#FIRSTLOOK: “MOXIE” TRAILER

Amy Poehler directs and stars in new Feature MOXIE, coming soon to Netflix. What a Cast on this!

Synopsis:

Vivian (Hadley Robinson), a seemingly shy 16-year-old, has always preferred to keep her head down and fly under the radar. But when the arrival of a new student (Alycia Pascual-Peña) forces her to examine the unchecked behavior of her fellow students running rampant at her high school, Vivian realizes she’s fed up. Inspired by her mother’s (Amy Poehler) rebellious past, Vivian anonymously publishes an underground zine called Moxie to expose bias and wrongdoing in her high school, and unexpectedly sparks a movement. Now at the center of a revolution, Vivian begins to forge new friendships with other young women and allies, reaching across the divide of cliques and clubs as they learn to navigate the highs and lows of high school together. Directed by Amy Poehler and based on the novel by Jennifer Mathieu, MOXIE also stars Lauren Tsai, Patrick Schwarzenegger, Nico Hiraga, Sydney Park, Josephine Langford, Clark Gregg, Josie Totah, Anjelika Washington, Charlie Hall, and Sabrina Haskett, with Ike Barinholtz and Marcia Gay Harden.

See the Trailer:

MOXIE arrives on Netflix March 3, 2021.

(Photo/video credit: Netflix)

#SUNDANCE: “JUDAS AND THE BLACK MESSIAH”

Review by Amanda Gilmore for Mr. Will Wong

This outstanding Film depicts the true story of how William O’Neal (LaKeith Stanfield) was offered a plea deal to infiltrate the Black Panther Party, with the intent to gain intelligence on Chairman Fred Hampton (Daniel Kaluuya).

Director and Co-Writer Shaka King has brought us an important story about a buried history. It’s filled with tragedy, adrenaline and tender moments. Balancing these moments is a feat, but King succeeds. There are jarring scenes of police shootouts and violence against members of the Black Panther Party. Then moments of contemplation from Hampton with his comrades and partner Deborah Johnson (Dominique Fishback).

The decision by King and Co-Writer Will Berson to start and end their re-telling of this tragedy with a reenactment of an O’Neil interview is impressive. In doing so, they give audiences a look into the antagonist of their Film. They depict the primary drive for O’Neil was the money the FBI was paying him. The reenactment and actual interview footage at the end show how far in denial O’Neil was about his time as an informant. King looks at O’Neil as a person who, “falls for everything if they stand for nothing.”

Stanfield’s performance of the Antagonist is nuanced. He manages to leave mystery in his layered performance that allows audiences to question if O’Neil ever felt guilty. By no way is O’Neil redeemed, but having an Actor able to express humanity in someone consumed by self-preservation is incredible to watch. It’s in O’Neil’s self-preservation that pins him as the direct opposite of Hampton, who was always for the people.

Kaluuya is terrific as Hampton. His control over his voice, accent and bravado, is masterful, especially when displaying difference in cadences. He had a different cadence when having conversations and giving speeches. Kaluuya does this throughout, particularly in the “I am a Revolutionary,” scene. It’s one of the most powerful scenes in the Film that gives chills and leaves goosebumps. It also shows the unbelievable talent of Kaluuya.

Although, Judas and the Black Messiah is about the two men, King and his female Cast, lift-up the female characters. Johnson is a pivotal part of the story and is where the heart of the Film lies. It’s lovely to watch Kaluuya and Fishback together on-screen. They have magnetic chemistry that is palpable. Fishback gives an outstanding performance throughout.

King’s use of Sound and Music is integral to his story. Through the first part of the Film, there is a Jazz composition that complements to the movement of the Black Panther Party. When things begin to become more tumultuous, due to O’Niel following out more vile orders from the FBI, the music changes to string compositions. These compositions create an unsettling atmosphere. The Film goes quiet near the end. The moments surrounding the assassination of Hampton by the FBI is silent, adding to the already sombre tone.

Judas and the Black Messiah is a layered Film about many things. One of them being the importance of legacies in a story that has been buried.

Judas and the Black Messiah screens at Sundance:

Live Premiere: February 1 at 9 PM (EST)

On-Demand: February 3 at 10 AM (EST)

#SUNDANCE: “LIFE IN A DAY 2020”

Review by Amanda Gilmore for Mr. Will Wong

Through crowdsourced footage, Life in a Day 2020 shows what people in 192 countries were doing on July 25, 2020.

