With every VIFF, it’s a goal of mine to see at least one shorts segment. I had the good fortune of seeing a segment as my first VIFF show. The segment titled Escape Routes consisted of six shorts by Canadian directors. Three of them were filmed in BC. All six were intriguing to watch.
The Subject (dir. Patrick Bouchard): We see a body on the table. We see a spike coming out of a foot at first. Then we see it start to be dissected. What’s happening is a whole lot of imagery happens around his body and coming from out of his body. Then when he’s dissected in his upper chest, we see a steel inside.
What’s happening in this film is the animator dissecting his own body. This film is the animator using self-dissection to show what his works are all about. His emotions, his memories, his fears, all go into his work. A couple of religious entendres may be telling how it plays into his fears. Even the artistic patterns that form around his skin give a picture about what the animator is saying about himself and how it plays into his works.
Girl On A Bus (dir. Matthew B. Schmidt): The film begins with people questioning about a girl who disappeared. Then the film shoots to a scene on a bus. A teenage/young adult female is one of the passengers and she’s just relaxing and looking at Instagram photos. The bus takes a break at a gas station along the highway. She uses the outside bathroom and changes her hair, makeup and clothes to something very different and takes social media pictures. The driver can’t recognize her and thinks a passenger is missing. As police are questioning the ‘missing girl,’ she gets interrogated and gives misleading questions. She mentions she’s running away but doesn’t say why. She leaves the interrogation booth. A picture from a child identifies her as the missing, but she walks away when asked.
At first, it seems like a nonsense film. A girl changes her look but is labeled missing? Then you get the sense of what’s happening. She says she’s running away but gives a vague answer why. When told to stay at the booth as the police leave temporarily, she leaves. When asked if the photo of her on a child’s pad is her, she doesn’t answer and walks away. It makes more sense later on. She comes across as a girl who wants to escape from it all. It’s not apparent exactly the reason or reasons why, but it’s obvious she wants to escape from everything. Only on social media would she want to be around people. I can identify because I had those same feelings when I was her age. A very good short story of a film.
Best Friends Read The Same Books (dir. Matthew Taylor Blais): The film consists of no sound at all, but of images of plants, colors, bushes, parks, coasts, and the director reading a book in various places and various seating positions on a bench. The film ends with a set of colors.
I’ll take it for what it is. This is the director trying to film in an abstract sort of way. The images, around various areas of Greater Vancouver, are meant to tell about his surroundings and reading the same book.
Train Hopper (dir. Amelie Hardy): The film begins with a passage of Allen Ginsberg’s poem America. Then cuts into a video of a young man who’s a customer service agent working at his desk with his headset. Later we catch the young man around trains on the train tracks. Then we see him hopping on the trains between the cars and going along for the ride. We even see his self-recorded videos of him during the trips. Within the second-half of the film and video footage, we hear the man talk about his dreams and his imagination and why he takes these trips, which include trips crossing into the United States. The film ends with audio of Ginsberg’s America.
The film begins with a statement that the Beat Generation is not dead. The whole film is a picturesque reminder that even in this day and age, there are still young people who still dare to dream, who dare to still want to live their dream out. This film shows it with this young man who’s a customer service agent by profession, but dreamer by passion. An excellent cinematic portrait.
Acres (dir. Rebeccah Love): The story begins with a young man working on a farm. Later on, his sister, her husband and a former girlfriend of his join for dinner. They talk about him managing his father’s farm after his death, as well as a dispute over use of the land that will require legal attention. The sister and brother-in-law leave for home but the ex-girlfriend decides to stay overnight. Possibly to help him with his situation. She is a photographer by passion. The two were in love while they were in college. This is happening while they’re talking of a way to properly mark the burial site of his father’s ashes. He had ambitions of becoming a businessman, but passions in his life that involved travelling caused him to leave everyone behind, including the family and even her. She tries to get to the bottom of this. Especially since this caused their break-up. Eventually they do rekindle.
The film is a picturesque way of showing a real-life situation. It’s a quiet situation, but one that needs to be discussed and resolved. The filmmaker does it with good storytelling and honest dialogue.
Biidaaban (dir. Amanda Strong): This is the one short that’s fully animated. There’s one young person of Indigenous decent, Biidaaban, and an older Sasquatch shapeshifter Sabe. They live in the same dwelling. They communicate with what you first think is a smartphone, but is actually a mystic rock that creates images and dialogue. Biidaaban seeks to collect sap from maple trees in a neighborhood. Sabe will assist Biidaaban. As they collect the sap, they are suddenly taken over by spirits and enter into a mystical world.
Upon the film’s Q&A, we learn the film is not just about Indigenous legends and myths. It’s also about gender-fluidity as Biidaaban is a gender-fluid youth. From what I remember about the Q & A, the gender-fluidity does tie in with Indigenous culture. The whole film was very dramatic and very mystical. The genre of animation allows the viewer to feel the imagination of the film and capture the mysticism.
All six shorts were very intriguing to watch. Even with one more thrilling than the other, and one not trying to be thrilling at all, all had something to say. Sometimes you wondered if all six fit the term Escape Routes. Some of the subjects or plots in a film or two didn’t look like physical escapes at all. However many of them turned out to be escapes of the mind. Escaping isn’t just about a road to somewhere.
