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Furthermore, Additionally, it aids to stop things to do and steps which will be damaging for the organization in upcoming, such as assignments and techniques.
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Toughness of residence legal rights and law principles. And its ratio with corruption and arranged crimes. Adjustments in these circumstance and its effects.
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A business case study investigation is a fancy teaching depending on the problems of serious-existence economic, social and business enterprise situations. A supervisor provides a undertaking to your crew, which suggests acquiring solutions with the optimization of the company around the concrete conditions of a true-existence economic and industrial scenario.
Conclude your analysis by examining your results and emphasizing what you would probably do in a different way from the case. Showcase the two your comprehension of the case study and your company system..
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Action 3: Look at the Exterior Surroundings The third step entails identifying opportunities and threats within the corporation's exterior setting. This is where the 2nd Component of the SWOT analysis (the O as well as T) arrives into Engage in.


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Mark your calendar for Tourism Week 2019, starting May 26th!
Voice of the BC Tourism Industry
CMH's beautiful Bobbie Burns lodge:
Photo credit: John Entwistle
Visit our Website
March 21, 2019
CEO's Message
The older you get the harder it is to learn a new language, especially one that you might not use very often. However, given today's primary communication channels, it seems we've all had to learn a new language of sorts…a butchered form of English referred to as net-speak or cyber-slang that relies on complex acronyms, abbreviations or emoji to communicate in character increments.
Because my fingers work like oven mitts when I'm typing on my mobile phone, I tend to respond to texts or emails with emoji or as few words as possible. Chances are you've received a thumbs-up or smile sign from me on occasion.
At the same time, the one word I tend to use the most may not in fact be an actual word. It's simply the letter
followed by multiple
's complemented by a question mark to spell
I generally use
when I don't know the answer to a question, can't recall something and am stalling in hopes of remembering, or if I'm completely perplexed by how to respond to the actions someone has taken.
Such was the case when several TIABC members texted to inform me that Victoria City Council had passed a motion a number of weeks ago to endorse participation in a class-action lawsuit against oil and gas companies for contributing to the impacts of climate change. Aside from
, I was curious to know what this lawsuit was all about. Why would they consider this course of action?
In this space I'm not going to get into a debate on the merits of the lawsuit and to what degree oil and gas companies are culpable for climate change along with consumers who rely on fossil fuels to travel. However, where it concerns TIABC and the tourism industry in general is the immediate impacts that actions like this have on our visitor economy.
In Victoria's case, news of a pending lawsuit has reached clients in certain business sectors, as well as potential visitors from throughout Alberta who have cancelled vacation and meeting bookings in the provincial capital. What's more, several other island communities are considering following Victoria's lead, which could ultimately result in a similar consumer backlash.
While I have not yet spoken to Victoria's council, a number of TIABC members and directors have and they still aren't clear on what the proposed lawsuit will accomplish.
In no way am I defending oil and gas companies, denying the impacts of fossil fuels on climate change, or discounting the costs to communities in dealing with climate change ramifications. However, there are likely more productive and effective ways to move toward mitigating these impacts and creating a sustainable community for both residents and visitors including working with, rather than suing, powerful and well resourced oil and gas companies.
As you are aware, the BC tourism industry is engaged in multiple environmental sustainability initiatives while at the same time cognizant of the environmental footprint caused by the reliance on fossil fuels for various modes of travel. In fact, some progressive companies have already announced plans to convert their entire fleet of vehicles to electric power. However, there is much more that can and will be done by BC's tourism operators to ensure future generations will enjoy a healthy and sustainable environment.
In the meantime, TIABC will join Tourism Victoria, Tourism Vancouver Island, the Victoria Chamber of Commerce and others to send a letter to Victoria City Council to encourage them to drop the notion of a class action lawsuit in favour of finding other options to achieve their sustainability goals.
To be sure, there is more to this issue that requires analysis and understanding by all sides, something our board and Policy Committee will be grappling with in the coming weeks. Suffice it to say, we have enough challenges in our industry that need to be addressed so let's be careful not to shoot ourselves in the foot again by instigating boycotts and cancellations.
