#FIRSTLOOK: WHAT TO WATCH SEPTEMBER 2020 – “THE BOYS”, “STAGE MOTHER”, “RATCHED”, “I’M THINKING OF ENDING THINGS”, “UNCLE PECKERHEAD”, “BOYS STATE”, “HIGH SCORE”, “LOVE, GUARANTEED”, “MISBEHAVIOUR”

Summer might be over but that means there’s lots of exciting new Television for you to get acquainted with! See some of our recommendations.

THE BOYS SEASON 2 (Amazon Prime)

The second season of this highly-anticipated Toronto-made superhero series is back! We pick-up right where with the successful first season as we see the Vought International-controlled superheroes The Seven, feuding against vigilantes The Boys. Homelander (Antony Starr) is as deliciously-evil as ever as The Seven‘s leader witholding The Boys’ leader Butcher’s (Karl Urban) wife and son from him, giving us plenty of fuel to go on in their feud because let’s face it – it’s always about a girl. We see Deep (Chace Crawford) estranged by The Seven, attempting to make his way back in with struggle after suffering an emotional breakdown. Stormfront (Aya Cash) gets introduced and she is the perfect pairing to Homelander‘s sinister. Kimiko (Karen Fukuhara) is vulnerable as a feral member of The Boys and we see her storyline develop with her brother. We also see Hughie (Jack Quaid) and Annie (Erin Moriarty)‘s Romeo & Juliet-like romance progress made further complicated by their allegiances to each of their causes, hence meeting secretly. What makes The Boys‘ brand so unique is its way of combining brute violence, with comical references of our today – yes “Diva Cups” make an appearance. This, plus a whimsical retro soundtrack. This is all tied-in on a deeper level to race relations and the fight against the power, mirroring much of what’s been on the forefront of discussion of Racism today. Fans will be delighted by what looks like is here to stay for a while! Stay tuned for some exciting guest roles to come including the likes of Patton Oswalt.

First three episodes stream September 4, 2020 on Amazon Prime, with new episodes to come weekly.

STAGE MOTHER (Momentum Pictures)

We all could use a little something uplifting and what makes us smile more than Drag Queens? Thom Fitzgerald‘s STAGE MOTHER takes us on a journey with estranged Maybelline (Jacki Weaver), who learns of her son Ricky‘s (Eldon Thiele) death. We learn a bit of history of their rift after his “coming out” causes an issue. Travelling to Nova Scotia-masking-as-San Francisco from the conservative South, Maybelline meets his partner Nathan (Adrian Grenier) who holds a bit of resentment towards her; his best friend Sienna (Lucy Liu); and the Drag Queens at the struggling bar he owned, which she inherits. In her time in San Francisco, she discovers her son’s world, finding it a bit tougher every day to leave as she becomes more invested in those who were around him, including helping the drag queens shape-up their act with her expertise as a Choir Director. This Comedy is filled with heartfelt moments and while it’s got a couple too many ballads which somewhat lag the energy of the Film a bit, it is proof that at any age, one can go on a growth journey. Weaver is fantastic and highly-likable, many even a bit too likable that it becomes maybe unbelievable that her son would’ve had an issue coming out to her. Some entertaining performances from its Support Cast include Liu balancing new motherhood and dating life, Toronto-based Allister MacDonald as one of the bar’s stars and a seen-too-little Drag Queen Jackie Beat as Dusty. STAGE MOTHER is available digitally Friday, August 21, 2020.

RATCHED (Netflix)

Once again we visit the sordid world of Ryan Murphy in RATCHED, which is an origins story behind the main antagonist in Classic ONE FLEW OVER THE CUCKOO’S NEST. This first season consists of nine episodes, starring Sarah Paulson in the titular role. The battleaxe head nurse is depicted as cold, heartless and scheming but this Series exposes how she became the way she is known. Like many of other of Murphy‘s productions, the build-up of the story is hyper-sexualized, many pondering sexuality a bit more than needed between its characters. True to form, the story takes flight as we progress throughout the season and we really go inside the mind of our central character as she is forced to confront her dark past, while also coming to terms with her sexuality and her love interest, Gwendolyn Briggs. (Cynthia Nixon). Murphy as expected, allows his Ensemble a chance to shine and this Series boasts some familiar collaborators including Finn Wittrock as convicted murderer Edmund Tolleson, whom we learn is Ratched‘s childhood adopted brother, plus also Jon Jon Briones who shone in The Assassination of Gianni Versace, playing Andrew Cunanan‘s father. The latter plays Dr. Richard Hanover, who oversees operations at the mental hospital, himself on-the-run from a dark secret. Judy Davis compels and mortifies as Ratched‘s arch-nemesis at the hospital, Nurse Bucket. Charlotte Wells, a patient with Multiple Personality Disorder comes to life in all her personas via the brilliant Sophie Okonedo. The talented Alice Englert whom we haven’t seen in a while surfaces as a Dolly, a young nurse on-the-verge, falling for Tolleson. The deliciously-twisted Ratched streams on Netflix Friday, September 18, 2020.

