“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 Two! Binge worthy, not cringe worthy recommendations from Isolation Studios in the eerily quiet downtown Toronto. Three movie choices to stream, rent or buy that will help fill the minutes until we can comfortably cough in public once again. And no, “Electric Boogaloo” is not one of the selections.
Paul Dano needs no introduction as an actor. In front of the camera the Golden Globe nominee has impressed with powerful performances in films like “There Will Be Blood,” “Little Miss Sunshine” and “Love & Mercy.” He brings a similar quiet intensity to his directorial debut, “Wildlife,” a dysfunctional family drama adapted from Richard Ford’s disquieting 1990 novel of the same name.
Set in 1960s Montana, the story focuses on the frustrated Jeanette Brinson (Carey Mulligan), alcoholic husband, Jerry (Jake Gyllenhaal), and 14-year-old son Joe (Ed Oxenbould). When Jerry gets fired from his golf pro country club gig he’s forced to take a job fighting wildfires, a dangerous occupation that only pays $1 an hour. With her husband gone most of the time Jeanette wanders, beginning an affair with car dealership owner Warren Miller (Bill Camp). “You’re mother is a very passionate dancer,” says Miller. “Did you know that Joe?” With his parents occupied Joe becomes a de facto parent to them both, struggling to keep them together as their relationship hits the rocks.
Dano, who co-wrote “Wildlife” with actress and significant other Zoe Kazan, provides an elegant showcase for Mulligan’s soul-searching performance. The story of this quickly unraveling family is meted out slowly, deliberately low key, in an effort to allow the audience to get under the skin of the three main characters. Bonded by blood and marriage they struggle with unity in an era of change.
At the heart of it is Mulligan. As an Eisenhower Era wife and mother she projects an aura of calm but is actually a churning vessel of emotions; a person clamouring for more. The cracks in her Norman Rockwell façade are beginning to show. “Do you like Mr. Miller?” asks Joe. “Not very much,” she replies. “Things do happen around him though. He has that feel about him.” Mulligan breathes life into Jeanette, subtly and believably portraying a woman coming of age.
Oxenbould as Joe, the son forced to become both protector and confidant to his mother—“This is my desperation dress,” she says to him, modelling a revealing frock—is also very good, effectively showing us the dissolution of his parent’s bond through his eyes. His character doesn’t grow, he is an observer, a conduit for the audience’s sympathy.
Despite the title “Wildlife” doesn’t exactly kick up its heels. It’s a chilly tale with a few unnecessary detours—like Joe’s after school job and his friendship with a female classmate—but its story of survival hits home.
The old maxim, “Write what you know,” holds true for comedian and actor Kumail Nanjiani and writer Emily V. Gordon who turned their personal relationship into the new film “The Big Sick.”
When we first meet Kumail (“Silicon Valley’s” Kumail Nanjiani) he is an aspiring comic and Uber driver with a traditional Muslim family who wants him to settle down and give up stand up. He strings them along, agreeing to dinners with women his mother (Zenobia Shroff) chooses for him—“Be a good Muslim and marry a Pakistani girl,” she says—while pretending to be a dutiful son, but his passion is comedy.
One night, at an open mic in a small club, an audience member interrupts his show. Later he confronts her at the bar. “You shouldn’t heckle comics,” he says. “I didn’t heckle, I woo-hooed,” says Emily (Zoe Kazan) and the flirting begins.
What begins as a casual fling—“I’m not really dating right now,” she says. “School and work. A lot on my plate.”—soon turns serious as they both admit they are overwhelmed by one another. Still, he is reluctant to meet her parents and disappears once a week for dinners with his family and his mother’s meet-and-greets with prospective wives.
Kumail loves Emily but can’t find the way to tell his parents he is dating someone outside their faith. When Emily discovers this she asks, “Can you imagine a world where we end up together?” Unsatisfied with his namby-pamby answer, she breaks up with him.
Months later he’s woken from a deep sleep. He’s told Emily is in the hospital and needs someone to stay with her. She has a massive infection in lungs, needs to be put in a medically induced coma and until her parents, Beth (Holly Hunter) and Terry (Ray Romano) arrive, Kumail has to make some difficult decisions.
