Theatrical Release

In Bruges

I’d read about dir­ector Martin McDonagh’s upcoming fea­ture In Bruges a few weeks ago, and was intrigued by the set­ting (I’ve spend long stretches here on both my back­packing trips around Europe in the late 1980s) and the casting (Colin Farrell, Brendan Gleeson, Ralph Fiennes). Now the trailer is up and I’m con­vinced this will be a winner.

I’ve never been much of a Colin Farrell fan, but here he gets to play a Dublin hitman sent to a Belgian tourist town after a botched hit. The accents and dia­logue are spot-on and the humour in the trailer prom­ises to make this a unique spin on the hitman genre.

By the way, the trailer is hosted on Film in Focus, a new advertorial site from Focus Features that actu­ally fea­tures a lot of great content.

In Bruges Trailer

P.S. Martin McDonagh is actu­ally much better-known as a play­wright, and I remember seeing his play The Lonesome West back in 2002 and having a very mixed reac­tion to it.

P.P.S. Watching this trailer brought back memories of another great Irish mob film with Brendan Gleeson called I Went Down. Inexplicably, it’s not avail­able on DVD. It was briefly released in Region 4 (Australia) but is now out of print. Considering that this was the highest-grossing Irish film at the time of its release (1997), its unavail­ab­ility seems crim­inal, if you’ll pardon the expression.

UPDATE (January 4, 2008): I’ve just learned that the film will be the Opening Night present­a­tion at this year’s Sundance Film Festival, so we shouldn’t have to wait too long to hear what the reviewers there thought of it.

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Heima

Heima (Director: Dean De Blois, 2007): Ever since Bob blogged about the trailer way back in August, I’ve been des­perate to see this film. Screenings have been care­fully con­trolled, and I was for­tu­nate to attend the first Canadian screening last night. Although the film was released on DVD a few days ago, there is really no com­par­ison to seeing a film like this on a big screen with a decent sound system, among a group of like-minded music fans. Sigur Rós is a band from Iceland whose music is nearly indes­crib­able. It’s orches­tral and epic and spir­itual and beau­tiful and moving. I’d seen the band per­form at Massey Hall a few years ago, and I’d com­pared the exper­i­ence to “seeing God.” The film does not disappoint.

First of all, des­pite the film­makers’ stated desire to avoid the “touristy” shots of Iceland, it’s impossible to make the country look any­thing but breath­taking. My wife and I plan to visit in 2008, and this just got me even more excited. I liked the way the film travels with the band to dif­ferent places in the country to per­form free con­certs for the pop­u­la­tion. And I loved that everyone came, from babies to grand­par­ents. It reminded me of my travels in Newfoundland, where even­ings at the pub were attended by almost everyone. The music was superb, and by the time I fin­ished watching the film, it was quite pos­sible to believe that Sigur Rós is the only band that mat­ters. The inter­views with the band mem­bers didn’t add a lot in terms of insight into the music itself, but it was nice to see them in relaxed set­tings speaking their quirkily-accented English.

I will say without shame that I dozed a little at cer­tain points. That’s not an insult to the music or the imagery. It just felt like the line between waking and dreaming was so thin that was easier to cross over. It didn’t hurt/help that the screening began at 11:15pm and that I’d spent the early part of the evening drinking beer.

I’ll look for­ward to seeing this again and again when my DVD arrives, but I’d recom­mend trying to see this in a cinema if you can.

Buy from Amazon.ca

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Official site for the film (US)

Official site for the film (UK)

9/10(9/10)

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For The Bible Tells Me So
Editor’s Note: Doc Soup is a monthly doc­u­mentary screening pro­gramme run by the good folks at Hot Docs. It gives audi­ences in Toronto (and now Calgary and Vancouver!) their reg­ular doc fix each year from the fall through to the spring, leading up to the Hot Docs fest­ival itself.

