After the Credits Episode 161: November Preview

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We can almost see the finish line! Two episodes left before we hit a full year of previews!

We recorded this a week earlier than usual and the list of movies was a bit light at the time though as noted by Colleen (adead.horse), Dale (Letterboxd) and I (Letterboxd), awards season seems to be slow in starting this month but does kick off this with a number of awards bate offerings including the TIFF audience winner, a movie which, shockingly, we are all interested in seeing.

Yes, there is gleeful cheer at the mere thought of the Whister Film Festival which is only a few short weeks away! And we also sing the praises of local coffee shop Roastmastir’s.

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VIFF 2014 Review: Force Majeure

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Relationships can survive through a lot but there are some things that are just too difficult, if not impossible, to get over. In Force Majeure, writer/director Ruben Östlund tackles one of those issues with laser fire accuracy and a cense of humour that comes as a welcome, if unexpected, surprise.

Tomas, Ebba and their two kids are on a family vacation in France. The trip is going well and everyone is having a good time skiing, eating and relaxing. While having breakfast one morning, the family watches as a controlled avalanche quickly approaches the patio where their food has just arrived and rather than slowing down, it looks as though the avalanche is gaining speed and power and that it will take out the patio.

Chaos.

Everyone runs.

Tomas pushes someone out of the way to get to safety while Ebba’s first concern is to protect her children. And then the snow fog settles and everything is all right. People laugh off their near death experiences and Ebba and the kids go back to their breakfast and are soon joined by Tomas.

The event starts to recede from memory until, over dinner later than night, Tomas and Ebba retell the adventure to a friend. Ebba calls Tomas a coward for running off. He claims to remember the events differently. What follows in Force Majeure is nearly 90 minutes of Tomas and Ebba trying to talk their way out of this impasse that has clouded their relationship. They’re constantly arguing, they can’t see eye to eye on anything and their kids are convinced that mom and dad are going to get a divorce. There’s nothing like a near death experience to highlight who we are at our core but also to force us to reconsider and re-examine our relationships.

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VIFF 2014 Review: Welcome to Me

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It doesn’t happen often but once in a while, I come across a movie that makes me uncomfortable to watch. Usually they’re horror movies about people physically falling apart (I have an issue with decomposing bodies) but rarely does that feeling of discomfort weed its way into dramas and never mind comedies, but in the case of Welcome to Me, that’s exactly what happened and I loved every single uncomfortable second of it.

Directed by Shira Piven from a script from first time feature film writer Eliot Laurence, Welcome to Me stars Kristen Wiig as Alice Klieg, a borderline personality disorder suffering woman who spends all of her time at home accompanied by the droning sound of her television and endless VHS recordings of Oprah. Alice loves Oprah and when she wins $87 million dollars in the state lottery, she convinces herself that the thing to do is to buy herself a TV show aptly titled “Welcome to Me.” What’s it about? Well, it’s about Alice and all the people she hates and the things that make her tick which turn out to be a wide ranging and often wildly inappropriate. She hires women to play herself in skits from her youth, she records and airs session with her shrink and perhaps most stomach turning, she neuters dogs on television. Yeah, she’s crazy and the network owners who put her on the air only care about the fact that they’re getting paid. A lot.

Welcome to Me is really funny but it’s feel bad funny. Alice is a sad individual and I felt kind of creepy laughing at her antics but they’re just so ridiculous the laughter escapes. More often than not its nervous laughter – how else does one respond to watching a woman with little training perform surgery on her pet on national TV? – but it’s laughter none the less and truth is that Wiig earns that laughter. She’s been working in the fringes of dark comedy for some time but none of her roles have come close to her performance here which is nothing short of spectacular.

Welcome to Me is really funny but don’t be fooled because it also goes to some very, very dark places and provides a fascinating insight into a woman suffering from mental illness and how that affects the people around her.

Yes, it is an occasionally uncomfortable watch and I felt a little dirty laughing at some of Alice’s antics but truth is that I left Welcome to Me with a new appreciation of mental illness and that right there is as good enough a reason to see the movie as any. Lucky for you it’s also super entertaining.

VIFF 2014 Review: Highway

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I’ve always been one to enjoy a good dose of Bollywood fare but it’s been some time, read years, since I’ve liked a Bollywood movie quite as much as I love Highway.

It could be that Imtiaz Ali’s new movie feels like a hybrid of typical Bollywood fare and a more western approach to filmmaking, largely leaving behind musical dance numbers and replacing them with long winded musical montages which work just as well if not better, or it could just be that this is great fun (it’s a bit of both).

Up and comer Alia Bhatt stars as Veera, a soon to be married young woman from a well to do family who is inadvertently kidnapped for being in the wrong place at the wrong time. At first she does everything she can to escape but after a particularly bad attempt, she gives into the fact that she’s been taken and that her captors will let her go when they’re ready and so she befriends them: Mahabir (Randeep Hooda), the handsome leader who takes time to warm up to the young woman, and Aadoo (Durgesh Kumar) the sidekick who is easily befriends Veera.

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After the Credits Episode 160: VIFF Dispatch #3 – The Wrap Show

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The end is here. Almost.