Calling “The Big Sick” a rom com doesn’t do it justice. It is much more than that.
There are no major revelations here, just a carefully balanced look at the immigrant experience—“ The rules don’t make sense to me,” Kumail says to his parents. “Why did you bring me here if you didn’t want me to have an American life?”—ambition, family and the nature of true love. It’s funny, but not laugh-a-minute funny, just comfortably charming as it navigates the cultural and medical landmines in Kumail and Emily’s path.
It works so well because of the chemistry between the leads. Kumail and Emily do the heavy lifting for the first half until she becomes ill. They spark in the most natural and sweetest of ways as their relationship goes from casual to serious, from good to bad.
The second half explores the chemistry between Kumail and Beth and Terry. What begins as a contentious relationship—“You don’t need to commit to anything here,” snarls Beth. “You didn’t while she was awake and you don’t have to now.”—to heartfelt and loving. Hunter and Romano bring considerable warmth as well as honest humour, finding a balance between the drama of the situation and the rom com elements.
Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
The old maxim, “Write what you know,” holds true for comedian and actor Kumail Nanjiani and writer Emily V. Gordon who turned their personal relationship into the new film “The Big Sick.”
When we first meet Kumail (“Silicon Valley’s” Kumail Nanjiani) he is an aspiring comic and Uber driver with a traditional Muslim family who wants him to settle down and give up stand up. He strings them along, agreeing to dinners with women his mother (Zenobia Shroff) chooses for him—“Be a good Muslim and marry a Pakistani girl,” she says—while pretending to be a dutiful son, but his passion is comedy.
One night, at an open mic in a small club, an audience member interrupts his show. Later he confronts her at the bar. “You shouldn’t heckle comics,” he says. “I didn’t heckle, I woo-hooed,” says Emily (Zoe Kazan) and the flirting begins.
What begins as a casual fling—“I’m not really dating right now,” she says. “School and work. A lot on my plate.”—soon turns serious as they both admit they are overwhelmed by one another. Still, he is reluctant to meet her parents and disappears once a week for dinners with his family and his mother’s meet-and-greets with prospective wives.
Kumail loves Emily but can’t find the way to tell his parents he is dating someone outside their faith. When Emily discovers this she asks, “Can you imagine a world where we end up together?” Unsatisfied with his namby-pamby answer, she breaks up with him.
Months later he’s woken from a deep sleep. He’s told Emily is in the hospital and needs someone to stay with her. She has a massive infection in lungs, needs to be put in a medically induced coma and until her parents, Beth (Holly Hunter) and Terry (Ray Romano) arrive, Kumail has to make some difficult decisions.
Calling “The Big Sick” a rom com doesn’t do it justice. It is much more than that.
There are no major revelations here, just a carefully balanced look at the immigrant experience—“ The rules don’t make sense to me,” Kumail says to his parents. “Why did you bring me here if you didn’t want me to have an American life?”—ambition, family and the nature of true love. It’s funny, but not laugh-a-minute funny, just comfortably charming as it navigates the cultural and medical landmines in Kumail and Emily’s path.
It works so well because of the chemistry between the leads. Kumail and Emily do the heavy lifting for the first half until she becomes ill. They spark in the most natural and sweetest of ways as their relationship goes from casual to serious, from good to bad.
The second half explores the chemistry between Kumail and Beth and Terry. What begins as a contentious relationship—“You don’t need to commit to anything here,” snarls Beth. “You didn’t while she was awake and you don’t have to now.”—to heartfelt and loving. Hunter and Romano bring considerable warmth as well as honest humour, finding a balance between the drama of the situation and the rom com elements.
Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
Then, little by little, filmmakers began to chip away at the formula, making rom coms with a twist. There was a “Warm Bodies,” a zombie rom com and Joseph Gordon-Levitt’s one-two punch “500 Days of Summer” and “Don Jon,” among others. Now there’s “The F Word,” a fresh and funny take on romance and the nature of love.
Called “What If” in the United States where the “F Word” title was seen as too salacious, (in the movie the “F” stands for friend), it’s the story of Wallace (Daniel Radcliffe), a loser in love who meets Chandry (Zoe Kazan), the girl of his dreams, at a party. She’s charming, pretty, funny and has a live-in boyfriend. Like Harry and Sally before them, they must discover if men and women can just be friends.