THE ONE AND ONLY IVAN (Disney+)

Review by David Baldwin

Ivan (Sam Rockwell) is the star of the show at an animal attraction housed inside a suburban mall. The giant Silverback gorilla is happy in captivity and does his best acting for the paying guests. But when young elephant Ruby (Brooklynn Prince who you might remember from The Florida Project) arrives and starts asking questions about Ivan’s past, he realizes that he longs to be free and in the wild.

There is something about the simplicity of The One and Only Ivan that makes me smile. There is no doubt that it is typical surface level Disney fluff, but it knows just when to make you laugh, when to cry and when to warm your heart. The hybrid-live action/CGI animation style is well done, with the design of Ivan standing tall above the rest. The voice cast – which also includes Angelina Jolie, Danny DeVito, Helen Mirren and Ron Funches (who slays just as hard here as he does as King Shark on the animated Harley Quinn series) – is terrific, and the human cast lead by Bryan Cranston and Ramón Rodríguez elevate the material. Some of the motivations could be a bit stronger and the Film could do with a few less montages, but families will still end up being delighted.

THE ONE AND ONLY IVAN is streaming on Disney+ now!

UNCLE PECKERHEAD (levelFILM)

By David Baldwin

Punk band DUH has just scored their first tour. The only problem is, they are low on cash and do not have any way to get to their venues. By chance, they meet Peckerhead (David Littleton). He offers to help drive them around in his van and act as their roadie – but forgets to mention that he becomes a flesh-eating demon at midnight every night.

Uncle Peckerhead is light on story and heavy on viciously-violent fun. It never seems to take itself seriously, and delights in being as outrageous as possible. Writer/Director Matthew John Lawrence sets the tongue-in-cheek tone from the start, having just as much fun shooting scenes of the band rocking out as he does watching Peckerhead rip people to pieces. The gore and makeup effects are used sparingly and effectively, initially hinting at the carnage in the first half and then on full disgusting display throughout the second half. The dialogue could have been more fine-tuned, but the Cast makes the best of it and seems very in on the silly tone. Littleton’s Peckerhead shines above the rest however, landing in a sympathetic sweet spot between ally and monster. I just wish it did not end so abruptly.  

levelFILM release UNCLE PECKERHEAD on Digital and On-Demand on Tuesday August 25, 2020.

I’M THINKING OF ENDING THINGS (Netflix)

Charlie Kaufman holds a dear place in our hearts having written Eternal Sunshine of the Spotless Mind and he’s back again after 2015’s directorial effort Anomalisa. He adapts Canadian Author Iain Reid’s acclaimed Novel, I’M THINKING OF ENDING THINGS, a Psychological Thriller.

The Film centers on a young woman (Jesse Buckley) whom after dating her boyfriend Jake (Jesse Plemons) for a few months, realizes she wants to end the relationship with him. That being said, she still goes along with him on a trip to visit his parents, played by David Thewlis and Toni Collette. As the unpleasant night progresses and she comes across several haunting peculiarities, including oddly-framed questions including why she would date Jake, they head off on a long-drive home in the dead of winter where we see how incompatible the two actually are as they engaged in discussions about life. Finally, they arrive at a deserted school and the story unravels where we meet the janitor (Guy Boyd) and gain an awareness of who the couple might actually be.

While craftily-written, I’M THINKING OF ENDING THINGS reads much like a play. It is rather heavy on the dialogue and slow to progress, it is a watch which very much relies on your patience and investment. That being said, Buckley rises to the challenge and excels in her role as the unnamed woman and Kaufman carefully tells this story in a way that suggests something is horribly wrong, having us guessing the entire way which direction the story is heading.

I’M THINKING OF ENDING THINGS arrives on Netflix Friday, September 4, 2020.

BOYS STATE (Apple TV+)

By David Baldwin

This year’s winner of the US Documentary Grand Jury Prize at the Sundance Film Festival chronicles the week long journey of a group of teenage boys selected to be part of Boys State – a leadership program in Texas where 1000 boys come together to build a representative government from the ground up.

Few Documentaries are as captivating, emotional, chaotic, hilarious and downright sinister as Boys State. The Film runs through a whole gamut of feels over the course of its 109-minute running time. It initially seems rather mundane and trivial, but once these teenage boys start debating, gerrymandering and digging-up dirt to slander their opponents, it becomes an eye-opening experience that will both educate and frustrate the living hell out of you; mostly because you just know that grown adults are using these tactics and acting the exact same way for real. There is an extensive portion of the Film devoted to debating gun control laws, and it is just as horrifying as you expect. While I wish some of the specific interview subjects were not dropped mid-film in favour of others, I think the real misstep is not showing what is going on at the neighbouring Girls State. Would have made for quite the compare and contrast.

