Review: The Longest Ride

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Director: George Tillman Jr. (The Inevitable Defeat of Mister & Pete, Faster, Notorious)
Writer: Craig Bolotin, Nicholas Sparks (novel)
Producers: Marty Bowen, Wyck Godfrey, Theresa Park, Nicholas Sparks
Starring: Britt Robertson, Scott Eastwood, Oona Chaplin, Jack Huston, Alan Alda
MPAA Rating: PG-13
Running time: 139 min.


Here’s the deal: you’ve seen this movie before. It’s not really like The Notebook but it’s as close to it as we’ve come in the adaptations of Nicholas Sparks novels since. Truth: Sparks knows how to weave a good, if predictable, romantic yarn and The Longest Ride is no different.

Britt Robertson and Scott Eastwood are the lovely couple this time around. She, Sophia, is a New Jersey daughter of immigrants studying art at the local college in one of the Carolinas while he, Luke, is a good ‘ole southern boy who spends his days professionally riding bulls. The pair meet at one of his events, there’s a spark and eventually they end up together though not before each is forced to confront their personal problems and put everything on the line for love. The end. Happily ever after. And yes, it is happily ever after. Sparks and Disney are the few bastions of happy endings left. Though Sparks’ usually come at the cost of a few extra tissues.

If, like me, you missed the memo, The Longest Ride also stars Alan Alda as Ira, a crotchety old man that is befriended by Sophia. He shares the story of the hardships and happiness of his relationship with his wife, a relationship he refers to as “the longest ride” and his story prompts Sophia to give Luke another go because, as we all know, true love is hard to find and can sometimes be difficult. I’m sure you can figure out how Ira’s story ends too but seriously, if your complaint about this movie is its predictability, you really need to get out more.

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Review: The Sisterhood of Night

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Director: Caryn Waechter
Writer: Marilyn Fu, Steven Millhauser (short story)
Producers: Elizabeth Cuthrell, Lydia Dean Pilcher
Starring: Georgie Henley, Kara Hayward, Willa Cuthrell-Tuttleman, Olivia DeJonge, Kal Penn, Laura Fraser
MPAA Rating: PG-13
Running time: 104 min.


The current crop of YA movies may be, for the most part, burning up the box office but the majority of them don’t feature regular, everyday kids dealing with regular, everyday problems. Yes, the messages are mostly positive but how likely is it that a girl will have to save the world from the grips of a power hungry leader with her bow and arrow?

The easy thing to do is chalk The Sisterhood of Night up to modern retelling of the Salem witch trials and it certainly is that but it’s also far more. Based on a short story from Pulitzer Prize winning author Steven Millhauser and adapted by Marilyn Fu, the story takes the concept of the witch trials and sets it in today’s highschool world complete with the perils of social media.

The grown-up Georgie Henley (of The Chronicles of Narnia fame) stars as Mary Warren, an artistic and largely independent teen girl who, after a couple of run ins with an attention hungry Emily Parris (Moonrise Kingdom’s Kara Hayward) decides to take a break from social media. She updates Facebook one last time and then turns her attention to real world connections. The teen soon befriends a pair of other girls and the trio begin the Sisterhood of Night, a by invitation-only club that sees girls getting together in the middle of the night in the woods and what they do there soon becomes the centre of a scandal.

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Review: Kingsman: The Secret Service

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Director: Matthew Vaughn (Layer Cake, Stardust, Kick-Ass, X-Men: First Class)
Writer: Jane Goldman, Matthew Vaughn
Producers: Adam Bohling, David Reid, Matthew Vaughn
Starring: Colin Firth, Mark Strong, Jack Davenport, Mark Hamill, Taron Egerton, Samuel L. Jackson, Michael Caine, Sofia Boutella
MPAA Rating: R
Running time: 129 min.


Spy movies have a tendency to feel constricting and demure. Even with all the action and gadgets of Bond, he always feels so serious and like there’s so little joy in his life. I guess that’s part of the appeal of the new Bond – he’s dark and secretive and the movies are gritty. Enter Matthew Vaughn. He seems to have looked at the genre, decided that it’s too boring and stuffy, gave it the finger and set out to deliver an epically rambunctious spy movie that flies in the face of convention, all the while maintaining most of the irreverence offered up by the source material from bad boy comics creator Mark Millar.