JMO. BTAIM, IANAL but I hope someone will ELI5 how this council's CTA will deliver ROI to Victoria's visitor economy.
If you know what I've just said, congratulations… you've mastered a new language.
Walt Judas
Federal Budget 2019 - Industry Updates
The federal budget was released March 19th by Minister of Finance, the Honourable Bill Morneau. This budget is the last presented by the incumbent government before the next federal election.
TIAC Update
TIABC's national counterpart, TIAC has prepared a summary document to assist industry stakeholders in understanding the measures put forward by government in Budget 2019 and how they relate to the tourism economy. TIAC outlined its priorities to the government in their
Pre-Budget submission
in August, and throughout the year in numerous forums and meetings with government decision-makers.
Here is a snapshot of budget measures that relate to our industry:
Recognizing Tourism as an Economic Engine
Industry Development
Helping travellers visit Canada
Labour and Skills Development
Border and Airport Security
Other measures
Read the full Tourism Industry Association of Canada update at:
BC Wine Industry Update
The recent federal budget announcement included the Government's commitment to the removal of interprovincial trade barriers to alcohol. The budget clearly stated that the Government intends to remove the federal requirement that alcohol moving from one province to another be sold or consigned to a provincial liquor authority. If the 2019 budget passes, the change will come into effect. The next step in final implementation are national consultations on this issue in spring, leading up to Federal-Provincial-Territorial Internal Trade Ministers meeting in Nova Scotia in late May.
Read more from the BC Wine Institute at:
Indigenous Tourism Canada
Significant new funding ($58.2 million) is being invested in industry development, specifically for tourism and ITAC will continue to work closely with the regional development agencies to help leverage this funding for our stakeholders. This is a new program entitled "Canadian Experiences Fund" and one of the key priorities is Indigenous tourism.
Read more from Indigenous Tourism Canada at:
BCTIC Supports BC Hospitality Foundation
To thank speakers at this year's conference, TIABC provided donations in their names (a total of $1,500) to the BC Hospitality Foundation.
TIABC is proud to support the BCHF and their important work in providing assistance to colleagues in the
hospitality industry facing financial crisis due to a health issue.
Thank you to BCTIC Silent Auction Sponsors
TIABC sincerely appreciates all the organizations and businesses who supported the silent auction at the 2019 BC Tourism Industry Conference.
Over the past 20+ years, the auction has raised over $350,000 to assist TIABC's with its advocacy efforts..
40 Knots Vineyard and Estate Winery
Abigail's Hotel
Adrena LINE Zipline Adventure Tours
Ainsworth Hot Springs Resort
Andrew Petter Limited
Arts Club Theatre Company
Bard on the Beach
BC Central Reservations Ltd.
BC Ferries
BC Ferries Vacations
Britannia Mine Museum
Butzi Kids
Cable Cove Inn
Cactus Club Cafe
Capilano Group
Cariboo Chilcotin Coast Tourism
Cedar Creek Estate Winery
Chateau Victoria Hotel
Delta Hotels Marriott - Victoria Ocean
Point Resort
Delta Hotels Marriott - Grand Okanagan
Driftwood Brewery
Elements Casino Victoria
Elite Limousine Service
Fairmont Chateau Whistler
FlyOver Canada
Four Points Sheraton Kamloops
Four Seasons Hotel Vancouver
Grizzli Winery
Grouse Mountain
Heather Mountain Lodge and Cabins
Hotel Grand Pacific
Il Terrazzo
Jamie's Whaling Station & Adventure
Kumsheen Rafting Resort
LA Limousines
Landsea Tours & Adventures
Maple Leaf Spirits Inc.
Marriott Victoria Inner Harbour
Milner Gardens and Woodland
Museum of Anthropology at UBC
Nita Lake Lodge
Oak Bay Beach Hotel
Old House Hotel
Pacific Coastal Airlines
Pacific Sands Beach Resort
Pinnacle Hotel at the Pier
Powder King Mountain Resort
Prestige Hotels and Resorts
Prestige Hotels and Resorts - Kelowna
Prestige Oceanfront Resort & Convention
Prince of Whales
Princeton Golf Club
Ramada by Wyndham Penticton Hotel &
Rocky Mountaineer
Rogers Chocolates
Royal BC Museum
Salt Spring Adventure Co Ltd.