BOYS STATE is streaming on Apple TV+ now!

HIGH SCORE (Netflix)

This six-episode Docu-Series is a fascinating, in-depth look at the evolution of Video Games, tracing back to the ’70s when they were text-only games played on your computer to the ultra-realism putting players right inside the game and a Gaming culture. We see the impact of Atari before its popularity faded, to Nintendo‘s battle against new kid on the block Sega which stole a chunk of their market share, all the way to how computers no longer were just for work after the internet came into our lives. We meet several deeply-involved interview subjects who give us insight in the process of the evolution. A common thread often seen is how these people found themselves in their Gaming, which at once gave them an escape from their lives. A fascinating watch which surely couldn’t have covered all key essential games in a few episodes, opening room for perhaps more exploration.

LOVE, GUARANTEED (Netflix)

It’s been so long since we’ve watched a good old-fashioned Rom-Com and we admit LOVE, GUARANTEED brought us pleasure. Susan is a struggling lawyer just trying to keep her operations afloat when in walks Nick (Damon Wayans Jr.). He is looking to sue the dating website he uses, “Love, Guaranteed“, owned by lifestyle guru Tamara Taylor (Heather Graham), because it failed its namesake promise to him. He is nearing 1,000 dates and still no signs of love. Susan meanwhile never has used a dating site before and isn’t looking for love. She also is skeptical of Nick‘s intentions thinking he’s only out to get money. Before they know it, Susan and Nick just might be each other’s perfect match which might hinder their chances of winning their case. It’s cute and simplistic which is a refreshing break from all the drama of the world right now. It streams Friday, September 4, 2020 on Netflix. Case adjourned.

MISBEHAVIOUR (Shout! Studios)

Review by Amanda Gilmore for Mr. Will Wong

This funny, bewitching Film follows the true story of the feminist protesters who disrupted the 1970 Miss World beauty competition in London.

What makes this Film great is its meticulous Script, written by Rebecca Frayn and Gaby Chiappe. They examine two sides of the story with humour and heart. One side being the feminist protesters, the other the pageant contestants. Frayn and Chiappe put more focus on one character in each group, Londoner Sally (Keira Knightley) and Miss Grenada Jennifer Hosten (Gugu Mbatha-Raw). By focusing on these characters, the Film examines the Miss World pageant through a feminist lens and through intersectionality. The Miss World competition majorly lacked representation among women of colour, and before 1970, no people of colour had ever won. The Script integrates this lack of representation within Hosten’s storyline, who won the competition in 1970.

Hosten’s experience and desire is the heart of the Film and Mbatha-Raw gives a strong performance. Jessie Buckley is a delight as passionate protester Jo, so much so, she should have been given more screen time. Other notable performances come from Leslie Manville as Dolores Hope, who’s worried about her husband hosting another Miss World after his infidelity the previous time. And Greg Kinnear turns in an impressive performance as Bob Hope. He shines during a pinnacle scene where the protesters invade the live competition and target him on stage.

Shout! Studios release MISBEHAVIOUR on Digital and On-Demand Friday, September 25, 2020.

(Photo/video credit: Netflix/Momentum Pictures/levelFILM/Amazon Prime Video/Shout! Studios)

#TIFF20: “SHADOW IN THE CLOUD”

By David Baldwin for Mr. Will Wong

It is World War II and WAAF officer Maude Garrett (Chloë Grace Moretz) has jumped aboard a B-17 Flying Fortress as a last minute addition. The all-male crew are hesitant to let her stay, but she has orders to fly with them and keep her classified cargo safe. They force her to ride in a ball turret below deck, isolated on her own – and her mind may be playing tricks on her with the things she is seeing in the shadows.

I want to say more, but I fear that would spoil some of the outrageous and preposterous thrills that Co-Writer/Director Roseanne Liang has in store for Moretz and the rest of the crew. Liang plays with genre conventions throughout Shadow in the Cloud’s zippy 83-minute running time, never seeming keen to stay categorized in one box for too long. It morphs wickedly from a white-knuckle claustrophobic Thriller to a full-blown wartime action picture at the drop of a bullet, and then sprinkles in some Horror elements on top for good measure. The CGI is spotty in far too many cases and the genre mashup does not always work as intended (a MacGuffin reveal is a bizarre swing that left me bewildered), but the Film is wildly-entertaining in the many instances when it does.

