Category Archives: Canada

Hybrids (2013, Patrick Kalyn)

While it is exceptionally bad, Hybrids does have some really good CG composites. The fight scenes are incredible for a short; sure, the design of the evil alien monsters is laughable, but the silly monsters do exist in the physical environments.

Hybrids has three problems. First–and actually least important–is it’s pointless. It’s fine if Hybrids is a demo reel for CG effects; it doesn’t have to be awful though. Director Kalyn switches between bad Malick impressions for blissful country life and lousy future junkyard action for the fights. His writing’s even worse though. These aliens can master long distance space travel but they’re morons.

Another big problem is lead Daniella Evangelista. She’s goofy when she’s acting tough and her voiceover narration is awful.

At six minutes, Kalyn manages to be boring. Special effects competencies aside, Hybrids offers nothing.

A straight demo reel of ugly aliens would’ve been better.

CREDITS

Written, directed and edited by Patrick Kalyn; director of photography, Cliff Hokanson; music by Sam Hulick; produced by Gabriel Napora.

Starring Daniella Evangelista (Dakota) and Kaitlyn Bernard (Abigail).

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Orphan (2009, Jaume Collet-Serra)

Orphan‘s a peculiar failure. The script isn’t particularly good; it’s layered with foreshadowing upon foreshadowing and some very predictable turns. But it has these occasionally strong dialogue scenes between Vera Farmiga and Peter Sarsgaard. It runs out of them after a while, but they leave a positive memory.

Then there’s director Collet-Serra. He really likes crane shots in what should be enclosed spaces and he likes to use handheld when he should have a track. Orphan feels like an inexperienced director who got the opportunity to do a lot of things just because he could. Collet-Serra can’t do the two simple things Orphan needs him to do.

First, it needs him to tie a children’s story–Aryana Engineer and Jimmy Bennett get an adopted sister–to an adult’s story–Farmiga and Sarsgaard are new adoptive parents. Both of these stories (more Farmiga and Sarsgaard because of their fine acting, Farmiga in particular) have some strong moments. Scared kids is a classic, cheap movie standard and Collet-Serra can’t pull it off. It’s sort of embarrassing, because he doesn’t even seem to get it.

Second, he needs to give the family’s house a personality. He can’t. Some of it is lousy production design courtesy Tom Meyer, some of it is Collet-Serra’s incompetence.

As the film’s bad seed, Isabelle Fuhrman is mediocre. She can’t hold her accent and she’s never believable in hindsight after the big reveal.

Orphan‘s a boring thriller with bad direction and an excellent Farmiga performance.

CREDITS

Directed by Jaume Collet-Serra; screenplay by David Johnson, based on a story by Alex Mace; director of photography, Jeff Cutter; edited by Timothy Alverson; music by John Ottman; production designer, Tom Meyer; produced by Joel Silver, Jennifer Davisson Killoran, Susan Downey and Leonardo DiCaprio; released by Warner Bros.

Starring Vera Farmiga (Kate), Peter Sarsgaard (John), Isabelle Fuhrman (Esther), CCH Pounder (Sister Abigail), Jimmy Bennett (Daniel), Margo Martindale (Dr. Browning), Karel Roden (Dr. Varava), Rosemary Dunsmore (Grandma Barbara) and Aryana Engineer (Max).


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The Thing (2011, Matthijs van Heijningen Jr.)

The big problem with The Thing, besides it being pointless (though it needn’t be), is its stupidty. While van Heijningen is a perfectly mediocre director, he doesn’t know how to add mood or make something disturbing. Some of it probably isn’t his fault… I can’t see him caring about the addition of Eric Christian Olsen’s third wheel in the romantic chemistry between Mary Elizabeth Winstead and Joel Edgerton, for example. It’s just the filmmakers in general. They aren’t bright.

For example, who casted Olsen as a smart guy in the first place? He’s clearly not smart. Poor Winstead and Edgerton try–and Winstead can sell the scientist pretty well–but they’re stuck in a terrible cast. Ulrich Thomsen’s mad scientist belongs in a Roger Corman knockoff.

The filmmakers seem to understand they shouldn’t be telling the story of some Norwegians in English, but whenever the Norwegians panic, they speak English. That detail seems somewhat nonsensical.