For The Bible Tells Me So (Director: Daniel Karslake): This doc­u­mentary came to my atten­tion through Joel Heller’s excel­lent site Docs That Inspire, before it played at Sundance this past January. The film explores the inter­sec­tion of homo­sexu­ality and reli­gion, par­tic­u­larly among con­ser­vative Christians, and as such, it tackles a sub­ject near and dear to me. I spent many years immersed in the evan­gel­ical sub­cul­ture and went through the very painful coming-out exper­i­ence of a close friend. This is exactly the sort of film I wish we’d had in the early 90s. Through the exper­i­ences of five Christian fam­ilies, each with a gay or les­bian child, we watch as real people struggle to integ­rate their love for their fam­ilies with their own beliefs and exper­i­ences. But this isn’t the typ­ical con­front­a­tional sort of film many of us have seen before. Instead, we meet clergy who have wrestled hon­estly with what the Bible says, and who are able to recon­cile their faith with accept­ance of gay and les­bian people. It’s gut-wrenching stuff, and not everyone will be con­vinced by the theo­logy, but at least it gets people dis­cussing the meaning of the dis­puted bib­lical pas­sages, rather than just quoting them.

I par­tic­u­larly liked that not all the fam­ilies are the same. Some still struggle to accept what they per­ceive to be their child’s “sinful” life­style, while others have gone on to polit­ical act­ivism (in some cases, even to the point of being arrested!). Karslake has made a very wise choice by adopting the name of a par­tic­u­larly obstinate opponent of gay rights, Focus on the Family, as his theme. By focus­sing on the real fam­ilies and exper­i­ences of gay people, he removes much of the appre­hen­sion and fear of straight people, espe­cially reli­gious straight people. I loved the way he intro­duced each family by having the par­ents explain how they them­selves met and fell in love. It showed us that attrac­tion and romance are at the root of all of our fam­ilies, and that the rela­tion­ships of gay people are really not much dif­ferent than anyone else’s.

If I have any mis­giv­ings about the film, they are rel­at­ively minor. One is the use of a short anim­ated seg­ment to try to explain some of the recent sci­entific research around homo­sexu­ality. I thought the tone was a little too self-consciously light-hearted and I thought the seg­ment was largely unne­ces­sary. The other quibble was that earlier in the film, Focus on the Family’s Dr. James Dobson is (right­fully) called out for com­paring advoc­ates of gay mar­riage to Hitler, but then later, actual footage of Hitler is used to describe the per­se­cu­tion of gay people. I don’t think you can have it both ways.

Nevertheless, this is a fair, gen­erous, and incred­ibly moving por­trait of real people trying to recon­cile their deepest-held beliefs with their very iden­tities of them­selves or of those closest to them. I’m not ashamed to tell you that I was moved to tears sev­eral times. Despite that, I think it’s a film that would move others who are per­haps not quite so close to the issues. My wife and I have a run­ning joke. We’ve got the great idea that if only fun­da­ment­alist Christians and gay people could actu­ally meet each other instead of hurling insults across the divide, much under­standing and even recon­cil­a­tion could be achieved. I’ve offered to hold a series of dinner events called “Fags and Fundies” to which we could invite quite a few of our friends. I think I’ve found the per­fect film to get the dis­cus­sion started.

NOTE: The film is showing in various venues in the US in the coming months, but so far, there are no Toronto screening dates. Check the film’s site for any changes, and look for a DVD release in the coming months.

UPDATE (January 9, 2008): The film’s Toronto premiere will be tonight at the Bloor Cinema as part of the Doc Soup pro­gramme. Director Daniel Karslake will be in attend­ance. Screenings at 6:30pm and 9:15pm.

Official web site of the film

Docs That Inspire’s Joel Heller inter­views dir­ector Daniel Karslake

Soulforce, an organ­iz­a­tion of gay and les­bian Christians and their straight allies fighting reli­gious bigotry

PFLAG (Parents, Families and Friends of Lesbians and Gays)

9/10(9/10)

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No End In Sight

No End In Sight (Director: Charles Ferguson, USA, 2007): First-time dir­ector Charles Ferguson decided to make this film at a time when a number of books were being pub­lished about the Bush administration’s dis­astrous hand­ling of the Iraq war. In fact, Ferguson has known George Packer, author of prob­ably the defin­itive work (so far) on the war, The Assassins’ Gate: America in Iraq, for fif­teen years. This helped to explain why there was a famili­arity about many of the people I saw on the screen. What Ferguson has made is essen­tially an even more hard-hitting ver­sion of Packer’s book.