As long as you prepare for multiple genre swaps, Shadow in the Cloud is quite a bit of fun. While I wish the Film was not being hit with a minor controversy over its writing credits, I feel the bigger disservice is that Covid has robbed us of the experience of seeing Shadow in the Cloud at its proper haunt, Ryerson with a Midnight Madness audience. I know in my bones that they would have eaten this Film up, and I chuckled when it became obvious what and where the reactions might have been. Hopefully, it gets to play to a big crowd like that another day.

Nick Robinson (Love, Simon and Jurassic World) has a blast as a gunner on the ship, but Moretz is the one who takes hold of the screen and never wavers. She is simply marvelous in the scenes in the ball turret, really selling the anguish, fear and determination her character is going through. She is vividly-expressive in these scenes (which take up a substantial portion of the Film’s first half), and she carries them into the absolute chaos of the Film’s second half. Her wonderful balancing act more than makes up for some of the plot contrivances and the minimal character development.

SHADOW IN THE CLOUD screens at TIFF ’20 as follows:

Sat, Sep 12
Visa Skyline Drive-In at CityView
11:59pm

Sun, Sep 13
Online at Bell Digital Cinema
6:00pm

#TIFF20: “ONE NIGHT IN MIAMI”

By Mr. Will Wong

Following-up on her Oscar-winning work in If Beale Street Could Talk, Regina King makes her Feature directorial debut at TIFF ‘ 20 with ONE NIGHT IN MIAMI, which though set in the past, still asks very timely questions facing the world today.

The Film is set one night in February 1964 uniting real-life friends and icons Cassius Clay (Eli Goree), Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Malcolm X (Kingsley Ben-Adir) as they celebrate the former’s win in the boxing ring, crowning him Heavyweight Champion of the World. What ensues is hard-hitting dialogue which digs deep into some of the issues facing their community and where they stand in the big picture as important figures.

Based on Kemp Powers‘ Play of the same name, King is working with some tremendous talent with this Ensemble and with these great minds within the confines of a swanky hotel room, discussions get intense, heated and at once humorous. Clay is about to be renamed Muhammad Ali and is about the announce to the world that he has converting to Islam, but not without some hesitation. Brown after a successful career in Football, is about to accept a role in a Western film which would lead to a successful acting career with high-paying roles. Cooke navigates his world as a Pop Star, but is longing to sing about something more meaningful. Malcolm X as a prominent figure of the Civil Rights movement and Spokesman for the Nation of Islam, is about to get assassinated.

The Film poses some thought-provoking discussion within the Black community about how the world is perceived differently between those who are light-skinned versus dark-skinned; what it means for a Black Entertainer to be paid well when it comes at the cost of their dignity and their community; or what it means to be revered publicly, but not to be welcome into someone’s home because of the colour of one’s skin.

One poignant scene in particular has Ben-Adir‘s Malcolm X in a chilling plea to his brothers that still resonates to this day amidst the rise of the Black Lives Matter movement. He states that there is no more room for standing on the fence anymore with black people dying on the streets every day. “Either you stand on this side with us or that side against us”, he says. Another moment in the Film talks to White Privilege and how a black person is expected to feel indebted to a white person who wasn’t horrible to them. This falls in-line with the current thought that it isn’t enough to be “nice” and that what is required is that we be actively be Anti-Racist.

King succeeds largely in this superb first Feature, giving us a tightly-written and directed Film which while set almost 60 years ago today, has some uncannily-relevant messaging that needs to be revisited today.

ONE NIGHT IN MIAMI screens TIFF ’20 as follows:

Fri, Sep 11
Visa Skyline Drive-In at CityView
7:45pm

Sun, Sep 13
Online at Bell Digital Cinema
Streaming in Canada. Available from:
6:00pm

Wed, Sep 16
TIFF Bell Lightbox
4K

#TIFF20: IN CONVERSATION WITH…. SAOIRSE RONAN

By Amanda Gilmore for Mr. Will Wong

At just age 26, Saoirse Ronan has managed to become one of the top Actors of her generation. She got nominated for her first Academy Award at the age of 13 for her work in Atonement. Since then, she’s been nominated three more times. 

Her talent is undeniable as seen through the unforgettable mix of characters she’s brought to life on-screen over multiple genres, such as survivor Hanna, homesick Eilis, uninhibited Lady Bird, and Writer Jo Marsh.

Her latest role has her starring as a grieving Charlotte in Francis Lee’s Ammonite. It follows Palaeontologist Mary Anning, played by Kate Winslet, who cares for Charlotte while her husband leaves for work. The two build an undeniable bond and fall in love. 

Today, she joined Canadian Novelist Anne T. Donahue for TIFF’s In Conversation With… Saoirse Ronan.

On where home is to Ronan:

“It’s less of a physical location for me. I think that’s always been the case. I have tried to find it in a place or country, but now I’m older and I realize there are a few core people. That is my home.”.