Enchanting, whimsical and sweet are words I could use to describe “The F Word,” and the film earns each and every one, but it is also more than that.
Director Michael Dowse doesn’t allow the tone to get sugary and slip into saccharine mode. He’s aided by a smart and funny script by Elan Mastai, but it’s Radcliffe and Kazan that draw us in. The pair has chemistry to burn and their conversations have a ring of truth that doesn’t feel contrived or rom commy.
They’re supported by an able cast, including Megan Park in a star-making turn as Chantry’s promiscuous sister and “Girl’s” alum Adam Driver as Wallace’s best friend Allan.
There are things about Daniel Radcliffe that you probably already know.
Thanks to the Harry Potter series he’s one of the most recognizable actors on earth. He is 5’5” tall, a published poet and is the youngest person, other than royalty, to be honoured with a portrait in the National Portrait Gallery.
Here’s what you don’t know. He’s also remarkably reliable. In 10 years of shooting the Potter pictures, he only missed two days — and he’s polite.
For this interview he turned up early (when was the last time an international superstar was on time?) and greets your reporter with a hearty, “What a lovely surprise.”
He offers to help with my crossword — “I’m one of those people in life who probably really annoys serious crossword doers. I’m one of those people who comes up behind and goes, ‘That one you’re about to get? I’ve got it’” — and apologizes when he almost lets a curse slip.
He is not your typical superstar and his new romance, The F Word, is not a typical rom-com.
The 25-year-old actor says the story of a young man hopelessly in love with his best friend (Zoe Kazan) “has things a lot of films want, that combination of being sarcastic and quick and funny without being negative or cynical.”
“Zoe says a great thing,” he says of co-star Kazan.
“She talks about how in most romantic comedies the people meet and then there’s a getting-to-know-you montage, then they do whatever they’re going to do for the rest of the film. Our movie is basically that montage expanded to feature length, and that is what is so joyous about it. Those moments when you are getting to know someone and flirting with them, making them laugh, are so intimate and so exciting and so charged that as an audience it is wonderful to be allowed in to watch that and live through it again.”
Playing the lovesick romantic lead is something different for Radcliffe, who says he wants “to try my hand at as many things as possible.”
Since the final Potter film in 2011, he has appeared in everything from the beatnik drama Kill Your Darlings to the fantasy film Horns and will soon be seen as Igor in a new version of Frankenstein.
“Having played one character for a very long time,” he says, “that builds up in you a desire to play a number of different characters and do as much different work as you can. I want to show as many different sides of my ability as I can. Also I like that you can’t predict what my next thing is going to be.”
“Happythankyoumoreplease” is the kind of movie Woody Allen might have made if he wasn’t a genius. Set in New York City it’s a look at the lives of a series of interconnected late-twenty-somethings as they navigate their way from hipsterhood to adulthood.
Writer-director Josh Radnor (who also stars on TV’s “How I Met Your Mother”) is Sam, a freelance writer who “adopts” Rasheen (Michael Algieri), a boy he finds on the subway. The youngster, separated from his foster family, becomes entwined in the lives of Sam’s friends, bartender and singer (and love interest) Mississippi (Kate Mara), Mary Catherine and Charlie a painter and filmmaker played by Zoe Kazan and Pablo Schreiber and Annie (Malin Akerman), a friend with alopecia and her suitor Sam # 2 (Tony Hale). Together and separately they traverse the gap between where they are, and where they’re going.
“Happythankyoumoreplease” is a likeable but slight movie, the kind of indie flick you probably didn’t go see when it played for a week at your local theatre. It starts off strong as we get to know the characters but by the time Sam and friends, by sheer repetition, have burned the hipster mantra “awesome” into your deepest consciousness, the movie wears a little thin.
But what it lacks in real depth it makes up for in charisma. Radnor (who proves himself a capable director) makes for an interesting central character, funny and self-depreciating and Malin Akerman, as the hairless girl with self esteem issues, shines.
In the end if you scratch “Happythankyoumoreplease’s” cooler-than-cooler veneer there is an under coating of heart. It’s no Woody Allen, but worth a look.