Scandinave Spa Whistler
Silk Road Tea
Summerland Waterfront Resort & Spa
Table Nineteen Lakeside Eatery
The Butchart Gardens
The Pedaler Cycling Tours
The View Winery & Vineyard
Tigh-Na-Mara Seaside Spa Resort
Thompson Okaanagan Tourism
Tourism Abbotsford
Tourism Vancouver Island
Tourism Vernon
Tsa-Kwa-Luten Lodge (Cape Mudge
Uncorked Okanagan
Vancouver Island Brewing
Watermark Beach Resort
West Bear Mountain Golf Resort & Spa
Ziptrek Ecotours
Get Ready for Tourism Week 2019
Mark your calendars for Tourism Week 2019.
Tourism Week is still a couple of months away, but it's time to start thinking about how to get your community, business and local government engaged. Visit our website for some ideas such as printing up your own #BCTourismMatters banner for use in your social media images.
Let us know your plans so we can be sure to share on our social media channels, and stay tuned for further updates as we get closer to May.
BC Tourism Industry Awards 2019
TIABC congratulates all the nominees and winners of this year's BC Tourism Industry Awards. In addition we'd like to gratefully acknowledge Indigenous Tourism BC for hosting an incredible evening of celebrating BC's best during the recent BC Tourism Industry Conference.
DMO Professional Excellence Award
Sponsored by TIAC and Resonance Consultancy
: Tourism Kelowna
Employees First Award
Sponsored by go2HR
: Accent Inns
Remarkable Experience Award
Sponsored by: Destination Think
CMH Heli-Skiing & Summer Adventures
Innovation Award
Sponsored by: Ministry of Tourism, Arts and Culture
(tie): Thompson Okanagan Tourism Association
Innovation Award
Sponsored by: Ministry of Tourism, Arts and Culture
(tie): Fishing BC
Indigenous Tourism Award
Sponsored by: Indigenous Tourism BC and the Indigenous Tourism Association of Canada
Winner: Quaaout Lodge & Spa
Customer Service Award
Sponsored by: Go RVing Canada
: Jan Dobbener, Guest Experience Manager at Quails' Gate Winery in West Kelowna
Lifetime Achievement Award
At the recent BC Tourism Industry Conference, TIABC proudly honoured an important industry partner with a Lifetime Achievement Award. Arlene Keis was recognized for her 17 years of leadership with go2HR.
Under Arlene's leadership, go2HR has tripled in size, expanded programs to include contracts with the Industry Training Authority, WorkSafeBC and government, and established strategic partnerships with other tourism organizations. Key accomplishments include:
establishing the first provincial tourism industry-led and -financed organization to promote tourism workforce development;
creating an industry-specific portal website and niche job board to assist tourism businesses in recruiting, retaining and training its workforce;
reinforcing and championing a healthy and safe culture for tourism businesses; and
acquiring SuperHost™ customer service training from Destination British Columbia and refreshing the program to meet the current market needs.
An HR professional by trade, Arlene has over 30 years of experience at the operational, corporate, and industry levels in both public and private sectors. Arlene has a M.Ed. in Counseling Psychology from UBC and is designated as a Chartered Professional in Human Resources.
Learn more at:
Service For All
Your customers vary in age, race, culture, sexual identity, beliefs, economic status, needs…are you ready to accommodate all of their different needs? Are your staff prepared to interact with people from various backgrounds?
SuperHost's new
Service For All
online training is here to help. In today's diverse environment, it's all the more important that our front-line employees be nimble and empathetic in order to create and enhance quality of service for different types of visitors, such as:
LGBTQ/2S people
Different generations (e.g. boomers, Gen X, millennials, etc.)
Persons with disabilities
Indigenous peoples
People for whom English is a second language
Customers from varying ethnic, social, and economic backgrounds
With engaging activities and realistic examples, employees will gain practical knowledge and tips to help them understand and deliver Service For All of your customers.