Impressively, Director Kevin MacDonald manages to find a narrative with this random video footage. We begin with the miracle of life, some happening in hospitals and others at home. MacDonald switches from here to start of the beginning of people’s day. And we end with the world going back to sleep. 

Through the narrative we see people coping with the impacts of the pandemic. We hear from doctors and people who are ill, with transition shots of empty streets all over the world. MacDonald includes the things we were able to experience at home. People trying new recipes and finding safe ways to exercise. We see the importance of love from family, spouses and pets to help us get through that summer. 

Some of the highlights from the footage is hearing from people who marched and peacefully protested for George Floyd. Additionally, the message about the effects of climate change. As we stayed home, we saw wildlife and nature try to recoup. He edits this with footage of the negative effects some countries experienced due to climate change. If you look carefully, around the one-hour mark you will see Toronto jockey Emma-Jayne Wilson among those featured.

Life in a Day 2020 shows us a that in one of the most isolated times we are all connected in more ways than we think.

Life in a Day 2020 screens at Sundance:

Live Premiere: February 1 at 6 PM (EST)

On-Demand (available for 24 hours): February 3 at 10 AM (EST)

#SUNDANCE: “MAYDAY”

Review by Amanda Gilmore for Mr. Will Wong

After a storm causes short circuits at her place of work, Ana (Grace Van Patten) wakes up on a mysterious island. She quickly finds herself among an army of girls — Marsha (Mia Goth), Bea (Havana Rose Lui), and Gert (Sono) — who are in a never-ending war. The leader of the pack, Marsha, explains that Ana was sent there because of the sexist experiences and assault she endured. The four women spend their days luring men to the island through false mayday calls to hunt them.

Writer-Director Karen Cinorre has created a feminist Fantasy film with a beautiful setting and compelling visuals. There is an alternate reality feeling to the island. A place where women can seek revenge on those who have wronged them. Cinorre creates conflict on this idyllic island by throwing in the good guys with the bad. When Ana realizes that not all the men are a threat tensions heighten between her and the war-intent Marsha.

Marsha is the standout character and Goth gives a commanding performance. She’s at her best when butting heads with Van Patten over the altering views. Same goes for Van Patten who is great as the level headed Ana. The rest of the ensemble, which includes a minor but memorable role from Juliette Lewis, is strong and play well off each other.

Although the Film drags at times, Cinorre gets her message and questions surrounding empowerment across. Additionally, she’s got a strong creative flair that brings her feminist message to a reimagined war-fantasy.

Mayday screens at Sundance:

Live Premiere: January 31 at 3 PM (EST)

On-Demand (available for 24 hours): February 2 at 10AM (EST)

#SUNDANCE: “CUSP”

Review by Amanda Gilmore for Mr. Will Wong

Cusp follows three teenage girls through one summer in their Texas town.

Directors Parker Hill and Isabel Bethencourt have given us a snapshot reminder of what it’s like to be a female adolescent. We watch as these girls make impulsive decisions, like getting a piercing, and partaking in underage drinking and recreational drug use. However, Hill and Bethencourt have done more than simply scratch the surface of American girlhood, thanks to their subjects. 

Brittany, Autumn and Aaloni speak honestly about their life: past, present and dreams of their future. Through nights partying around a campfire or chilling in a room, they open up and discuss their harrowing experiences. We listen, and sometimes bare witness, to issues within their household. We observe them speak and experience a range of mental, emotional, verbal and physical abuse. At its most heartbreaking are the stories of sexual violence some of them have endured. 

Through listening and witnessing to Brittany, Autumn and Aaloni, we see the complexity of femininity and resilience of girlhood. Overall, Cusp is a rewarding, difficult watch.

Cusp screens at Sundance:

Live Premiere: January 30 at 6 PM (EST)

On-Demand (available for 24 hours): February 1 at 10 AM (EST)

#SUNDANCE: “PRISONERS OF THE GHOSTLAND”

Review by Amanda Gilmore for Mr. Will Wong

A ruthless banker, aptly named Hero (Nicolas Cage), sits in a cell in the treacherous frontier city of Samurai Town. He gets a chance to seek redemption when he’s hired by the despicable Governor (Bill Moseley) to find one of his missing employees (Sofia Boutella), who he considers his adopted granddaughter. But this journey isn’t going to be easy. The granddaughter is being held a prisoner of the Ghostland, a place no one escapes from. And if Hero doesn’t bring her back within 5 days, the leather suit he’s forced to wear will detonate.