On becoming an Actor:

“When we moved out to Ireland my dad was working on a film and they needed someone and I was added into it. I didn’t really want to do it. I was a quiet kid. It was this weird Art House film where I was half-human and half-clown. *laughs* And I said, ‘No, that sounds terrible. I don’t want to do that.’ But he wanted me to. So I did it. I was 6, 7, or 8. From the moment I got on set I really loved it. I really liked the discipline matched with the play aspect.”.

On when she knew she wanted to be an Actor:

“It wasn’t until I was 12. It was when I was doing Atonement. I loved that. And I knew that that’s what I wanted to do.”.

On Brooklyn:

“I was a wreck. An absolute wreck. I was 20, so hormones were all over the place. I moved to London at that time. I did Brooklyn in the middle of that transition. And I went back to where I grew-up. I hadn’t been there in years. It represented a past time in my life that I will always be connected too, but was moving past. I think what made it overwhelming was that it was a severe meeting of two worlds. My home life, where I went to school and wasn’t an Actor. And this new stage in my career which was me starting to lead as a woman, and it was an Irish woman. I was just thinking, ‘I have to get this right.’ I was completely terrified. I never felt aware of the camera in a negative way or ever felt that it had paralyzed me. But I was feeling like that a lot in Brooklyn. But it ended up being such a special film for me to do. That Film gets to me in a way that nothing else I have done has. It was an honour to tell that story.”.

On Lady Bird:

“It’s not about her [Greta Gerwig] life. But she did grow up in Sacramento and she was in a theatre group. And I think we both wanted to be more like Lady Bird. But we were both more like rule followers. I didn’t mind being influenced by the way [Greta] was. But I couldn’t just carbon copy .

On her Activism:

“I don’t consider myself an Activist. I think it would be unfair for me to say that. We (Actors) are a mouthpiece for the people who actually know what they’re talking about. That’s how I’ve always felt about. I’ve met a lot of people who support incredible causes and are passionate and hardworking about it. And I’m kind of like everyone else asking, ‘What can I do? What do you need me to do to spread that message further?’ I think there are a lot of people who do far more than I do.”.

On Timothée Chalamet:

“[In Lady Bird] we only had a few scenes together. I always knew he was special and magnetic. We are very different people and in our approaches to work. I remember we were on the way to set and were talking about our families and normal stuff. We always felt very comfortable with each other. He’s American and European as well. We sort of were able to tap into that. On Little Women, that’s where it felt more like a collaboration. We had these lengthy scenes where we would ebb and flow performance-wise. He’s someone I want to continue to work with.”.

On Ammonite:

“I think it’s a luck of the draw whether you get to work with someone who you click with. Kate and I had met and just got on straight away. I think a big part of that is her because she is friendly and open. One of the good things about the junkets and awards season is getting to meet a lot of wonderful people in the mix of the madness. So, I met her a couple of times doing that stuff. And then this came around and she was a real supporter for me doing it. We were just really lucky we got on straight away. Two women getting to come together, and with more of the intimate scenes and being able to choreograph the love scenes ourselves was great. Especially with Kate.”.

On taking on so many roles:

“I don’t work as much as other people. I’m at a place at the minute where I don’t need to run into a job just to work. I think because I’ve been doing it for 16 years or more now. It’s very important that I don’t burn out or kind of lose the love for it. It’s important for me to protect the bond with my work that I have.”.

Our Review for AMMONITE can be found here.

(Photo credit: TIFF)

#TIFF20: “I CARE A LOT”

By Amanda Gilmore for Mr. Will Wong

J Blakeson’s dark Thriller follows a legal Conservator with insidious intentions. Marla (Rosamund Pike), along with her life and work partner Fran (Eiza González), have created a despicable business of defrauding their elderly clients. Their newest target is the rich and unassuming  Jennifer (Dianne Wiest). After lying to a judge in an emergency hearing, claiming Jennifer has Dementia, Marla gains guardianship of her. However, Jennifer isn’t who she appears to be. Marla and Fran quickly realize they are messing with the wrong woman.

This could have been a Drama about seniors being taken advantage of by the state and appointed guardians. But thankfully, it’s a lot more than that. Blakeson adds a mafia storyline which turns this Drama into a Thriller.

At the forefront is Pike  who delivers her best work since Gone Girl.  She excels as the icy Marla. Being an Antagonist, she finds herself battling against an Antagonist of her own, that being Crime Lord (Peter Dinklage) who has close ties with Jennifer. Dinklage is outstanding as a Gangster who will stop at nothing to get his mother back and away from Marla‘s control. The Film’s shining moment is when Pike and Dinklage come face-to-face and we witness their shifts in power.

I Care A Lot is a cautionary tale about the corrupt web of elderly abuse. We don’t get to see these feminist characters as this in leading roles nearly enough, but we sure wish we did.