Learn more at:
CMH Announces $9.6 Million Investment
The beloved Bobbie Burns lodge will undergo an $8.4 million renovation, the largest infrastructure project that CMH has undertaken since 2002, with a complete redesign and modernization of existing guest rooms. An entirely new wing will be constructed, increasing the number of single rooms and bringing the lodge capacity from 33 to 37 guests in winter.
The development will enable CMH to offer a new four-person private Heli-Skiing program at the Bobbie Burns starting December 2019. With the most sought-after Heli-Skiing trips selling out 18 months in advance, the expansion allows more guests to access the coveted destination, famous for its massive vertical and high-alpine glacier terrain.
A further $1.2 million will be spent on run development throughout CMH's ski terrain. Approximately half of the funds will be directed toward the Bobbie Burns tenure to support the lodge expansion project with improved access and development around the lodge. The remainder will support glading, spacing and brushing activity in existing ski terrain across the other CMH locations.
For July and August 2019, the first stage of CMH's newest experience will launch at CMH Cariboos. The lodge recently reopened in 2018 for Summer Adventures after a 10-year hiatus, and this year, thrill-seekers can put their skills to the test by navigating deep canyon ledges and rushing waterfalls on the new Zillmer Canyon Via Ferrata. The clincher – with a certified mountain guide as your lead, previous mountaineering experience isn't required to be able to conquer this epic adventure.
CMH was a recent winner of the BC Tourism Award for Remarkable Experiences. This award recognizes a
tourism business that has developed, delivered, promoted and sold a new or improved tourism product or experience that reflects the essence of British Columbia and contributes to a remarkable visitor experience. Overall, the marketing tactics and metrics, visual imagery and the guest reviews convinced the award judges that CMH's Summer Adventures were truly a "Remarkable Experience" for everyone who had the opportunity to enjoy one, and that they consistently surpassed visitor expectations.
read more
Wine BC 2030
Following another successful BC Wine Industry Insight Conference (March 12th at the Penticton Lakeside Resort), the BC Wine Institute is pleased to announce the launch of the WineBC2030 long-term strategic plan.
Bringing together more than 200 industry stakeholders and key speakers, the BC Wine Industry Insight Conference provided an informative overview of the current and future states of the wine industry from industry experts. The conference concluded with the delivery of WineBC2030 - a culmination of more than 18 months of industry engagement led by the BC Wine Institute in developing a 10-year strategic plan for the BC wine industry.
The road to WineBC2030 began in October 2017 when the BCWI board recognized the need for a long-term strategic plan. Since then, more than 30 meetings have taken place in 12 locations province-wide. More than 650 industry participants provided input into the plan via multiple platforms, including industry working groups with representation from each of the sub-regions in BC, local industry experts and key stakeholders. In addition, progress updates were regularly communicated to the industry creating opportunities for interested members of the wine community to contribute.
For more details, visit:
Discount Code
for TIABC Members
You're invited to
BC Hospitality Summit 2019
: the annual forum for liquor and hotel businesses.
Hosted by ABLE BC and the BC Hotel Association, the fourth annual Summit takes place
Monday, April 8 and Tuesday, April 9
at the Delta Hotels by Marriott Grand Okanagan Resort in Kelowna.
Get an extra $50 off your early bird pass!
Use the
special discount code BCHS080*
and you'll save $50 on your conference pass. Register here:
BC Hospitality Summit brings together hospitality industry owners and managers who want to stay ahead of the competition, learn new skills and trends, forge profitable business relationships, and adapt to the changing business world.
Earlybird Pricing Until March 31st
The International Indigenous Tourism Conference will hosted November 12-14th on the traditional territory of the Syilx Nation, in partnership with the Nlakápamux and Secwépemc Nations, Tourism Kelowna, Thompson Okanagan Tourism Association, and Indigenous Tourism BC.
Inspire. Transform. Unite.
This year's conference theme is "Inspire. Transform. Unite. Accelerating Indigenous tourism growth." Presentations will be focused on inspiring communities and entrepreneurs to explore tourism as an economic driver. Transform focuses on the impacts of Indigenous tourism on visitors and Indigenous operators alike. Unite speaks to the power of partnerships and coming together to empower the Indigenous tourism industry.
