Author: Smash

I watch a lot of movies. Probably lots you haven't seen. Here's a list of them. In the vibrant city of Toronto, I have access to all kinds of film festivals, indie theaters, and the best movie subscription services my lack of money can buy. Why do I do it? Well, mostly because I really like movies, but also, so I can report to you on great flicks you probably missed! Bored? Exhausted your Netflix que (is that a thing still)? Too much of a movie fan to find anything fresh and new? Don't worry, I got you.

‘Rumours’ is the Solution to Crafting Political Satire in the 2020s

What’s that quote about how no one knows what they’re doing, we’re all just pretending? You know the one. The one that resonates when you realize you’re suddenly an adult and you have no idea what you’re doing. That further resonates when you realize your parents aren’t omniscient. And even further when you realize that the people in charge of everything are literally clueless. Take that horrifying thought and imagine your G7 leaders managing another global crisis from their towers before being thrust from them and directly into another one. That’s the black comedy painted all over Rumours, a gut busting political satire from Canadian creators, Guy Maddin, Evan Johnson, and Galen Johnson.

Political satire will always be timely, but Rumours picks at the fresh wounds of the pandemic, climate change disasters, and the wars abroad. Maddin and co imagine our most prominent leaders as immature, petulant, windbags who spend more time sipping wine and drafting hollow statements than they do taking any real action against crises. They’re not faces of evil per se, but they’re gutless ivory tower dwellers full of so much hot air, they almost float, and they’re otherwise as unequipped as the rest of us.

The eclectic cast is clutched together by Kate Blanchette’s star power and accent proficiency, her as the sharp German Chancellor surrounded by a hopeless romantic Canadian Prime Minister (Roy Dupuis as Maxime Laplace), a barely conscious and babbling American President (Charles Dance as Edison Wolcott), a nervous bumbling English Prime Minister (Nikki Amuka-Bird as Cardosa Dewindt, and further securing herself as the queen of awkward, weird, dry comedy), the irreverent and hard to pin down President of France (Denis Ménochet as Sylvain Broulez), the vapid Italian Prime Minister (Rolando Ravello as Antonio Lamorte), and the frantic fly on the wall Prime Minister of Japan (Takehiro Hira as Tatsuro Iwasaki). They’ve assembled in a protected manor in Germany to strategize and prepare a statement for an unspecified global crisis. While the world is implied to be dealing with one thing or another, they gather over wine glasses, notepads, and the uncomfortable social situation created by the weeping Canadian PM struggling with his love life. It’s all vapid and fluffy and the “strategy” seems completely secondary to their social structure and personal matters. That is until they find themselves alone (which they notice as no one seems to be refilling their wine glasses) and surrounded by dripping zombies.

If you can imagine it, world leaders land smack in the middle of a real crisis and their notepads are insufficient protection from the fold. That’s where the Canadian creators find their comedy, not only in the social satire about hapless leaders but in seeing them clunk around in high heels with shapely haircuts trying to defend themselves from monsters. It’s as much an Iannucci political satire as it is Mars Attacks. And with the former comes the crackling dryness which works until it doesn’t. Blanchett walking gingerly in smart dress shoes and managing the crew’s emotions is what trailer clip dreams are made of, but the gag loses freshness around the midpoint, only saved by the sudden appearance of Alica Viaknder as the representative of the European Union. Surprise guests, though, unfortunately can’t keep the back half afloat but the film has earned enough good will by then to keep your attention.

Rumours is the bridge between weird cinema and overt political commentary that 2020s earth inhabitants crave- it lampoons our world leaders but creates a situation remote enough from reality to allow for brainless (non-literally…) laughs. I mean, unless you count how close the Canadian and American reps are to their Earth-1 counterparts but let’s not get into it.

Rumours hits theaters October 18, 2024. 

HOLLYWOOD SUITE Releases their Shocktober Lineup

Canadian cinephiles’ favourite streaming service is back with their holiday (spooky season, that is) programming. Beginning October 1, Hollywood Suite will have their full Shocktober lineup available for channel surfing and streaming (your choice of consumption may vary).

