In 2000, we learned that my grandfather had cancer. He went through chemotherapy, and my mother and I went up to help him and get him to doctor’s appointments as he ended up in assisted living. I was there the day he received his terminal diagnosis, and 7 of the next 10 weeks were spent trying to comfort him, and get things prepared for after the inevitable happened. It finally did in late July. I was very close to him- he was like another parent to me. It was devastating. Those months come to the forefront of my mind in contemplating Lulu Wang’s beautiful dramatic comedy, “The Farewell.” Inspired by her own life, Wang tells the story of her family whom, when they find out the worst about their beloved Nai Nai, they do what is unthinkable to most of us- they don’t tell her.
We are just a couple of months away from the beginning of the end. The Canadian comedy, “Schitt’s Creek” became a hit thanks to the audience Netflix brought. If you have not watched the show yet, now is the time to get started. The show follows the Rose family. Johnny (Eugene Levy) is the patriarch of the family. He obtained his wealth through video stores. Moira (Catherine O’Hara) is the matriarch, who starred on notable soap operas and is a C-list actress. Their children David (Daniel Levy – and Eugene’s own son) and Alexis (Annie Murphy) have never worked a day in their lives. One day, it is learned that the Rose family has lost everything after being defrauded by their business manager. But they do have one asset (no, Moira, not the children) – a small town called Schitt’s Creek that Johnny bought.
Six years after asking, “Do you want to build a snowman?” Elsa and Anna return in Disney’s "Frozen 2", this time facing change and the fear of uncertainty. That’s a more philosophical antagonist for the sisters of Frozen, which earned $1.3 billion worldwide, and a journey that doesn’t entirely feel necessary or without plot holes. But credit director Chris Buck and writer-director Jennifer Lee with crafting an ultimately satisfying story of more mature themes for an audience that’s grown out of the dress-up stage.
2019 was the year that Andrew Scott’s Hot Priest seized the zeitgeist with full gusto. The Fleabag character had people all over the world fanning themselves to avoid a case of the vapours, with his actual name remaining a mystery. He was merely the latest - one of the most libidinously triumphant – in a line of on-screen hot priests. Others include Father Brian Finn in “Keeping the Faith”, Father Grandier in “The Devils”, Father Andrew Kiernan in “Stigmata”, Reverend Adam Smallbone in “Rev” and, perhaps most obviously, Friar Fuck in “Sex and the City”. One of the finest men of the faith was given to us by Park Chan-wook in his 2009 vampire romantic-horror, “Thirst”.
"Maleficent" still stands out as something of a black sheep within Disney’s recent live-action catalogue. Instead of a simple remake or sequel, the film instead presents a revisionist retelling of Sleeping Beauty from its villain’s point of view whilst also turning the narrative into an allegory for sexual assault and abusive relationships. The final result was admittedly ambitious but sloppy and ill-conceived (you can read my recent reappraisal of its botched metaphors here), but it did well financially so a sequel was always on the cards. After covering the entirety of the original tale, where exactly Mistress of Evil has to go from there seems a bit nebulous on first thought but, and this is an especially relieving shock to me, the final results are far beyond what anyone would reasonably expect.
By Susanna Finn It seems fair to say that most parents have plans and ambitions for their children’s future, and this is only natural or at least expected, but what happens if the child turns out to be someone for who those goals and ambitions are no longer appropriate? What do you do with the... Continue Reading →
"Ad Astra" is more drama than it is sci-fi; this is a rumination on whether or not the pursuit of knowledge is worth the expense of one’s humanity. Admirers of contemplatively mournful futuristic films like “Solaris”, “Gravity”, and “Arrival” will have much to stare at with wonder here. The film is also a provocative meditation on masculinity and how it’s defined by most people today.