I Care A Lot screens at TIFF ’20 as follows:

Sat, Sep 12 9:30pm
RBC Lakeside Drive-In at Ontario Place

Sun, Sep 13 6:00pm
Online at Bell Digital Cinema

#HORSERACING: “MIGHTY HEART” TAKES THE 161st EDITION OF THE QUEEN’S PLATE

The 161st edition of the Queen’s Plate was run at Woodbine Racetrack yesterday, headlining a stakes-filled card of racing. While the public was not permitted to attend this year, owners and connections were allowed to be present with safety guidelines in-place including mandatory temperature check, face coverings and social distancing measures.

Even without fans in attendance, betting totaled $14.5 million, a very impressive number helped by American fans hungry for the sport amidst this Pandemic. They continue to turn to Woodbine‘s quality product for entertainment.

The marquee race saw top Canadian-bred three-year-old horses facing-off at a distance of 1 1/4 miles for a purse of $1 million, drawing a field of 14 competitors. Winning the race was one-eyed colt MIGHTY HEART under Jockey Daisuke Fukumoto for Trainer Josie Caroll and Owner and Breeder Larry Cordes. While the grandstand has largely been quiet of late with restricted visitor access, cheers were loud for the son of Dramedy, who overcame his physical limitation to run the second-fastest edition of the Queen’s Plate ever at 2:01.98 leading all the way. No cheers were louder though than those of his handlers Siobhan Brown and Renee Dockstader who were overjoyed at the win. It has been a phenomenal year for 23-year-old Japanese import Fukumoto who just earlier this year won his first stake race on another Carroll trainee, Court Return after arriving at Woodbine in 2016. Carroll last won the Queen’s Plate in 2011 with filly Inglorious.

While he still has yet to win a race, NK Racing and LNJ Foxwoods’ BELICHICK ran a stellar second at 26-1 odds under Slade Callaghan, giving Carroll a 1-2 finish in the prestigious race.

CLAYTON, who was the morning line favourite for the race, ran third under Rafael Hernandez and Trainer Kevin Attard. He went off as the second choice at 3-1 odds.

The $250k Bison City Stakes for three-year-old Canadian-bred fillies born in Canada, known also as the second leg of Canada’s Triple Tiara, was taken by American-based MIZZEN BEAU under Jockey Steven Bahen. The daughter of Mizzen Mast is owned by Daniel Investment Holdings and trained by Norm Casse and has been spending much time at Woodbine the past bit gearing-up for this Summer campaign with the help of his father Mark Casse‘s Toronto team. She prior had finished fourth in August’s Woodbine Oaks.

Sam-Son Farm‘s RIDEFORTHECAUSE sprung an upset at 22-1 odds in the $250k Canadian Stakes for fillies and mares at 1 1/8 miles on the turf. David Moran piloted the win which saw her make a big sweeping move at the top of the stretch after exhibiting some nerves in the pre-race. The Gail Cox Trainee is a daughter of Candy Ride and came off another win early August at Woodbine.

Talented Chad Brown Trainee CAMBIER PARC shipped-up for the race and ran a credible second in the Canadian Stakes.

The Ruling Angel Stakes, named in honour of another great Sam-Son Farm filly, was taken by ARTIE’S PRINCESS whom while based in the U.S. under the care of Trainer Wesley Ward, has capitalized off her Canadian breeding running in restricted races, finding success at Woodbine. Finally, she notched her first stakes score in the race under Justin Stein.

Justin Stein also took the King Corrie Stakes earlier on the card aboard Cathal Lynch-owned and trained FRANCATELLI, continuing his red-hot riding streak of late, taking three races on the card.

Leo Salles also took three wins on the card earlier in the day.

While largely quiet this year, some sights from the day including a visit from Lieutenant Governor of Ontario, Elizabeth Dowdswell and a visit from retired top Jockey, Eurico Rosa Da Silva.

Special thanks to David Dunkley, official Millner of the Queen’s Plate for sending me this elegant mask he designed!

Another stakes-filled weekend of racing takes place next weekend at Woodbine with the Grade I $1 million Woodbine Mile, plus also the Grade I Natalma and Summer Stakes!

(Photo credit: Mr. Will Wong)

#TIFF20: “AMMONITE”

By Amanda Gilmore for Mr. Will Wong

Francis Lee’s latest takes us to 19th-century Dorset. It follows real-life Palaeontologist Mary Anning (Kate Winslet) as she searches the coastline for marine fossils. She spends her days alone, walking the shore and helping at her mother’s tiny shop. Soon she finds her solitary life becomes upended when she’s asked by another Palaeontologist to care for his melancholic wife, Charlotte (Saoirse Ronan). In need of the money, she agrees. Gradually, Mary and Charlotte grow close.