The Vancouver International Film Festival wrapped with The Incident but festival correspondent, and Green Screen of Death podcast co-host, Bill Harris (@soundjam69), Lisa (making her grand reappearance 2 years after her podcast debut) and I recorded a rambly, 2am post-midnight film wrap show in which we count down our best and worst of the fest and sing the praises of “Altered States” programmer Curtis Woloschuk (@CurtisWoloschuk) who, in 2 short years, has made the program unmissable.

VIFF 2014 Review: Queen and Country

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Two things that don’t always go together are war and comedy but leave it to writer/director John Boorman to bring the two together in a package that even I, someone who has peculiar comedic tastes and generally doesn’t care for war movies, enjoyed.

Queen and Country stars Callum Turner and Caleb Landry Jones as Bill and Percy respectively, army conscripts who have completed basic training and spend their days toiling under the watchful eye of Bradley (David Thewlis in a wonderfully comedic turn) teaching new recruits how to type. They don’t take their work or the military particularly seriously so when the opportunity arises to cause some trouble, Percy does just that by stealing a much beloved clock from the mess hall. That simple action sets into motion a series of events that allow Boorman to deal with some difficult aspects of war in a near perfect balance of comedy and drama.

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VIFF 2014 Review: Clouds of Sils Maria

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Olivier Assayas isn’t one of my go-to directors but over the years he hass made a few particularly notable films though for me, 2010’s Carlos marked a high point in Assayas’ career. For Clouds of Sils Maria, Assayas brings on Juliette Binoche as Maria Enders, an actress at the peak of her career who has been asked to appear in a revival of the play which launched her career decades before. At first she’s unsure she wants to revisit the material; she doesn’t feel comfortable playing the older character and she makes a compelling argument that she’s still connected to the young character that she played early in her career but after discussions with the director and pressure from her agent and her assistant, she agrees to take on the role and the challenge.

Clouds of Sils Maria is a perfect example of what Assayas does so well: create stories that are far more involved than they initially appear. Sills Maria is, essentially, an observation of the struggles of an actress trying to navigate her career in the best possible direction. Binoche is brilliant as Maria and the role comes naturally to her which makes you consider that perhaps there’s some deep rooted truth to the struggles and challenges her character faces. The film follows Maria from the initial offering all the way through the finish line but along the way, and particularly in the second act, the movie becomes a far more complicated beast as Maria works through the script with the help of her assistant Valentine (Kristen Stewart).

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VIFF 2014 Review: Preggoland

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You know that moment when you realize you’re so deep into a lie there’s no easy way to turn back? Preggoland is exactly that. Except it’s also much more than that.

Sonja Bennett stars as Ruth, a single 30 something who lives at home with her dad. All of her friends are married with kids and her younger sister is the bane of her existence, making Ruth feel like a teenager and in a way, she is. She works at a local grocery store where she’s worked since high school, she hangs out with co-workers who are half her age and generally doesn’t appear to be doing much with her life. And then she’s mistaken for being pregnant. And she goes along with it. But then she tells her friends she’s pregnant and then suddenly her life seems to be taking on some meaning and actually moving forward except the whole time she’s living one big sham and lying to everyone.

The idea of going along with a misconception isn’t exactly new but Bennett, who also wrote the script, brings a charm and likability to Preggoland which I haven’t seen in other movies which feature the female version of the “man child.” Part of it is Bennett herself who fully commits to the role an delivers a great performance complete with outstanding comedic timing, but there’s also the script which takes a ridiculous premise and goes in some interesting directions with it exploring everything from friendship to strange and complicated family relationships and though it ends with a sort of happily ever after, it earns that ending.

Preggoland reminded me a little of Starbuck, that other Canadian gem from a few years ago. It features similar characters with similar story arcs about growing up and becoming better versions of themselves and I expect that when this lands a Hollywood re-make, it will turn out just as badly as the Starbuck one did. Thankfully, we’ll always have the original.

Preggoland has been picked up by Mongrel Media who will open the film Spring 2015.

VIFF 2014 Review: The Liberator

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I clearly remember my first day of school in Caracas. Mom walked my sister and I, in our uniforms, to the front gate where we lined up with the other boys and girls to recite the anthem while facing the flag and a gigantic statue of Simón Bolívar. It would be months before I sat through my first lesson on the so called “Liberator” but Bolívar was everywhere in the city and his fight for freedom lived in people’s hearts in a way history typically doesn’t. The thought of seeing Bolívar immortalized on screen by none other than Édgar Ramírez was exciting. The Liberator is certainly beautiful but history plays second fiddle here.

Directed by Alberto Arvelo, The Liberator is quite likely the largest production ever mounted by Venezuela. Expansive sets, thousands of extras and lush period costuming are only the surface of this operation which begins by introducing Bolívar, the son of a wealthy Venezuelan family, visiting Spain. Here he meets the man who would later be king as well as his first wife and after a short spurt of happiness, we follow the young Bolívar as he goes from sad widower to angry aristocrat to leader of a revolution. We meet the key players, see some of the important moments but it’s all very perfunctory and The Liberator comes across less as historical bipic and more like historical romance. That’s not necessarily a bad thing but a man of Bolívar’s importance deserves more.

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