descriptors. It’s a remake in the sense that writer-director-star Dax Shepard has lifted the title, character names and general situation from the classic TV show but they are simply pegs to hang his crude jokes on.
The Circle: While it is a pleasure to see Bill Paxton in his last big screen performance, “The Circle” often feels like an Exposition-A-Thon, a message in search of a story.
The Fate of the Furious: Preposterous is not a word most filmmakers would like to have applied to their work but in the case of the “Fast and Furious” franchise I think it is what they are going for. Somewhere along the way the down-‘n’-dirty car chase flicks veered from sublimely silly to simply silly. “The Fate of the Furious” is fast, furious but it’s not much fun. It’s an unholy mash-up of James Bond and the Marvel Universe, a movie bogged down by outrageous stunts and too many characters. Someone really should tell Vin Diesel and Company that more is not always more.
Fifty Shades Darker: Depending on your point of view “Fifty Shades of Grey” either made you want to gag or want to wear a gag. It’s a softcore look at hardcore BDSM (bondage, discipline, sadism and masochism) that spanked the competition on its opening weekend in 2015. Question is, will audiences still care about Grey’s proclivities and Ana’s misgivings or is it time to use our collective safeword? “Fifty Shades Darker” is a cold shower of a movie. “It’s all wrong,” Ana says at one point. “All of this is wrong.” Truer words have never been spoken.
The Mountain Between Us: Mountain survival movies usually end up with someone eating someone else to stay alive. “The Mountain Between Us” features the usual mountain survival tropes—there’s a plane crash, a showdown with a cougar and broken bones—but luckily for fans of stars Idris Elba and Kate Winslet cannibalism is not on the menu. Days pass and then weeks pass and soon they begin their trek to safety. “Where are we going?” she asks. “We’re alive,” he says. “That’s where were going.” There will be no spoilers here but I will say the crash and story of survival changes them in ways that couldn’t imagine… but ways the audience will see coming 100 miles away. It’s all a bit silly—three weeks in and unwashed they still are a fetching couple—but at least there’s no cannibalism and no, they don’t eat the dog.
The Mummy: As a horror film it’s a meh action film. As an action film it’s little more than a formulaic excuse to trot out some brand names in the kind of film Hollywood mistakenly thinks is a crowd pleaser.
The Shack: Bad things in life may be God’s will but I lay the blame for this bad movie directly on the shoulders of director Stuart Hazeldine who infuses this story with all the depth and insight of a “Davey and Goliath” cartoon.
The Snowman: We’ve seen this Nordic Noir before and better. Mix a curious lack of Oslo accents—the real mystery here is why these Norwegians speak as though they just graduated RADA—Val Kilmer in a Razzie worthy performance and you’re left with a movie that left me as cold as the snowman‘s grin.
Valerian and the City of a Thousand Planets: Movies like the high gloss crime thriller “La Femme Nikita,” the assassin mentor flick “Léon: The Professional” and outré sci fi opera “The Fifth Element” have come to define director Luc Besson’s outrageous style. Kinetic blasts of energy, his films are turbo charged fantasies that make eyeballs dance even if they don’t always engage the brain. His latest, “Valerian and the City of a Thousand Planets,” not only has one of the longest titles of the year but is also one of the most over-the-top, retina-frying movies of the year. Your eyes will beg for mercy.
Wonder Wheel: At the beginning of the film Mickey (Justin Timberlake) warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, writer, director Woody Allen uses every amount of artifice at his disposal—including cinematographer Vittorio Storaro’s admittedly sumptuous photography—to create a film that is not only unreal but also unpleasant. “Oh God,” Ginny (Kate Winslet) cries out at one point. “Spare me the bad drama.” Amen to that.
THE UGLY
Song to Song: I think it’s time Terrence Malick and I called it quits. I used to look forward to his infrequent visits. Sure, sometimes he was a little obtuse and over stayed his welcome, but more often than not he was alluringly enigmatic. Then he started coming around more often and, well, maybe the old saying about familiarity breeding contempt is true. In “Song to Song” there’s a quick shot of a tattoo that sums up my feelings toward my relationship with Malick. Written in flowery script, the words “Empty Promises” fill the screen, reminding us of the promise of the director’s early work and amplifying the disappointment we feel today. This is the straw that broke the camel’s back, the Terrence Malick movie that put me off Terrence Malick movies. I’ll be nice though and say, it’s not him, it’s me.
EXTRA! EXTRRA! MOST COUNFOUNDING
mother!: Your interest in seeing “mother!,” the psychological thriller from “Black Swan” director Darren Aronofsky, may be judged on your keenness to watch American sweetheart Jenifer Lawrence flush a beating heart down a toilet. Aronofsky’s story of uninvited guests disrupting the serene lives of a poet and his wife refuses to cater to audience expectations. “mother!” is an uncomfortable watch, an off-kilter experience that revels in its own madness. As the weight of the weirdness and religious symbolism begins to feel crushing, you may wonder what the hell is going on. Are these people guilty of being the worst houseguests ever or is there something bigger, something biblical going on?
Aronofsky is generous with the biblical allusions—the house is a paradise, the stranger’s sons are clearly echoes of Cain and Abel, and there is a long sequence that can only be described as the Home-style Revelation—and builds toward a crescendo of wild action that has to be seen to be believed, but his characters are ciphers. Charismatic and appealing to a member, they feel like puppets in the director’s apocalyptic roadshow rather than characters we care about. Visually and thematically he doesn’t push button so much as he pokes the audience daring them to take the trip with him, it’s just too bad we didn’t have better company for the journey.
“mother!” is a deliberately opaque movie. Like looking into a self-reflective mirror you will take away whatever you put into it. The only thing sure about it is that it is most confounding studio movie of the year.