The Super-Early-Bird pricing is available now until March 31st. Visit the conference website to purchase your tickets today.
Cheer on Team Canada
TIABC Member Discount
Thank you to
Sport Hosting Vancouver
for offering TIABC members a discount to an exciting soccer event in Vancouver.
Canada Soccer's men's national team will return to BC Place for a crucial international qualifying match on Sunday, March 24th against French Guiana.
Secure your seats to catch Canada's next generation of dynamic young stars by taking advantage of an exciting ticket offer featuring a 30% discount off regularly priced tickets!
Please use promo code CANGUF to access this offer.
At stake for Canada is a place at the 2019 Concacaf Gold Cup, as well as entry into the top tier of the Concacaf Nations League as Canada continues the road to the 2022 FIFA World Cup.
Numbers You Need to Know
Strategic Framework for Tourism in BC
Welcoming Visitors - Benefiting Locals - Working Together
The 2019-2021 tourism strategic framework sets out a clear vision for a prosperous and sustainable tourism sector in a way that distributes benefits to people throughout the province.
Travel & Tourism Continues Strong Growth Above Global GDP
The global Travel & Tourism sector grew at 3.9% to contribute a record $8.8 trillion and 319 million jobs to the world economy in 2018.
For the eighth consecutive year, this was above the growth rate of world GDP.
Tourism Tofino Says Town's Visitation Generates $240 Million Annually
An economic impact and visitation study conducted by InterVISTAS Consulting Inc. found that tourism supports 2,670 direct jobs—1,720 full-time equivalent jobs—generating $60 million in annual wages. Tofino hosted an estimated 600,000 visitors in 2018 and local businesses serving those visitors contribute over $57 million in municipal, provincial and federal tax revenues.
BC National Parks First in Canada to Get Electric Vehicle Charging Stations
Two of Canada's mountain parks have gone electric.
Glacier National Park and Yoho National Park, both along the Trans-Canada Highway in B.C., are the first parks in the country to have electric vehicle charging stations installed.
BC Ferries Seeks Input
BC Ferries is getting ready to build new ferries to replace four of existing vessels (Queen of Alberni, Queen of New Westminster, Queen of Coquitlam, and Queen of Cowichan). This is one of the biggest projects BC Ferries has ever undertaken and they are seeking industry's input.
StatsCan Seeks Census Feedback
Statistics Canada is conducting a public consultation on the 2021 Census of Population.Please submit your completed questionnaire by March 31st.
Red Mountain Resort Just Got Radder
The Topping chair expansion set for the 2019/20 season adds to RED Mountain's stature of already being in the top 10, size-wise, for North America with total skiable acreage at 3,840.
Industry on the Move
Northern BC Tourism Announces New Staff
Northern BC Tourism is excited to announce the recent hires of Kyle Flannagan as Media Relations Specialist and Amber Harding in the role of Marketing and Communications.
News from Northern BC Tourism
A graduate of UNBC's Marketing Program, Kyle is a life-long resident of Prince George with experience in sustainable recreation & tourism, eco & adventure tourism, and protected area planning & management. He has logged many hours traveling the region as a sales rep, served as the media / communication lead for Service Canada, and worked as a campaign associate for the United Way of Northern British Columbia.
Amber, a resident of Fort St. John, has over 10 years experience in marketing, communications and public affairs, most recently with the BC 2020 Winter Games Marketing Committee. She has also worked in senior marketing and communications positions for the United Way, Peace River Hydro Partners and the BC Oil and Gas Commission.
Upcoming Industry Events
Guide Outfitters Association of BC AGM & Annual Convention
March 28-30, Kelowna
BC Hospitality Summit
April 8-9, Kelowna
CWSAA Spring Conference & Trade Show
April 24-26, Whistler
BCLCA Ideas Forum
October 23-24, Nanaimo
International Indigenous Tourism Conference
November 12-14, Kelowna
Impact: Sustainability Travel & Tourism
January 19-22, 2020, Victoria
BC Tourism Industry Conference
March 4-6, 2020, Victoria
TIABC Calendar of Industry Events
Send us your event listings and we can include it on our list!