Check out the full list of titles which will be on demand this October on Hollywood Suite with my Hot Picks noted in bold.
(I watch The Guest every Devil’s Night so that one is a no-brainer)

30 Days of Night (2007)Prince of Darkness (1987)
A Nightmare on Elm Street (1984)Ouija: Origin of Evil (2016)
A Nightmare on Elm Street 3: Dream Warriors (1987)Peeping Tom (1960)
Black Christmas (1974)Pan’s Labyrinth (2006)
Blacula (1972)Saw (2004)
Blade (1998)Scream (1996)
Carrie (2013)Seed of Chucky (2004)
Christine (1983)Sinister (2012)
Crimson Peak (2015)Texas Chainsaw Massacre: The Next Generation (1995)
Critters (1986)The Evil Dead (1981)
Don’t Look Now (1973)The Fly (1986)
Evil Dead (2013)The Guest (2014)
Fright Night (1985)The Innocents (1961)
Halloween H20: 20 Years Later (1998)The Omen (1976)
Halloween III: Season of the Witch (1982)The Purge (2013)
Halloween: Resurrection (2002)The Return of the Living Dead (1985)
House on Haunted Hill (1959)The Serpent and the Rainbow (1988)
Interview with the Vampire (1994)The Texas Chainsaw Massacre (2003)
Jennifer’s Body (2009)Tim Burton’s Corpse Bride (2005)
Killer Klowns From Outer Space (1988)Urban Legend (1998)

The ‘Succession’ Blu-ray Box Set is Monstrous. It’s Gargantuan.

Watching the demise and shift of cable and streaming entertainment makes for a meta-exercise when considering one of the greatest shows of this time was one built around a faux version of the Fox empire. Succession, HBO’s series about a self-absorbed clan of powerful billionaires, had the kind of cultural impact as the Golden Age of television, a heat associated with shows like The Sopranos or Breaking Bad. After a brief (perhaps mercifully so) four season run, Succession walked away with numerous awards (many for the acting of the unbelievable cast who seemed to outdo each other each episode) and the accolade of being popular water cooler talk, a show everyone had seen or was otherwise eager to.

The four seasons chronicled the self-centered reactions a group of siblings (and some of their spouses and distant relatives) had to the impending retirement of their billionaire patriarch. Logan Roy (Brian Cox) isn’t just the father of the “failing up” gaggle of self congratulatory dipshits, but is the father of modern America, shaping media, insurance, vacations, culture, and politics. As a stand-in for the real-life puppet master of a nation (and perhaps the world), an ever-ailing Logan is a gatekeeper for the next generation of world-shapers, pitting his unworthy children against each other for their shot at the crown. Equal parts insult-comedy and Shakespearean play, the members of the Roy family trip and fall through their attempt to usurp, trick, instigate coups, and succeed their father, all with the fake reasoning they give to themselves, each being shown to ultimately be as power hungry as the main that made them. It makes for dramatic fodder that pushes away puzzle box television watching in favor of lengthy discussions on symbolism that made for gorgeous essays on the symbolism of water, stunning acting choices that change vents, and finale reveals you can’t believe you didn’t see coming.

Succession was and remains a television monster by so expertly fusing writing, direction, cinematography, (sounds basic, I know) for the sort of alchemy that makes a series all things to many people. Now for collectors, cord cutters, or those afraid of streaming wars casualties, the complete series is available on Blu-ray.

For the first time ever, all 39 episodes of the series are available in one set, complete with special features superfans won’t be able to find by relying on a YouTube algorithm. Beyond clutching access to all episodes, viewers will have access to behind-the-scenes interviews with the cast and crew, extended character breakdowns, as well as “Inside the Episode” featurettes. The 12-disc set is mastered with high quality audio (I’ll let the buds at blu-ray.com break down the specs) and high quality 1080p resolution so nothing will be lost in your trip from streaming to physical media.

12 discs might make it too large to fit in your blazer pocket, but if you have room after removing your subway shoes like the rest of us normies, you could plop this boxset right into your capricious bag.Warner Bros. Discovery Home Entertainment will be newly releasing Succession: The Complete Series on Blu-ray. Get ready to binge on all 39 episodes from HBO’s Emmy® award-winning original series, along with all the previously released special features. The brilliant high-stakes drama following the Roy Family and their quest for power will be available to purchase online on August 27. Pre-order your copy today.