Lee does an amazing job shooting the Film in a show-don’t-tell way. There is limited dialogue throughout. Instead, he creates scenes where the weather, objects and characters actions speak volumes. This becomes integral in escalating visually the blossoming love between Mary and Charlotte. In the First Act, Mary is rightfully angry and curt, while Charlotte is mourning the loss of her child. The beautiful coast’s weather parallels their emotions. There are overcast skies and violent waves attacking the coastline. As they spend time together, the clouds clear and the waters calm.

Ammonite is more than a period-Romance. Lee focuses on the work of the incredible Mary and the theme of women taking ownership of their work. During the 19th-century, no Scientific Society would take-in a woman. No matter how hard and astounding Mary’s work was, she was excluded. However, there were male Scientists who were interested in learning from her, being the best in her field. But in the end, they knew she was in need of money. So, they would pay her for what she found and put their names on it. In focusing on this, Lee enhances his Script with a love story involving ownership and class.

Mary loved and lived for her work. It didn’t matter that in doing so, she wouldn’t be part of the upper-class. However, Charlotte is part of the upper-class. It’s here that conflict arises in their relationship. So many times, we have witnessed a forbidden same-sex romance. Although that is at play here, Ammonite focuses on their differing upbringings and that divides them no matter how badly they want to be together. Once again, Lee shows us this instead of telling us. He places his characters on opposite sides of Mary’s glassed sea-creature on display inside the British Museum.

With the talent of Winslet and Ronan in the Film’s lead roles, we are expecting greatness, and they do not disappoint. Winslet is always dynamite. Here, she gives one of her strongest performances. She encapsulates the anger Mary has for having to sell her work and her vulnerability when falling in love with Charlotte. Ronan gives a performance like we’ve never seen from her before. She’s strongest in portraying Charlotte’s grief and her desperation to keep Mary close to her. Their raw emotion feels authentic and honest, especially in their love scenes that are shot meticulously and delicately. And with minimal screen time, Fiona Shaw captivates as a previous love of Mary’s.

While at times it lags a little, this period-Romance which fuses Gender Politics and Classism, is made-up for with stellar performances, particularly by Winslet.

Ammonite screens at TIFF ’20 as follows:

Fri, Sep 11 9:15pm & 9:30pm
TIFF Bell Lightbox

Sat, Sep 12 6:00pm
Online at Bell Digital Cinema

Mon, Sep 14 12:30pm
TIFF Bell Lightbox

#TIFF20: THE DRIVE-IN EXPERIENCE

By Mr. Will Wong

As you know, we’ve been attending TIFF for several years now and we in all honesty were kinda excited for the first time to experience it in Drive-In format. This screening option is reserved more for the higher-profile titles at the Festival, with films divided between RBC Lakeside Drive-In and OLG Play Stage (Ontario Place Boulevard x Remembrance Drive) , plus VISA Skyline Drive-In (20 Polson Street).

We had the joy of seeing a Film at RBC Lakeside Drive-In and it was a pleasurable, well-executed experience which we can see being used again in future editions of the Festival. We loved the private experience of seeing a Movie with plenty of personal space from others. We could even make comments and not worry about distracting others. And the acoustics were perfect. Above this, we loved the retro charm of all this.

A few key things on the experience to guide you through it if you plan to see your films this way at TIFF ’20:

1. Doors open two hours before your Movie starts, but we arrived an hour early and had plenty of time to settle-in comfortably without having to queue to get in.
2. Upon arriving at the gate of the venue, you should have your digital tickets ready for scanning on your phone and you will be guided along by volunteers on a path to the theatre.
3. On your ticket, you are provided a reserved parking spot (sorted by colour coding) for your car and volunteers will guide you to that spot. Ensure you turn your headlights off. This is a courtesy to others.
4. A volunteer will brief you on the experience, including where washrooms are and what station to tune-into on your car radio to enjoy the Movie.
5. Concessions are available at the venues. You will be provided instructions or a link how to order on your phone and they will be brought to you, usually in a contactless manner. It also is totally fine to bring your own food. We did!
6. RBC Lakeside Drive-In has a stage with a live musical guest during the pre-show. It is good etiquette to honk your car to show appreciation for the performance.
7. With your car being on Accessory mode to keep your radio on to watch the Movie, it will turn off on its own at some point. If that happens just turn your car back on, carefully keep your headlights off so not to distract others.
8. There are Mazda Guest Automative Services available in case your car battery dies.
9. If you must leave your car during the Movie, ensure you keep at least 6 ft away from others and ensure you have a face covering on.
10. Do your research and check the length of your Film. It is a good idea to get a head start on the exit rush of cars out the venue once the Film ends, unless you do enjoy sitting through the credits. Which is totally fine too, but be prepared to wait!

Some snaps of our experience, which we were able to enjoy at TIFF ’20 courtesy of the 2020 Acura ILX!