If The Thing were a traditional sequel or prequel (i.e. coming within ten years of the original), it might concern developing the original’s mythology. But coming almost thirty years later, with zero participation from the original filmmakers, it’s not… it’s a potential (and thankfully failed) franchise starter.

It could have been neat though, since it’s essentially a remake of the original Thing from Another World in terms of plot. Sadly, it’s not neat. It’s terrible and cheap.

Eric Heisserer’s script is asinine.

Watching it, I just felt bad for Winstead. She’s too classy for it.

CREDITS

Directed by Matthijs van Heijningen Jr.; screenplay by Eric Heisserer, based on a story by John W. Campbell Jr.; director of photography, Michel Abramowicz; edited by Peter Boyle, Julian Clarke and Jono Griffith; music by Marco Beltrami; production designer, Sean Haworth; produced by Marc Abraham and Eric Newman; released by Universal Pictures.

Starring Mary Elizabeth Winstead (Kate Lloyd), Joel Edgerton (Sam Carter), Ulrich Thomsen (Dr. Sander Halvorson), Eric Christian Olsen (Adam Finch), Adewale Akinnuoye-Agbaje (Derek Jameson), Paul Braunstein (Griggs), Trond Espen Seim (Edvard Wolner), Kim Bubbs (Juliette), Jørgen Langhelle (Lars), Jan Gunnar Røise (Olav), Stig Henrik Hoff (Peder), Kristofer Hivju (Jonas), Jo Adrian Haavind (Henrik), Carsten Bjørnlund (Karl), Jonathan Walker (Colin) and Ole Martin Aune Nilsen (Matias).


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Resident Evil: Retribution (2012, Paul W.S. Anderson)

I’m not sure what subtitle Resident Evil: Retribution should have, but it definitely shouldn’t be Retribution. The movie really doesn’t have enough story for a subtitle, actually. Unless it’s Old Friends. For the ten year anniversary of the franchise, director Anderson brings back a bunch of old faces–Sienna Guillory and Michelle Rodriguez get the two biggest parts (while Oded Fehr and Colin Salmon get the smallest). Anderson does come up with a good reason to bring them back, he just doesn’t know how to turn it into a story.

Retribution mostly alternates between good fight scenes and painful exposition scenes. Anderson’s got enough money (or CG’s less expensive) so he doesn’t do the regular exposition tricks the franchise used to do on the cheap. Instead there’re long patches of characters spouting exposition, usually either Li Bingbing or Shawn Roberts. Sadly those actors are the worst in the film.

The music, from tomandandy, occasionally compliments the action well but it’s usually just loud and annoying. Good production values though–Kevin Phipps’s production design and Glen MacPherson’s photography in particular.

Anderson opens the film with a great reverse sequence, really showcasing the effects and his vision for the picture. Unfortunately, once it’s over, he changes visions. Then he changes them again. And again. And… well, you get the idea.

He finally decides on star Milla Jovovich having a complicated relationship with an orphan (Aryana Engineer) and it works. He just decided too late.

Retribution‘s tedious, but not without good moments.

CREDITS

Directed by Paul W.S. Anderson; screenplay by Anderson, based on the Capcom computer game series; director of photography, Glen MacPherson; edited by Niven Howie; music by tomandandy; production designer, Kevin Phipps; produced by Don Carmody, Jeremy Bolt and Anderson; released by Screen Gems.

Starring Milla Jovovich (Alice), Sienna Guillory (Jill Valentine), Michelle Rodriguez (Rain), Aryana Engineer (Becky), Li Bingbing (Ada Wong), Boris Kodjoe (Luther West), Johann Urb (Leon S. Kennedy), Robin Kasyanov (Sergei), Kevin Durand (Barry Burton), Ofilio Portillo (Tony), Oded Fehr (Carlos), Colin Salmon (One) and Shawn Roberts (Albert Wesker).


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Universe (1960, Roman Kroitor and Colin Low)

As a documentary short, Universe is undoubtedly interesting as a look at the history of astronomy. The expectation of life (or, at least, vegetation) on Mars, for example.

However, as a film, it’s an obvious precursor it pretty much every science fiction film made after it. Its opening seems so much like something out of 2001–the majesty and grandeur of space set to emotive classical music–it’s stunning to discover it predates that film by eight years.