Warner Bros. Discovery Home Entertainment will be newly releasing Succession: The Complete Series on Blu-ray. Get ready to binge on all 39 episodes from HBO’s Emmy® award-winning original series, along with all the previously released special features. The brilliant high-stakes drama following the Roy Family and their quest for power will be available to purchase online on August 27. Pre-order your copy today.

‘Twisters’ is the Blockbuster for a Blustery Summer

(from left) Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung.	
	© Universal Pictures, Warner Bros. Pictures and Amblin Entertainment by Melinda Sue Gordon
(from left) Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung.

I’ll contribute to the collective answer to the million-dollar question: is Twisters as good as 1996 masterpiece, Twister? The short answer is, it’s not. But that doesn’t mean it isn’t absolutely rad.

2024’s not-quite-follow-up and maybe-not-a-remake either, Twisters is gracing early summer silver screens begging to be the blockbuster that drags audiences into theaters with the promise of jampacking the room with enough bombastic sounds that we can all munch our popcorn freely. Where it faulters in story and character, it succeeds in action chemistry, doing it’s best to compete with 1996’s alchemy. 

Most nothing can mimic the magic of the original cast braving the wrath of the ultimate movie monster (weather), but Glen Powell and company are going to do their best. Twisters differentiates itself by not quite slotting new actors into the same roles. It, instead, chucks them all into a blender (which isn’t quite wordplay, but I’ll leave it to your imagination to give me credit for a twister, blender, vortex gag) and creates new character hybrids where each is a mashup of some bits of characters we’ve seen before. (Is The Fly a better reference? Whatever). Daisy Edgar Jones stars as Kate, a storm chasing natural with a traumatic tornado backstory and an uncanny talent for reading the weather. So a bit of Jo and a bit of Billy. She’s pulled back into the field from her cushy New York desk job by Javi (Anthony Ramos), who needs her to assist his shiny corporate real estate company in tornado research and because he might love her, like a bit of Jonas and a bit of Jo. Interrupting their polished scientific adventure is Tyler (Glen Powell) and his scrappy gang of merry men who wrangle twisters for YouTube, fanning the flames of internet hobbyists looking for a thrill and crowding the road. Taken by the newcomer, Tyler becomes preoccupied with Kate and her instincts, sending the rival factions in and out of storms and taking in the damage their muses do to small town Oklahoma. Loyalties change, crushes form, and spooky clouds break through the sky and flick houses off the map.

With intentionally flimsy connections to the original (save for a reference to the same real-life science inspiration), this feature doesn’t directly connect the films in any way to warrant an easter egg hunt nor to force them to or away from any repeated beats. Dialogue and moments are lifted and referenced, the film treading much of the same territory, but making it bigger, louder, and with even more fire. That’s where it’s most successful, when it sends our leads with their broad arms and fitted shirts into storms, having them shout over explosions with varying levels of ecstasy and fear. That’s what makes Twisters an enviable and rip-roaring summer hit. The rest of it is mostly science bologna.

There’s something about polymers and rainwater, and more about the scant and valuable data all part of the elusive goal of understanding and killing tornadoes. Its these lofty goals that bond the leads and has them clunking heads in barns and trucks as brief relief between action set pieces. Though Maura Tierney’s introduction as Kate’s mother is welcome respite (with her unmatched natural comedic timing), it serves as a catalyst for Kate and Tyler bonding over notebooks which has far less electricity than a chanting Philip Seymour Hoffman. At the risk of continuing to belabour the comparison, the core palpable different between the two films is that where one leaned on various genres successfully, Twisters is more simply an action film, one much more in the vein of road trip action like Civil War than of the goosebump inducing horror of Billy stating, “it’s already here.”

The 2024 film about increasingly alarming weather and new technology democratizing many careers is touched upon but not explored, it not interested in tackling climate change or floods of internet hobbyists who think they understand complex science. Javi and co are minorly perturbed by the rise of the YouTuber but it’s never a barrier for them and serves only to prop up Tyler as a hollow hero. It’s somewhat preferable, this movie succeeding as a popcorn thrill ride not concerned much with conflict beyond “there is a really big tornado coming,” despite how noticeable it is when someone casually notes that tornado frequency seems to be increasing.