Ignoring the ques­tion of whether the war itself was jus­ti­fied was a wise choice. By focus­sing strictly on how the war and occu­pa­tion were planned (or per­haps more accur­ately, not planned), Ferguson’s film appeals to both the doves and the hawks, all of whom must agree after seeing the film that the Iraq war is now a full-blown debacle. In inter­views about the film, Ferguson has gravely but con­fid­ently stated that he believes the US will have a sig­ni­ficant mil­itary pres­ence in Iraq for the next 20 to 30 years. His film quietly and soberly puts all the pieces together, building emo­tional power as it goes. He speaks with the people who were first on the ground in Iraq after the inva­sion, and we hear how ill-prepared they were. Then the hasty estab­lish­ment of the Coalition Provisional Authority turned the country into, for all intents and pur­poses, a new dic­tat­or­ship with L. Paul Bremer wielding incred­ible power and chan­ging policy decisions with little con­sulta­tion. The three most damning policies he pur­sued were the failure to pro­ceed quickly with an Iraqi-led gov­ern­ment, the de-Baathification of the civil ser­vice, and the dis­sol­u­tion of the Iraqi Army. Along with the failure of American troops to stop looting and estab­lish law and order quickly after the inva­sion, Ferguson and his group of inter­viewees feel these bad decisions at the begin­ning of the war were sig­ni­ficant in leading to the cur­rent chaos.

This is a sobering and neces­sary film. And yet it would have been great to hear even a few sug­ges­tions for how to make things right. How can we learn from these mis­takes and lessen the damage that’s already been done? Unfortunately, that film has yet to be made.

The film is in lim­ited release right now in the US, expanding over the next few weeks. There is no release date yet for Toronto.

Trailer
Official site for the film

9/10(9/10)

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Sunshine

Sunshine (Director: Danny Boyle, UK, 2007): Last night, cour­tesy of the good folks at the Toronto After Dark Film Festival, I was able to catch the pre­view screening of Danny Boyle’s latest film, a sci-fi epic in the old-fashioned sense. Drawing inspir­a­tion from clas­sics like 2001: A Space Odyssey, Solaris, and Alien, Sunshine doesn’t really chart any new ground, but it was a blast, and unlike most American sci-fi of recent years, it didn’t insult the viewer’s intel­li­gence. We were for­tu­nate to have the dir­ector present for a q&a after the screening (although he arrived from Chicago just in time for the end of the film) and he was refresh­ingly candid about the dif­fi­culties involved in making the film, as well as the very narrow them­atic scope of films like this. As he put it, there is always a ship, a crew, and some sort of dis­tress signal. Of course, it would make more sense for the crew to ignore the dis­tress call, but they never do, and thank good­ness, or else we’d be watching a pretty dull film.

As it goes, the eight-person crew of the Icarus II, en route to deliver a bomb into the heart of a dying Sun, pick up sig­nals from the Icarus I, lost seven years before. The film func­tions as an effective thriller and even enters the horror realm as the crew mem­bers meet various unex­pected ends. We know at the begin­ning that their chances of returning to Earth are slim, but it’s still affecting to watch as they send mes­sages home. And although the char­acter devel­op­ment is min­imal, there is still a strong sense of caring about these people, since they rep­resent humanity’s last hope against the unfeeling machinery of the universe.

In sum­mary, this is not a classic in the mold of the three films it ref­er­ences, but it’s a great syn­thesis of their themes and shares the same atmo­sphere, which for me is a huge achieve­ment. This is the sort of summer block­buster I’d recom­mend to my own friends.

Here is the Q&A with dir­ector Danny Boyle from after the screening (apo­lo­gies for the low volume, I’m trying to edit these a bit, but let me know if it’s still too low):

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Duration: 18:44

The film opens in Toronto on July 20.

Official site for the film
Production blog for the film

7/10(7/10)

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