Learn More About TIABC
TIABC's Recent Advocacy Issues
TIABC Board of Directors
TIABC in the News
TIABC Member Directory
Join TIABC


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Here at the Strategist, we like to think of ourselves as crazy (in the good way) about the stuff we buy, but as much as we'd like to, we can't try everything. Which is why we have People's Choice, in which we find the best-reviewed products and single out the most convincing ones. (You can learn more about our rating system and how we pick each item here.)
And while we've written about lots of vacuums — including the best handheld vacuums and the best standing vacuums — here, we've rounded up the best cordless stick vacuums, as praised by the most enthusiastic reviewers on Amazon.
Best-rated cordless stick vacuum
With over 2,000 reviews, the Tineco A10 is the most beloved cordless stick vacuum on Amazon. "After combing through the products on Amazon, I landed on this little gem. It is, far and away, the very best stick vacuum I have ever owned," writes one woman. "It is very light and intuitively easy to use. Also, my cats and I are noise sensitive, and it is very quiet." Reviewers also noted that the vacuum comes with several nifty design elements, including two batteries, which are "very handy when doing upstairs and downstairs, as well as LED lights on the front, which are "very helpful because it can show me clearly where the dirt is." They also praised the power of the suction. "This powerful little vacuum takes all the work out of vacuuming. The regular suction level picks up everything effortlessly and the MAX power level is impressive." The vacuum also comes with a HEPA filter for better air filtration. One reviewer with allergies and asthma writes, "Filtration was a big deciding factor in choosing this unit, and again, it did not disappoint. There is ZERO dust kickback while in use, and the dust bin empties easily. The HEPA is also easily accessible and rinsable. It's like having a new vacuum every day."
Best-rated (less expensive) cordless stick vacuum
"This product is everything it says it is. Easy to clean, charges up quickly, and stays charged for days, with surprisingly good power," writes one reviewer about this bagless vacuum cleaner. "Well-built, and the best part is you need nothing to purchase after you buy this product. The bagless catch tray works superbly. Another reviewer writes, "Easy to assemble, attachments are well-designed and work well. I love the fact that it works cordless and does not require bags. Best vacuum cleaner I ever had." A third reviewer sums up the pros simply: "Lightweight, inexpensive, efficient, good selections of attachments, highly maneuverable, good battery life, and powerful enough for light jobs (don't buy this 'cuum if you need to vacuum up engine blocks, bowling balls, or the forest floor)."
And now for some micro-picks for every type of cordless stick vacuum you might be looking for.
Best cordless stick vacuum for pet owners
Pet owners couldn't stop raving about how great this vacuum was at picking up dog hair. "I felt like I did when I changed from the flip phone to my first Apple. I was able to vacuum a 3,000-square-foot single-story house with hard flooring and rugs throughout easily on a single charge. The vacuum handles well, very well balanced, and easy to move," writes one reviewer that vacuums every other day because of her two dogs that "shed like they have the mange." Another reviewer with back pain writes, "For anyone with children or pets who are mess-makers, this vac is great. Lightweight and convenient but really gets the job done." A third pup parent with five long-haired dogs writes, "A vacuum's job is to suck, and this little guy is the best sucker I've ever seen. It suctioned up more dog hair in a five-by-five square than our old vacuum did in half the house."
Best cordless stick vacuum with attachments
"I just started using this around the house and it's been fantastic. It also comes with every attachment you would ever need and a spare filter. Very easy to operate and extremely impressed," writes one reviewer. Dozens of other five-star reviews are in agreement that this "lightweight" vacuum cleaner is also great for the car. "Also works perfect for cleaning your car since it converts from a standard stand-up vacuum length to a small handheld unit." Another reviewer notes, "I already know because of its low noise, portability, and versatility, I will be reaching for this vacuum way more than my Dyson. I can use it as a handheld mode, perfect for reaching tight places or vacuuming my car. I also use handheld mode to vacuum the fruit flies flying around my house. It's perfect!"