Escape Routes was an excellent selection of six Canadian shorts. Each were different in their own way. All of them had something to say. And all would come off as an escape from something. You had to see it to know it.
I’ll admit that I’m one of those people that went out to see Gone Girl later than the huge crowds. I will admit I was lax at it because of the tight times I was experiencing. I finally did see it just a while ago and I was impressed.
I usually do a run though the plot in my reviews. I have decided to skip it since most of you have already seen it. Instead I will focus on some of the unique elements and why this movie stands out.
One noticeable thing of the movie is that there is a big focus on the media, especially as it surrounds a murder story. There’s no doubt the message is about how the media takes on crime stories by being its own judge and jury, typing people and packaging them as good people and bad people. This was especially seen on how Nick is typed not only as the bad guy but as the murderer even though no body was found. This was also seen on the police as they eventually felt the pressure to make a move and arrest Nick for the murder. There was also the focus of the egos in the media behind it all and epitomized best by Ellen Abbott who mercilessly defames and slanders Nick as the murderer. Even before the interview of Nick and Amy after Amy’s arrival, you can tell Ellen shows no regrets about it all. Even as Nick confronts Ellen about how she dismissed him as a murderer, she simply says “I go where the story goes” without any noticeable remorse or apology. I guess it shows what it takes to be a talking head in the news.
Despite the exploitative judgmental ego-driven media being a major theme, it’s not the main focus of the film. The main focus is on Amy. Amy first comes across as a warm charismatic person with a lack of confidence but lives her confidence out through the character of Amazing Amy in her Amazing Amy books. As the story goes through the search for Amy day by day, the story flashes back to the first signs of their marriage falling apart. The marital troubles appear so much like millions of marriages before that hit rocky moments during hard times and even face ugly moments like infidelity and even physical abuse. That’s what the first half is all about.
It’s the second half that we see the twist in the story that Amy is not the sweet thing we think she is. She’s conniving, very clever and smart enough to make things work for her revenge plan to have Ben framed for her murder that never happened. Even faking things like her pregnancy, Ben’s alleged credit card debt and agreement to a huge life insurance payout was as clever as it was shallow. Her cleverness especially intriguing that she’s even able to make a calculating change of plans even after some neighbors of her getaway place rob her. She’s able to get Desi back into her life and appear to rekindle the romance only to have another thing up her sleeve after seeing Nick’s interview on the television. Her tricks are even crafty enough to get Nick trapped into the relationship without him being able to escape thanks to a pregnancy. Her tricks are even clever enough that there’s nothing Nick, Margo, Tanner Bolt or even Detective Boney can do to bring out the truth, even though they know it.
The funny thing is I’ve been watching a lot of crime shows like Forensic Files where they show of people committing murders and attempting to cover it up only to have advancing technology over time uncover the truth slowly but surely. They not only tell of people committing the crimes but what they do to get away from it all and even cop a new identity. Seeing Amy go about her charade not only reminds you of those diabolical minds but gets you intrigued in Amy’s own diabolical ways. Throughout the movie I was waiting for the moment for truths to be unraveled and Amy to get caught. Funny thing is that over time, it appears her new actions and tricks appear better executed than the ones Amy had planned on Nick from the start. It appeared Amy’s new plan to have Nick in a loveless marriage raising their child was a better form of torture on Nick than her original plan of having him convicted and executed for her fake murder. It’s like she told him after he hit her: “I’m the c*** you always wanted.”
I think that’s what makes this movie so winsome. Amy is a diabolical mind who’s not only that good but appears to get better and craftier over time. Funny thing is it’s one of those movies that had me leaving the theatre wondering how Amy gets away with it all? How Amy’s able to keep it all covered up even with all this modern technology and in control of everybody else involved including the law? That’s like the same wonder I had at the end of 1999’s Arlington Road of how a couple could pull off a terrorist explosion framing their neighbor and being a step ahead of everybody in every which way to get it done. That’s also like the same wonder I had in 1992’s Basic Instinct when Beth kills Gus with an ice pick and minutes later confronts a gun-wielding Nick with a normal pulse rate and no stress level at all. Then I remind myself it’s the movies where they can make anything happen and make us believe it at that moment.
Top kudos to Rosamund Pike. She delivered a character that made the movie. She gave a feel for the character right from the start and kept us intrigued right until the end. She had to be the top factor on why this movie is so winsome. Ben Affleck did well but he didn’t own the show the way Rosamund did. Carrie Coon was very good in the supporting role of the sister who knows the truth but is helpless to do anything. Tyler Perry was good as the lawyer. Missi Pyle came across as cartoonish as the Ellen Abbott but it fit well with the movie as I will reflect on later.