Emotional beats are not the strength of this bad boy, it missing something in the score (which is slightly different but reminiscent) and lacking the awe of ruthless mother nature. No one is acting at the top of their game, Powell’s outstretched arms clutching steering wheels doing a lot of the work to create some character energy. Twisters isn’t that movie, it’s the high-heat blockbuster that leaves audiences shouting wrangler slang riding the high of seeing hot people yeehaw over fireworks being shot up the funnel of a superstorm.  

Twisters hits theaters July 19, 2024.

The Belko Experiment

Image result for the belko experimentI can hardly count how many movies I have said were my “best Midnight Madness experience ever” at this point.  But if there is a film that fits the bill of quality, gore, fear and sheer madness that works so well with the live tiff Midnight crown, it’s The Belko Experiment.

I went into this one like “oh, cute, the guy from The Newsroom is in it.” The world building is so strong, that a quick opening montage and you are right on board with this spooky corporate allegory and you know this will be far from “cute.”

Americans are recruited to work at a cushy office in Colombia.  Over the top security is justified by the dangerous area and workers are treated to the cliche office of their dreams.  When the building locks down and  a mysterious voice floods the intercoms demanding employees participate in a bloody game, the foreseeable chaos ensues.

This Battle Royale meets Office Space take isn’t the only one of its kind, but it is no doubt the most successful.  It is the absolute best blend of gore and fear, completely balanced to keep it a legit thriller despite the splashing blood.  It also prompted me to update my zombie contingency plan for the office.  My monitor riser makes an amazing shield.

Great if you liked: Battle Royale, The Hunger Games, Mom and Dad, Shaun of the Dead, Mayhem, The Final Girls

 

Tusk

Image result for tusk posterIt’s weird when a movie comes in cold, expecting to become a cult classic later in its life.  This questionable strategy, surely, and lead to a pretty disappointing opening for this Kevin Smith joint, but as it bubbles under the surface, showing up on Netflix, Tusk might slip right into cult fave status.

Based on a random discussion had on Smith’s podcast, this film follows a podcaster who seeks out a mysterious recluse with an affinity for Walruses.

It’s certainly scary, with the podcaster quickly becoming a hostage, but it’s also weird, wild, and funny.  I don’t know if I would call it a horror comedy, since it is something else entirely.  Not playing on tropes, but creating its own new weirdness, Tusk will make you laugh, but also feel full blown dread.

The performances are as weird as the subject matter, and the ending is a… lark. Check it out.

Great if you liked: Clerks, Inglorious Basterds, Zombieland, Yoga Hosers, Warm Bodies, Mom and Dad, Dogma

In a Valley of Violence

Image result for in a valley of violenceThere are always moments when I bring up Westworld and someone responds “I don’t like Westerns.”  And often, I retort “well it’s more of a Sci-Fi than it is a Western.”  But, as someone who also never liked Westerns, I think I need a new retort.  Maybe I watched the wrong kind.

In a Valley of Violence is the right kind.  I saw this at a small festival for the sole reason that I trust Ethan Hawke.  Predestination had played the year before at the same fest and I wanted more of that.   I was totally blown away by how much fun Valley was and was revitalized in a desire to watch some cowboys.  The cast acts the hell out of this off beat script and it results in a real delight. It has all the ‘dog protectiness’ of John Wick and the “this dude made a western?” of The Quick and the Dead.

This is usually where I put the short synopsis to prime you for the flick, but it honestly would be really difficult to narrow this down to a few sentences.  In the tradition of a Western, rising actions are numerous.  The mysterious Paul stumbles across a town en route to Mexico where they run into this priest, and there are these girls, and a cop, and something about being an army deserter, I don’t know. Just trust this one.

Great if you liked: No Country for Old Men, John Wick, The Quick and the Dead, There will be Blood, The Good the Bad and the Ugly, Gangs of New York

Mom and Dad

Image result for mom and dad posterThere is a lot of buzz about Nicholas Cage and his horror chops these days with the release of the Mandy trailer.  Nick showcases some pretty spooky scary screams in that joint, and is being praised for his self aware “Cageiest performance ever.”  But for those of us that saw Mom and Dad, Cage going… full Cage… in horror is nothing so new.