Popular Japanese Filmmaker Sion Sono creates a post-apocalyptic Western that’s just the right kind of bonkers. He’s working off a Script by Co-writers Aaron Hendry and Reza Sixo Safai that tells a mythical journey filled with ghosts, gunslingers and more. One of the greatest scenes happens toward the end. The main fight sequence, that’s expertly shot, is entertaining, funny, and has some splashes of gore. The Film is perfect for a midnight audience and a match for Cage.

The heightened performance style Cage has become known for, labelled Cage Rage by fans, thrives in Prisoners of the Ghostland. His acting matches Sono’s vision and atmosphere. The script offers many characters to give unhinged performances. That extends to some of the lesser-explored female characters working for The Governor. These actors make an impact with great delivery of one-liners and reaction shots.

Although people might come for Cage, they stay for the talented Boutella. She’s written and thought to be the damsel character, but by the end, she becomes a hero for herself and a friend under the Governor’s rule. It’s wonderful to watch her go from voiceless to a sword-wielding fighter. This is refreshing to see in a film where the main character’s name is Hero. But then again, Prisoners of the Ghostland is a mixed bag that is liberated of genre conventions.

Overall, this isn’t going to be a film every audience will love. But it’s an entertaining, wacky ride that is visually stunning thanks to Sono’s creative vision.

Prisoners of the Ghostland screens at Sundance:

Live Premiere: January 31 at 9 PM (EST)

On-Demand (available for 24 hours): February 2 at 10 AM (EST)

#SUNDANCE: “JOCKEY”

Review by Amanda Gilmore for Mr. Will Wong

Aging jockey Jackson (Clifton Collins Jr.) has become weathered due to decades on the riding circuit. After noticing changes in his hand, he learns he’s facing a debilitating illness. Realizing this might be his last championship race, he practises with the help of trainer Ruth (Molly Parker) and a promising young horse. Further changes begin happening in Jackson’s life when young jockey, Gabriel (Moisés Arias), claims to be his son.

Director and Co-Writer Clint Bentley has brought audiences into the life of a middle-aged jockey. We witness the importance of the relationship between jockey, trainer and horse. And while peaking on the men who ride, we learn of the costs to body and mind. Bentley’s shots, with help from the talents of Director of Photography Adolpho Veloso, of the Arizona sunsets against the stables and track, are breathtaking. They collide with the heartbreaking performance from Collins Jr.

He steers this touching portrait of a man facing the sunset of his career. He embodies a complex man who has spent his life at something that is about to be ripped away from him. He excels particularly in Jackson‘s refusal to accept Gabriel as his son. And then slowly exposing the hope that grows in believing he might be. Collins Jr. and Arias have beautiful chemistry that leaps from the screen. They depict two men at different stages of their career: one ending, one beginning. We get to see the excitement of beginning in the career you yearn for, and the anguish in watching it slip away. 

Arias is strong as Gabriel whose aspiration and ambition are palpable. He’s best in quiet scenes between Gabriel and Jackson discussing the passion for the sport. Additionally, Parker is a standout as empathetic Ruth. She exudes both Ruth’s hunger for a win and her care for Jackson’s condition.

Jockey is a poignant look at the desires of career and family. It brings us right into the world of being a jockey and its taxing costs to the body. Further, it’s an exploration of the importance of family; whether it be through blood or spirit.

Jockey screens at Sundance:

Live Premiere: January 31 at 6 PM (EST)

On-Demand (available for 24 hours): February 2 at 10 AM (EST)

#COOKING: ROY CHOI “GHETTO DOUGHNUTS” RECIPE

Roy Choi’s “Ghetto Doughnuts”. We learned of this handy recipe from watching SELENA + CHEF. Who wouldn’t want doughnuts at home in minutes? These are so simple, quick and satisfying. While Roy normally fries these in Crisco, I did these in the Air Fryer with a brush of coconut oil and honestly, they’re still great and if anything healthier than deep frying. Try them out!

Ingredients:

1 tube of Pillsbury Country Biscuit Dough
1/2 cup granulated organic sugar
3 tbsps black sesame, toasted
1 tsp cinnamon

Coconut Oil

Instructions:

1. Preheat Air Fryer at 360°F for 3-4 minutes.
2. Dough is already pre-portioned (10) so transfer portions to a platter and brush each side of dough with coconut oil. If you like, you can cut holes in the pieces with a round cutter and use those as doughnut holes.
3. Place 4-5 pieces into Air Fryer at a time. Fry for about 7 minutes.
4. While frying, combine sugar, cinnamon and sesame in a large bowl.
5. Once doughnuts are cooked, brush again with some coconut oil and transfer to sugar mixture. If having trouble adhering, use your hand and sprinkle sugar mixture on-top.
6. Transfer doughnuts to a serving platter.
7. Store in air-tight container for a day at room temperature. Blitz quickly in the microwave before serving for a refresh.