This isn’t the first time Vaughn and writing partner Jane Goldman (worth noting a woman has a hand in adapting a successful comic book property – not the first either) have taken on Millar. We all saw how Kick-Ass turned out; Vaughn and Goldman have proven they can aptly adapt Millar’s storytelling style to the big screen and the results in Kingsman: The Secret Service are a clear indication that Goldman and Vaughn should keep adapting Millar properties because the results tend to be spectacular.

Colin Firth goes action star as Harry Hart, the member of a super secret spy organization known as the Kingsmen. A series of events leads the group on a search of a new member and the current members have to provide a candidate. Hart finds his in his past, a young man who goes by Eggsy, newcomer star-in-the-making Taron Egerton, whose father once saved Hart’s life. What follows is a series of training montages as the recruits vie for the single spot on the spy team while Hart and his agency cronies including Mark Strong as Merlin and Michael Cane as Arthur (see the hilarious theme here?) lead the charge against Valentine, Samuel L. Jackson sporting a lisp (in what seems like one of the longest leads to a joke in a movie in some time), a mad genius who is trying to solve the world’s climate problem.

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Review: The Devil’s Violinist

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Director: Bernard Rose (Immortal Beloved, Ivansxtc, The Kreutzer Sonata, Two Jacks)
Writer: Bernard Rose
Producers: Christian Angermayer, Gabriela Bacher, Rosilyn Heller, Danny Krausz
Starring: David Garrett, Jared Harris, Joely Richardson, Christian McKay, Veronica Ferres, Andrea Deck
MPAA Rating: R
Running time: 122 min.


Coming into The Devil’s Violinist, I had little knowledge about the project besides the fact that it was biopic of Niccolò Paganini, a violinist and composer I knew nearly nothing about. I didn’t recognize the handsome dark haired actor portraying Paganini but Jared Harris is certainly a great talent and let’s be frank, when have I ever been known to pass up a costume drama? Never, that’s when.

The Devil’s Violinist isn’t so much a biography as it is a drama about a musician who we know for a fact was a talented violinist and composer, a man who lived a lavish lifestyle and who was rumoured to be associated with the devil. Writer/director Bernard Rose takes a very short list of facts and weaves a story of mystery, intrigue and of a tortured artist who sells his soul to the devil, enjoys everything the world has to offer – from women to drugs – and eventually suffers for it.

If you’re looking for a biography on Paganini, you had best look elsewhere. Rose’s take on the maestro is so frivolously extrapolated that The Devil’s Violinist is far more fiction than anything else. I went reading about Paganini after seeing the movie only to discover that, among other inconsistencies, he suffered from syphilis and was later treated for tuberculosis neither of which was mentioned in the movie. As for his involvement with the devil… the movie does seem to get that part right. One can’t call this any sort of biography which leads to the question: why use Paganini’s name at all? My thought is that it adds intrigue and frankly, it’s a great excuse to fill the movie with spectacular music.

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Review: Selma

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Director: Ava DuVernay (Middle of Nowhere, The Door)
Writer: Paul Webb
Producers: Cassandra Kulukundis, Todd J. Labarowski, Emanuel Michael
Starring: David Oyelowo, Carmen Ejogo, Wendell Pierce, Lorraine Toussaint, Tom Wilkinson, Giovanni Ribisi
MPAA Rating: PG-13
Running time: 127 min.


Sometimes there’s a sense that a movie is succeeding because of its timeliness and little more. It’s why there are instances of multiple biopics vying to be first out the door after a subject’s death but sometimes, it’s a little more abstract than that. That certainly appears to be the case with Ava DuVernay’s Selma which was in production long before the events of Ferguson ever happened but in the wake of that national disaster, Selma is likely to become a rallying cry for change and it’s a damned fine one at that.

Written by newcomer Paul Webb, Selma picks up in early 1965. LBJ is in office and he has a pretty good relationship with Martin Luther King Jr.. In one particular meeting, King pushes for change, namely in the ability of African Americans to vote. Johnson argues there are more important issues to deal with; he has a different agenda. King pushes ahead with the argument and along with the leaders of the Southern Christian Leadership Conference, the group take action and their next fight to Selma, Alabama. A ripe territory for a showdown.

