The Weight

Ethan Hawke is one of those actors I will follow wherever he chooses to go. Those destinations have landed me at The Purge, Born to Be Blue, Maudie, First Reformed, The Black Phone, Leave the World Behind, and Blue Moon, just to name a few great ones of the last thirteen years of Hawke's career. There have been a few flat tires and dead ends along the way, but Hawke is someone who consistently picks interesting material to star in. And now we have The Weight. Life changing? No. Highly entertaining? Yes. Hawke plays Samuel Murphy, a single dad who is down on his luck during the Great Depression in 1933. Kicked out of their apartment, Samuel and his young daughter find themselves looking for a home. Samuel gets thrown into the slammer for assaulting a cop and his daughter is thrown into foster care. Samuel is sentenced to hard labour, building a road, breaking rocks with a sledgehammer. The big bad boss man of this prison outfit is J.J. Clancy (Russell Crowe). J.J. finds out quickly that Samuel is one smart cookie - he can fix all aspects of a car and can move a massive stone using his noggin. J.J. offers Samuel early release so he can get his daughter back if he illegally moves (steals) some gold from point A to point B. Samuel agrees and picks a crew to help him, all with the promise of early parole. Thus the adventure ensues. It's kind of like Cool Hand Luke meets Sorcerer, with maybe a little Deliverance and Sometimes a Great Notion thrown in. Violent and bloody at times, I found myself squirming as Samuel tries to remove the wedding ring from his swollen hand. It's a prison-heist-thriller and it's worth its weight in gold (see what I did there?). Catch it in theatres now or rent it from Movies 'N Stuff when available.  

The 47

Having watched movies now for over fifty years, I have learned a few things, mostly about myself. Maybe. I enjoy underdog stories and stories of people fighting against repression, tyranny, and authority. Maybe it stems from Star Wars, rebels fighting against the Empire or Indiana Jones punching Nazis in the face. Whatever the case, adult me seems to gravitate towards similar, but less cartoonish, versions of this type of story; films like I, Daniel Blake, Milk, or Philadelphia. The 47 gives us the true story of Manolo Vital (Eduard Fernández) who plays a bus driver from the mountainous Barcelona suburb of Torre Baró. It was built by hand in the 1950s and '60s by migrants. By the mid-'70s, the well-established area still had poor electricity and a dismal water supply. There was no bus service. Manolo and his daughter, and the rest of the Torre Baró inhabitants had to traverse the mountainside up and down to go to blue-collar jobs or school. Manolo and his friend would travel into town and paint slogans on the wall of city hall, slogans about justice for Torre Baró (the rebel in me cheers!). Manolo's daughter is ashamed of where she lives. When a firetruck can't climb the hill to a burning building, it becomes the tipping point for Manolo to take action. He becomes determined to get bus service for his people. The film is about social justice, but it's layered. His daughter Joana (Zoe Bonafonte) is in the school choir, and she is subjected to almost Whiplash levels of cruelty. Her performance is a standout. The 47 is a bus ride you want to catch. Watch it at a repertory theatre if possible or rent it from Movies 'N Stuff when available.  

Boorman and the Devil

This is a documentary about the making of Exorcist II: The Heretic, a film directed by John Boorman. It's also a film retrospective of Boorman's work. If you are a film nerd, you will love it. But even if you're not, or maybe you just haven't seen any of his work yet, the film serves as commentary on why we make art in the first place. What are we doing as artists? What does success look like, and in this case, what is a failure? Exorcist II: The Heretic was one of the biggest film flops that Hollywood has ever seen. A disaster. The Mayfair was showing it on alternate nights with the Boorman documentary. (I went and saw it. Not entirely disastrous. I actually enjoyed a good portion of the film.) Before The Heretic, Boorman had made Deliverance, and it was nominated for Best Picture of 1973. After that, he was Hollywood A-list material. If anyone could make a sequel to the ginormous smash hit that was The Exorcist, it was Boorman. However, he didn't want to make a traditional sequel; he wanted to go in an all new direction. Something completely different. And he did. Audiences hated it. The production of the film was shut down for over five weeks because Boorman fell ill due to inhaling some bacteria found in dirt. It was brought in for swirling wind scenes set in Africa. Boorman could have died. The film was running out of time and the ending was rewritten. Multiple times. More disasters. A mess. Then it opened and critics and audiences hated it. Boorman almost quit making movies. Thankfully he didn't. As a writer and artist myself, I appreciate those who are willing to take risks and give us something new, something we have never seen before. It takes guts. Boorman is such an artist. This portrait of failure is a success. Catch it in a theatre if you can or rent it from Movies 'N Stuff here in Ottawa.