Directors Kroitor and Low do an outstanding job not just composing their shots, but keeping the picture moving. It does start to drag a little at the twenty-minute mark (of twenty-seven) simply because they haven’t established the point… talking about the discovery of the universe.

The shots showing mundane human activities are also beautiful. Tom Daly’s excellent editing of the film is an essential component.

Universe is a visual feast.

CREDITS

Directed by Roman Kroitor and Colin Low; written by Kroitor; edited by Tom Daly; music by Eldon Rathburn; production designers, Sidney Goldsmith and Low; produced by Daly and Low; released by The National Film Board of Canada.

Narrated by Stanley Jackson.


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Unknown (2011, Jaume Collet-Serra)

Unknown is not a bad continental thriller. Liam Neeson is an American scientist in Berlin who wakes from a coma to find no one remembers him. As often happens in these situations, he finds himself a pretty sidekick (Diane Kruger) and a sympathetic native (Bruno Ganz) who try to help him unravel the mystery.

The film benefits a great deal from John Ottman and Alexander Rudd’s score, Flavio Martínez Labiano’s photography and the Berlin locations. Director Collet-Serra only has a handful of bad sequences—he likes the CG-aided slow motion a little too much—but he’s otherwise a perfectly mediocre thriller director.

Having Neeson for a lead helps too. He’s able to bring an air of respectability to the project, which would otherwise feel a little too pedestrian otherwise. January Jones—as his forgetting wife—doesn’t bring much substance too her performance and Aidan Quinn—as Neeson’s replacement—looks a little lost. Quinn gets this bewildered look from time to time, like he can’t believe he’s in this kind of picture. Neeson—who’s been doing these genre pieces for over a decade now—looks a lot more comfortable. Though it does occasionally seem like a thematic sequel to Darkman, which isn’t so much bad as unintentionally amusing.

There are twists, there are turns. There’s an ornate car chase (with unnecessary CG). The finale isn’t exactly predictable, but I’ve seen it before….

Unknown’s a diverting couple hours; Neeson and Kruger (oddly, a German playing a Bosnian) make it worthwhile.

CREDITS

Directed by Jaume Collet-Serra; screenplay by Oliver Butcher and Stephen Cornwell, based on a novel by Didier Van Cauwelaert; director of photography, Flavio Martínez Labiano; edited by Timothy Alverson; music by John Ottman and Alexander Rudd; production designer, Richard Bridgland; produced by Leonard Goldberg, Andrew Rona and Joel Silver; released by Warner Bros.

Starring Liam Neeson (Dr. Martin Harris), Diane Kruger (Gina), January Jones (Elizabeth Harris), Aidan Quinn (Martin B), Bruno Ganz (Ernst Jürgen), Frank Langella (Rodney Cole), Sebastian Koch (Professor Leo Bressler), Olivier Schneider (Smith), Stipe Erceg (Jones), Rainer Bock (Herr Strauss), Mido Hamada (Prince Shada), Clint Dyer (Biko), Karl Markovics (Dr. Farge) and Eva Löbau (Nurse Gretchen Erfurt).


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Chase, in Prose (2011, Bryan Jones)

Chase, in Prose has a couple big problems. First, Matthew Weston’s photography is terrible. Prose is shot on DV and Weston has no idea how to compensate for the format. There’s also a constant shakiness, which might be some poor style choice of director Jones’s.

Second problem is believing lead Byron Asher is a world famous author who writes about a serial killer (I think it’s supposed to be “Dexter”). Asher’s good, even getting through some of Jones’s tougher writing moments, but he can’t sell world famous author.

He’s having trouble writing and starts palling around with a girl (a fantastic Laura Baranik). Ludicrous plot developments about the devious machinations of bestselling authors’ agents occur throughout.

But Jones is a good director and he directs actors really well. Max Loh’s music is somewhat underutilized, but it’s excellent.

Prose should be a great short… it’s too bad about the silly stuff.

CREDITS

Written, directed and edited by Bryan Jones; director of photography, Matthew Weston; music by Max Loh; produced by Mark Hodgson.

Starring Byron Asher (Adrian Chase), Laura Baranik (Petra Kripac), Matthew Blood-Smyth (James Goodman), Heather Gibbs (Sarah Young), James Lambert (John Guyett) and Peter Hosking (Max Morris).