Du Vernay’s film isn’t simply a retelling of the events leading up to what happened in Selma. It’s also a portrait of a man who has been fighting for a long time. A man who is tired; a man who feels defeated; a man who leads but does not go on alone. Webb’s portrait of King gives the good with the bad. The film shows King to have been a great preacher, a man who could mobilise masses, but it also doesn’t shy away from King’s troubles; his infidelities, his indecision, his feeling of defeat and fighting an unwinnable fight. Mostly it creates the picture of a man who led a movement but who was only human. A man who relied on the supported by the people around him to succeed.

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WFF 2014 Review: I Put A Hit on You

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Your romantic evening doesn’t go as you expected. Actually, it ends in an argument and you storming out of the restaurant. You go home, get blitzed and in a moment of alcohol induced anger, you put a hit on your ex only to wake up hours later, figure out what you’ve done, instantly regret it and then head over to his place to save his life.

It doesn’t sound like much of a plot but the crowd funding video for Dane Clark and Linsey Stewart’s I Put a Hit on You went viral, proof that perhaps this concept of doing stuff you regret while drunk is something a lot of people have experienced though I expect the Craigslist market for hitmen is rather limited.

The concept for Clark and Stewart’s movie is perfect for a single location shoot. Once the set-up is out of the way, it takes all of 10 minutes, I Put a Hit on You moves to Ray’s apartment and pretty much stays there as Ray (Aaron Ashmore) and Harper (Sara Canning) try to sort out the mess she has created. While trying to figure out how to survive the night, the pair also delve into their relationship problems in a dramedy that mostly works.

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WFF 2014 Review: After the Ball

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We all have kryptonite. I have more kryptonite than most. If the movie involves dancing, cheerleading, drumlines, high school drama, Shakespeare, modern interpretations of Shakespeare, or re-telling fairy tales, I’ve probably seen it or want to see it. I simply can’t help myself. This is my candy and I love to bite into a new bar. Rarely is that new bar completely fulfilling. Even rarer, like, white elephant rare, is when that piece of candy happens to be Canadian. I’m pretty sure the last one was How She Move (review) and that was a long, long time ago.

What first caught my attention about After the Ball is director Sean Garrity. A few years ago Garrity really impressed with a great little thriller titled Blood Pressure so when I saw his name attached, I didn’t look any further. I knew I had to see this. Imagine my surprise when I read the description to find that After the Ball is basically Cinderella meets “Twelfth Night” set in the fashion industry.

Portia Doubleday stars as Kate, a talented fashion grad who is trying to get a job in the world of haute couture. She’s talented but her family name is problematic. Her father owns a consumer friendly fashion line that, in the past, has been known to steal couture designs and re-package them for the mall crowd. Defeated, Kate returns home and decides, against her initial floundering, to take on a job at the family business. She squares off against her terrible step mother and two despicable (and dumb) step sisters, gets fired, returns in disguise and falls in love with the in house shoe designer – played by, no less, Marc-André Grondin.

Jackpot.

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WFF 2014 Review: A Most Violent Year

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Truth be told: if you haven’t seen a J.C. Chandor movie, you’re missing out. Like, seriously missing out. That doesn’t however, mean that you should skip A Most Violent Year. Actually, that means that you should see A Most Violent Year as soon as possible and then head back and check out the director’s previous work.

Also written by Chandor, A Most Violent Year sounds like the most boring movie ever about the most dry industry ever. Oscar Isaac plays Abel Morales, the owner of a heating oil company in the early 80s when people, instead of having deals with the electric or gas company for their heating, they negotiated heating oil prices with the providers directly. Life has been good for Morales. He’s risen through the ranks from driver to owner, married a beautiful, smart woman, and he’s just about to close the biggest deal of his life.

But all is not well at Standard Oil: the company is under investigation for fraud, the bank has pulled out of their real estate deal, trucks of oil are being stolen right from Morales’ nose and to make matters worse, now Morales’ seemingly perfect home life is starting to show cracks. It’s definitely a violent year for Morales but not in sense you might imagine.

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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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