Best cordless stick vacuum with removable batteries
Reviewers loved the fact that this vacuum comes with two batteries, with one reviewer writing, "Since this comes with two batteries, you can always have one on the charger, so you're always ready to go. I have pets and this thing works great on pet hair." Reviewers were also impressed by the longevity of the charge: "The battery holds a good charge, and it comes with a backup so, when it runs out, you can just swap." Another reviewer, who uses the vacuum to clean her one bedroom apartment, writes, "It's a good vacuum and comes with two batteries. Each battery lasts a couple of weeks for me. Folding up is convenient for storage and also for easily getting under furniture. I like that there are no waste bags and you can just empty out the solid dustbin with the touch of a button (no need to buy replacement bags)."
Best lightweight cordless stick vacuum
Reviewers were in agreement that the Dyson V8 Animal Cordless Stick Vacuum Cleaner lives up to the hype because it's "so lightweight you could run a 5K with it" and "swivels on a dime (basically 360 degrees)." One reviewer declares, "This vacuum is the Holy Grail of all cordless vacuums. Honestly, one should not love a piece of cleaning equipment as much as I love this. But alas, I do!" Another reviewer writes, "Fantastic vacuum — powerful, lightweight, so easy to use. Should have bought this years ago. Nothing else we've had works as well. As light as an electric broom, but far more versatile."
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Review: Nate & Margaret3.0
Nate & Margaret, actor Nathan Adloff's adorable directorial debut, seems at first blush like a pretty ordinary indie comedy. Its premise, in fact, is conspicuously familiar: It tells the story of an unconventional friendship between Nate (Tyler Ross), a 19-year-old film student, and Margaret (Natalie West), a 52-year-old aspiring stand-up comedian, referred to as "grandma" by Nate's friends. This age difference is never taken to be the film's defining feature, but I expect it will be cause enough for the film to earn near-constant comparisons to Harold & Maude, with which Nate & Margaret has almost nothing else in common. (It probably doesn't help that the film is being sold as a "fresh 21st-century twist" on Hal Ashby's cult classic, but far be it for me to dissuade marketers from doing their job.) On paper, Adloff appears to have crafted a fleetingly amusing twee gem, the sort of precious indie darling for which hipsters everywhere will swoon. Which sounds, frankly, like some seriously tiresome bullshit. Nobody wants to see Juno with a spinster. But what's remarkable about Nate & Margaret is that it's so much more, and so much better, than its setup could suggest. This is an endearing, hopeful, and quietly radical film, a progressive comic drama made with real, palpable wit and heart.
Nate & Margaret begins like most indie comedies of its kind: We're introduced to two lovably quirky characters, rapidly adapting to the rhythms of their friendship, watching them pillage a thrift store for oddities as idiosyncratic as they are. These early scenes, set to the ceaseless wide-eyed jingles of trendy indie-pop groups, have a somewhat cutesy quality that more cynical viewers may find grating, but soon enough the film finds a voice that's more even-keeled and appealing. Margaret works at a coffee shop during the day, and at night she hones her craft at local stand-up dives—including the coffee shop itself, which allows her to practice her routine while serving. Nate, meanwhile, is cornered and kissed by a charmingly assertive guy at a party, and he soon finds himself set up on a more formal first date. It's at roughly this point that Nate & Margaret becomes a film divided neatly in two: On one side, Margaret struggles to make a name for herself in the stand-up circuit, while on the other Nate loses himself in a relationship that's moving too fast.
What does it take, in 2012, for a queer film to qualify as genuinely progressive? For starters, it ought to be difficult to identify as a queer film altogether, because effacing any sense of difference means essentially the opposite of marginalization. And so while Nate & Margaret tells the story of a friendship between two people of very different ages, it also involves the story of a 19-year-old's tumultuous first relationship with another boy, though it's the particulars of the relationship rather than the fact that it's queer that forms the basis of the drama. This might sound like a fairly inconsequential matter, but consider for a second that even supposedly boundary-breaking queer films tend to underline sexual difference as a kind of fundamental dramatic "issue," the queerness a subject unto itself.