A special thanks to H&M Canada for the fashion as well! Many of you are asking about the face covering and this is an official TIFF ’20 mask available only at the TIFF Bell Lightbox Gift Shop!

View this post on Instagram

Nomadland at RBC Lakeside Drive-In. Made possible with the 2020 #AcuraILX. Fashion by @HM Canada. Official face mask available at @tiff_net Gift Shop.🙏 #TIFF20

A post shared by Mr. Will Wong 📸 (@mrwillwong) on Sep 11, 2020 at 6:13pm PDT

(Photo credit: Mr. Will Wong)

#TIFF20: “NOMADLAND”

By Mr. Will Wong

All eyes are on Chloé Zhao who debuted at TIFF ’17 with The Rider, topping several best-of lists that year. While her work on Marvel’s The Eternals is on its way to us, sophomore effort NOMADLAND comes with high hopes and she does not disappoint.

The Film centers on Fern (Frances McDormand), a widow whom after the economic crash in 2008, loses her home and lives a content life free to roam as a nomad. Not yet able to retire, she lives out of her sometimes reliable van, taking-on odd jobs as a means of survival. Once a supply teacher, she now takes on temporary work at the Amazon warehouse for a bit. She works as a host at an RV park for a while, among other one-off gigs. She is our eyes and ears into this little-known about world travelling place to place with no destination, meeting several fascinating people along the way, who also live the nomadic life and through Fern, we learn their stories as well. These characters, played by non-actors give the Film an earthiness and soul that feels so authentic and Fern blends right into the world.

The story we want to know most about though is why she chooses this way of life with no benefits to take care of her should she fall ill and not knowing if she has enough money to cover repairs on her van. While at times appearing uncomfortable, she never once complains about the life. And at once when offered a choice to settle down and live comfortably a few times throughout the Film, she never takes them. If anything, she appears even more like a fish-out-of-water dwelling in the world of others. She is enigmatic and McDormand effortlessly draws us into Fern‘s way of life, which is comprised of constant moving parts.

Zhao not only directs, but adapts Jessica Bruder’s Nomadland: Surviving America in the Twenty-First Century and the Film feels very much like a Documentary and we are just a fly on the wall. The Rider Cinematographer Joshua James Richards teams-up with Zhao once again, capturing breathtaking landscapes and Fern as part of them, so exquisitely. Visually, Nomadland has an understated sense of style yet a comforting familiarity to it. Ludovico Einaudi‘s piano-driven Score is soothing and complements the imagery perfectly.

The Film is about surviving and living one’s own truth and while very much a quiet piece, it is a thought-provoking one.

NOMADLAND screens at TIFF ’20 as follows:

Fri, Sep 11
RBC Lakeside Drive-In at Ontario Place
9:15pm

Sat, Sep 12
Online at Bell Digital Cinema
Premium

#TIFF20: “SPRING BLOSSOM”

By George Kozera for Mr. Will Wong

Despite her luminous smile, it becomes quickly apparent that 16-year-old Suzanne (Suzanne Lindon) is bored. She is clearly not interested in the nonsensical prattle of her friends and classmates and escapes being in their company as often as possible. Even when she decides to go to a classmate’s house party, much to the surprise of her parents and older sister, she doesn’t quite fit in – she doesn’t like beer and when asked to rate all the boys there from 1 to 10, she tellingly replies with “they’re all 5s”. Then one day, passing a theatre on the way home from school, she notices a handsome, curly-haired and bearded man. Raphael is 35 years old and an actor and she senses that they are kindred spirits. They ultimately meet and realize that, despite their age difference, they are compatible in so many ways and a relationship slowly blossoms.

SPRING BLOSSOM, from France, is an atmospheric, languidly paced tale of love, made remarkable due to the immeasurable talents of Lindon. Not only is she the star of this Movie, she wrote the Script when she was 15-years-old and directed this Feature as well. Reminding me of a young Genevieve Bujold, she has the screen presence and charisma that rivals the auspicious debuts of Julia Roberts and Leonardo DiCaprio. Bathed in whites, her directorial choices mostly hit the spot despite a few self-indulgently choreographed moments. As a Writer, her ear for dialogue is authentic and fluid and the Plot is believable, never prurient. Arnaud Valois registers beautifully in the role of Raphael and never fails to captivate.

With Paris as a backdrop, I was swept away in a haze of Gauloise while being transfixed throughout SPRING BLOSSOM.

SPRING BLOSSOM screens at TIFF ’20 as follows:

Thu, Sep 10
TIFF Bell Lightbox
Subtitled
7:30pm

Fri, Sep 11
Online at Bell Digital Cinema
Subtitled
Streaming in Canada. Available from:
6:00pm

Thu, Sep 17
TIFF Bell Lightbox
Subtitled