Gallery:

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#SUNDANCE: “VIOLATION

By Amanda Gilmore for Mr. Will Wong

Miriam (Madeleine Sims-Fewer) joins her husband, sister and brother-in-law Dylan (Jesse LaVercombe) on a relaxing trip to a lakeside cabin. As Miriam feels more isolated among the group, she seeks comfort in her friendship with Dylan. However, dynamics change when Miriam experiences an act of transgressive sexual assault. After carefully planning, Miriam embarks on a crusade to get revenge on her vicious assaulter.

Directing and Screenwriting Duo Sims-Fewer and Dusty Mancinelli create an enthralling Revenge Thriller, giving Canada representation at Sundance. Prior filmmakers have tackled the rape-revenge genre, but none have done it like this. Their story is rooted in documenting how acts of sexual violence happen more often from those we trust. That is part of the violation they focus on, which is a unique take on this genre.

Violation is a revenge tale with an intelligent lead. Miriam thoroughly plans exactly what she’s going to do and how she’ll get away with it. This creates a fortifying character who doesn’t solely act out of emotion, but also wit. Sims-Fewer and Mancinelli also root their brutal film in authenticity. Because Miriam is physically smaller than her attacker, each scene is seeping in suspense and fear that her plan may turn eerie. And their build-up leads to a pivotal scene where Miriam loses the upper-hand. This is something that would happen to people with their physical differences. Thus, creating a realistic take on the dynamic within this Thriller.

Their realistic gaze coincides with their ability to throw us into the physical and emotional challenges Miriam faces. We are thrust into her thirst for revenge by the filmmaking-duo’s camera work, which causes us to become disoriented. This places us in Miriam’s state-of-mind throughout. And this is where Violation stands-out: it has something to say about the destructive power that comes along with the most righteous of rages. They challenge the audience to question if Miriam’s gruesome acts of revenge are giving her the catharsis she’s searching for.

Sims-Fewer does triple duty by taking on the main role. She gives a fully committed performance as Miriam and displays all of her characters complexities. At times Miriam could be considered going too far in her desire for revenge. But Sims-Fewer steadies Miriam in her quest and constantly portrays dual emotions. She’s both fragile and strong, vengeful and remorseful. It’s a masterful performance.

Overall, Violation is more than just a gruesome and brutal Revenge Thriller. It has a complex lead character and something to say about warranted vengeance. It’s a must watch.

Violation screens at Sundance:

Live Premiere: February 1 at 12 AM (EST)

On-demand (available for 24hrs): February 2 at 10 AM (EST)

#SUNDANCE: “MARVELOUS AND THE BLACK HOLE”

Review by Amanda Gilmore for Mr. Will Wong

Teenage delinquent Sammy Ko (Miya Cech) is going through a hard time. She’s still mourning the loss of her mother, and her father’s (Leonardo Nam) blooming relationship with Marianne (Pauline Lule) isn’t helping. However, life slowly becomes easier to handle when she has a chance encounter with magician Margot (Rhea Perlman). As Margot teaches Sammy the art of magic a bond develops that nourishes them both.

Marvelous and the Black Hole is a hilarious and heartwarming film. The central storyline involves a young girl dealing with her grief. This could slip into drama territory, but Writer-Director Kate Tsang builds her Script with honest humour that creates a quirky comedy. At the heart of her story is the theme of family. She takes us for a magical ride with two characters who are equally delightful — especially when Sammy is seeping in teenage angst.

Writing a young teen female character like Sammy, who smokes and has a short-fuse, is original on-screen. However, Sammy is an accurate depiction of the inner emotions and outward actions of many teenage girls (specifically those suffering). Tsang has perfectly cast this feisty and charming character with newcomer Cech. At such a young age she delivers each line like a pro, making us laugh and empathize from beginning to end. She has great chemistry with Perlman who is wonderful as Margot. 

As the story unfolds, we learn more about Margot and how she’s yearning for her long-lost family, just as Sammy aches for her mother. This is the tie that binds these two kooky characters together, along with the magic; which is exciting to watch, especially when done in one frame with no edits.

Marvelous and the Black Hole screens at Sundance:

Live Screening: January 31 at 12 PM (EST)

On-Demand (available for 24 hours): February 2 at 10 AM (EST)