This one part The Crazies and one part Santa Clarita Diet flick is the most fun you’ll have watching suburban parents try to slaughter their own children.

When an unknown cause inflicts a suburban town, parents are suddenly hit with an insatiable need to kill their own children.  Children left to fend for themselves, desperately cling to life by fighting back at their own parents.  Carl and Josh must survive this impossible day by using everything they know about their own family to fend off their murderous mom and dad.

This obscene horror comedy is so much more.  It serves as a blatant allegory for the stresses of being a suburban parent and what it means when your whole life is suddenly about your children.  Brent and Kendall struggle with their changing identity from individual to parent, you know, until becoming totally murderous.

I had so much fun watching this, and Cage and Blair are so flawless as the psycho Mr. and Mrs. Jones types. Blair’s performance is so great in this off beat genre, I feel obligated to campaign for her in more roles.

And, while I am not making early assumptions about Mandy, this movie features some pretty epic full blown Cage that I don’t imagine can be topped.

Great if you liked: Santa Clarita Diet, The Guest, Mum and Dad, The Crazies, Get Out, Cooties, Zombieland, Shaun of the Dead, Jennifer’s Body, Weeds, Little Evil, Idle Hands, The Belko Experiment.

You’re Next

Image result for you're next posterThis month, I participated in Grim Magazine’s Slasher Madness bracket, where I, obviously, picked You’re Next to win.  But, despite making it to the final showdown, it lost by a large margin.  That leads me to assume one thing; not enough people have seen it.

I stumbled across this slashic by having my ear to the horror grindstone and it both revitalized my slasher fandom and skyrocketed me into becoming the massive fan of the blogged about, The Guest.

Erin is on her way to her new fiance’s family during their anniversary celebration.  The nerves of ‘meeting the parents,’ are taken to new heights when the family finds itself under attack by masked killers.

What this movie does painfully right is take us back to the slasher basics by mixing the right amount of camp and gore into a new story about a ‘cabin in the woods’ massacre.  It keeps it simple, doesn’t set out to do anything it can’t accomplish, and therefore leaves the viewer satisfied in the way you were after the seminal slashers of old.  Final girls have had such a great boom this decade, and Erin is no exception.  Yes, this was written and directed by men, but Adam Wingard and Simon Barrett are great at handling their female leads, something they double down on in The Guest.

Great if you liked: The Guest, The Strangers, Funny Games, A Clockwork Orange, The Purge, Hush, Vacancy, Black Christmas, Halloween, Friday the 13th

John Dies at the End

Image result for john dies at the end posterSorry, twitterverse, this movie’s title is a spoiler.  You’ll also never believe what happens at the end of The Sixth Sense.

This movie is weird as hell.  Is that enough of a selling point?  I immediately fell in love with this for being so strange and weird and fun and remember it being an hours long universe building mind trip, but it’s 100 minutes long.

After a party, Chase wakes to discover is friend, John, is missing.  After getting some mysterious phone calls from what appears to be a clairvoyant John, Chase sets on a mission to solve the mystery of the new drug, “soy sauce,” and save the planet from what might be an otherworldly, sinister force.   Along the way, he encounters ghost hunters, evil beings, and maybe an alternative universe or two. This movie takes you so many places, you will honestly feel both older and revitalized by the end of it.

Told by Chase to a reporter, the transcendence of a linear timeline in the plot is stacked with non-linear story telling, and it’s used with careful purpose.  Watching the level headed Chase transform throughout the narrative via his own telling is relateable enough to have you wonder if you’d, you know, hunt ghosts or whatever.

In the same way you fell for the “whatever is going on,” weirdness of Dirk Gentley, you’ll fall for this.  You will spend some time trying to reason the transcendence of space and time, and ultimately land on having a great time.

Great if you liked: Dirk Gentley’s Holistic Detective Service, The Hitchhiker’s Guide to the Galaxy, A Scanner Darkly, Bubba Ho Tep, Tucker and Dale vs Evil, Phantasm.