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Blindness (2008, Fernando Meirelles)

Maybe there’s a longer version of Blindness where they explain what happens to all the cast members who fall away from the film. Or what happens to them while the film’s busy on other stuff—like Danny Glover, who disappears for a large portion of the film, only to return in an integral part at the end.

Poor Mpho Koaho ingloriously disappears after being in the film from the first few minutes. I guess it’s all right—Glover’s good, Koaho isn’t. The film, which is in an unnamed city (which looks suspiciously Canadian—it filmed in Toronto), has some vague bureaucracy at the beginning (again, it seems very Canadian) but it soon descends into a weak Lord of the Flies with the blind instead of stranded kids. Leader of the bad guys are Gael García Bernal and Maury Chaykin. All the other bad guys, we later learn, as Hispanic males. All the good guys (the men, at least)… white or black. I’m not sure if the filmmakers realized it.

Bernal is laughably bad. Chaykin is at least mildly competent.

The lead is ostensibly Julianne Moore, the only seeing person in the world of the blind. Screenwriter Don McKellar (seemingly intentionally) writes in caricatures and makes Moore’s character ludicrously passive.

Due to McKellar’s weak writing, second-billed Mark Ruffalo gives a mediocre performance. Alice Braga is okay; the best performance is easily Kimura Yoshino.

Meirelles’s direction is unimpressive and obvious, like the film itself….

It’s not terrible, just pointless and boring.

CREDITS

Directed by Fernando Meirelles; screenplay by Don McKellar, based on a novel by José Saramago; director of photography, César Charlone; edited by Daniel Rezende; music by Marco Antônio Guimarães; production designers, Matthew Davies and Tulé Peak; produced by Andrea Barata Ribeiro, Niv Fichman and Sonoko Sakai; released by Miramax Films.

Starring Julianne Moore (Doctor’s Wife), Mark Ruffalo (Doctor), Danny Glover (Man with Black Eye Patch), Gael García Bernal (King of Ward 3), Maury Chaykin (Accountant), Alice Braga (Woman with Dark Glasses), Mpho Koaho (Pharmacist’s Assistant), Iseya Yûsuke (First Blind Man), Kimura Yoshino (First Blind Man’s Wife), Mitchell Nye (Boy) and Don McKellar (Thief).


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21-87 (1964, Arthur Lipsett)

The title credit card of 21-87 is a human skull and the second clip (the film is a collection of somewhat unrelated clips edited together) is of an autopsy.

It’s hard not to think about mortality while watching it, especially once the accompanying soundtrack—usually interviews unrelated to the clips—starts talking about religion. The short enters its second part when one interviewee equates nature to spirituality. Of course, there’s no nature in 21-87, just city.

The short’s often disconcerting because many people stare directly into the camera, which makes one wonder about Lipsett’s filmmaking process, not what he’s trying to do with the presentation of the sound and image. He’s very successful in showing how sound is essential to taking an image in context.

He also has an excellent scene at a fashion show.

But he’s never able to force the viewer to suspend the process questions.

CREDITS

Directed by Arthur Lipsett; produced by Tom Daly and Colin Low; released by The National Film Board of Canada.


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The Scribe (1966, John Sebert)

The Scribe isn’t totally silent, but Buster Keaton is throughout. While he’s old (Keaton died soon after the film, an instructional short finished shooting), he and the filmmakers don’t make it obvious. There’s some stunt footage where it’s obviously not Keaton—flying around, hooked on a crane (it’s a construction safety film)—but some where it’s less clear, like the chase sequences. Sure, it’s not really Keaton, but if one just lets him or herself suspend disbelief a little more… it is.

Director Sebert is the one who makes The Scribe such a nice homage to Keaton. There are a lot of references to Keaton films, ones I imagine the construction workers forced to watch The Scribe did not appreciate.

It helps the production values are good. They film on a real construction site, no way around it, but the office bookends aren’t fake looking.

The Scribe’s a fine exercise.

CREDITS

Directed by John Sebert; written by Paul Sutherland and Clifford Braggins; director of photography, Miklós Lente; edited by Kenneth Heeley-Ray; music by Quartet Productions Limited; produced by Ann Heeley-Ray and Kenneth Heeley-Ray; released by the Construction Safety Association of Ontario.

Starring Buster Keaton.


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