It seemed like the right thing for Gillian Flynn, the writer of the novel, to also write the screenplay too. It makes sense since she’s the one who knows Amy inside out. It’s also great to see her deliver an ending possibly unlike anyone would anticipate. David Fincher does an excellent job of directing the story. I know there were many times that the people in the murder scenario came off as cartoonish in the film but it seems fitting because all too often, people in the middle of a trial that involved heavy media attention often come off as cartoonish or like drama queens. Even as we read murder stories or murder dramas about real-life murders, it’s as much about personalities as it is about the people. David did a good job of making it the focus in the movie. You could say David delivers another winner. In addition kudos to the music of Trent Reznor and Atticus Ross that added to the feel of the film.
Gone Girl is a story that keeps you interested from start to finish. You think it will go one way but it goes the other way. Even after you leave the theatre, you’re left wondering how she was able to make it work. I guess that was the secret of the movie.
Musicals are always very chancy in terms of putting them on screen, especially if they’re an adaptation of a legendary musical. Try putting an original musical on screen. That’s what God Help the Girl does. It comes off surprisingly well.
The film starts with Eve singing about the difficulties of being young. Mind you Eve does have her problems as she has an eating disorder which brings her to a psychiatric hospital. Her counselor there tells her she needs guidance to make it out in the world. Eve is defiant and breaks out of the hospital to head to Glasgow to make music.
Over in a Glasgow pub, she meets up with James who leaves his band after an on-stage fight with the drummer. James is an aspiring songwriter who works part-time as a lifeguard and teaches guitar to Cassie, a naive daughter of a rich family. A relationship cooks up with James over time. After meeting Cassie, the three of them spend a lot of time together and compose songs.
Eve is also looking for exposure and hopes to get it through Anton, a singer of the band Wobbly-Legged Rat who’s star is on the rise thanks to a local radio station promoting them. Eve gives Anton her tape hoping it will make it to the radio station and a relationship is brews between the two. The three form a band after James convinces Eve she needs a bass and drum for her songs. They call their band God Help The Girl and they perform a gig and knock the socks of the crowd.
However not all is well as Eve learns that Anton, who’s too arrogant for his own good, never gave the tape to the station, claiming her music lacks professionalism. The two argue and Eve walks off. To make matters worse James finds out about her relationship with Anton and is distraught to the point of distancing himself from her. That leads Eve back to taking pills and returning to the hospital. She meets again with the counselor who tells her she warned her about rushing out into the world on her own. Eventually Eve decides on her own path. The ending is not what one would expect but is fittingly appropriate for the film.
I have to say this is is a brave attempt from Stuart Murdoch to create an original musical and bring it to the big screen. It’s been a long time since there has been something like this. Musicals are always a risk to bring to the big screen whether they’re original or adapted. It’s obvious that God Help The Girl had some risks of their own. There are a few times that leave you wondering is the film lulls back into being a story and makes you forget it’s a musical until the next song comes on. Those who know big-screen musicals know about the feel of a musical on screen. There were a few times I felt the film lost its feel. The musical parts were very good and were able to stay away from crossing the line of cheesy most of the time but I did notice some imperfections. Even having Eve with an eating disorder makes you wonder if that would make fans of musicals uncomfortable.
One thing I liked about this musical is that it had a lot of songs that gives one the look and feel of the excitement of 60’s rock ‘n roll. The songs for the most part are loaded with energy and really capture the essence of what it is to be young. Another unique thing about this musical is that it musically showed how a lot of the best songs are inspired. We see a lot of themes in God Help The Girl that are quite common in rock and roll songs such as the frustration of fitting in this world, feelings of love and the bizarre love triangles that arise. We also get another reminder about rock and roll. Just after Eve left for college to pursue music, James declares “I think she wrote her best music here.”
The funny thing about this film is that it includes the music from a group called God Help The Girl. For those who don’t know, God Help The Girl was an all-girl group formed by Belle and Sebastian lead singer Stuart Murdoch. They were formed for one time only in 2008 for an album that was eventually released in 2009. The film God Help The Girl is a musical set to those songs and is directed by Murdoch.
I don’t want to go into the subject of ego-tripping but Murdoch puts together a well-constructed and well-written musical that is entertaining. There are some noticeable imperfections in the choreography and editing but the film is mostly together. I also think this will be Murdoch’s only directing effort as I don’t see him directing any other movies in the future. Emily Browning is very good as the protagonist and is able to sing well in her first on screen singing role. Olly Alexander was also very good. He’s the opposite of Emily where he’s actually a singer in a band rather than an actor. Nevertheless he did very well. Hannah Murray was very convincing as the young naive Cassie. The three of them made an excellent trio full of chemistry. Pierre Boulanger was good but his role as Anton was underdeveloped and could have been more.
God Help The Girl was nominated at the Sundance Film Festival for the World Cinema Grand Jury Prize and won a Special Jury award for the ensemble. It was even nominated for the Crystal Bear award at the Berlin Film Festival. It has just been released in the US the last weekend of September and has just fizzled out with just grossing over $100,000. I blame it on the lack of promotion. I think it will develop a better afterlife as a Broadway musical. There’s no talk of a musical version of the film yet but I feel it has a lot of potential of being a hit in that format.
God Help The Girl is a flawed but entertaining original made-for-the-big-screen musical. Oddly enough I think I sensed a bit of Beatlemania there.