Even Andrew Haigh's acclaimed Weekend, though widely praised for treating its central relationship as (apparently) no different than a hetero union, was still very much about the queerness of its characters—sometimes to naturalistic ends, in the sense that it's true to queer experience, but also often to borderline didactic ones, in the sense that it's about a gay man "owning up" to his own sexuality in the public sphere. Nate & Margaret, on the other hand, manages to refer casually to the reality of living as an openly gay male without making that either a lesson or some kind of moralistic point. That it's earnestly, endearingly a queer film without being aggressive about its own queerness makes it one of the most progressive films in recent memory, and one can only hope that more independent movies take that kind of naturalized freedom of sexual expression for granted. The sooner the cinema stops making a big deal out of sexual difference, the sooner audiences forget that it ever was one.
Margaret, for her part, provides the film with another sort of radical ideological suggestion: Her success validates independence. Again, this might seem insignificant, and the film avoids underlining the point as any kind of instructive thesis statement, but Nate & Margaret is the rare film to suggest that a middle-aged woman can find happiness without finding a romantic partner. Her story isn't neatly wrapped up with the promise of true love; she begins the film jaded and suspicious of romance and ends the film much the same way. It's supremely heartening that what's essentially a romantic comedy can deliver a happy ending in which—spoiler warning—its protagonists end up with nobody but each other, totally platonic but nevertheless incredibly close and supportive friends. That's why, no matter how traditional or conventional its jokes and side characters and musical cues, Nate & Margaret is anything but an ordinary indie comedy; nothing this radical or forward-thinking could be.
Not that Nate & Margaret shoves its progressive attitude down your throat. Part of what makes it so special is that it does all of this with subtlety and grace. It's not what anybody would call a "political film," even though its message is tacitly and importantly political. And on a completely superficial level, Nate & Margaret is just generally a wonderful rom-com, as funny and emotionally robust as any other. West is tremendously funny as Margaret, yes, but more impressive is the real sense of pathos she brings out in the character. Ross, too, proves to be a major talent; there's a sort of vague sadness behind his eyes that completely sells the understated "dejected-youth" aspect of his character. Adloff himself sometimes veers toward glossiness, drifting into sun-kissed montage when his material might be better served shot clean, but the meat of his film is substantial enough that I never much minded the trimmings. This is Adloff's first time behind the camera, and he's clearly interested in developing an identifiable visual style. But he has something more valuable: an authorial voice. I'd like to hear what else he has to say.
Cast: Natalie West, Tyler Ross, Conor McCahill, Gaby Hoffmann Director: Nathan Adloff Screenwriter: Nathan Adloff, Justin D.M. Palmer Running Time: 80 min Rating: NR Year: 2012 Buy: Video
Review: Annabelle Comes Home Suggests a Harmless Game of Dress-Up
The film is at least as likely to elicit laughs as shrieks, and certainly unlikely to leave a lasting impression.1.5
The Conjuring Universe suggests the rural cousin to Disney's Marvel Cinematic Universe. Though the latter is breezy, bright, and flippantly secular and the former is heavy, dark, and noticeably Christian, the genetic link between them is unmistakable. Both have succeeded by streamlining a popular genre in the extreme, subordinating writerly or directorial personality to the tone and narrative trajectory of the whole; both have concocted a palatable, PG-13 version of their genre's inherent violence that's neither offensive nor impressive; and part of the appeal of each universe is the way the films are connected by a network of allusive Easter eggs designed to create that satisfying in-group feeling.
Watching Annabelle Comes Home, the third title in the Annabelle series and the seventh in the Conjuring Universe, one sees that this cinematic universe and the MCU are also coming to share a tone of self-parodic humor. The film knows you know what its mechanisms are. When psychic paranormal investigator Lorraine Warren (Vera Farmiga), in the first real scene of suspense, holds up a road map and obscures the camera's view of the graveyard outside her car's passenger window, Annabelle Comes Home takes the opportunity to wink at its fans. Obscured parts of the frame obviously spell danger, and therefore the reveal is a joke rather than a genuine scare—a reversal that happens so often across the film's early stretches that it becomes as tiresome as Tony Stark making a crack about a flamboyant superhero costume.
In the film's prologue, Lorraine and her husband, Ed (Patrick Wilson), who as the connecting thread of the Conjuring films are kind of its version of Marvel's S.H.I.E.L.D., have recovered the malicious titular doll from whatever family she was most recently haunting. Annabelle the doll is, as Lorraine helpfully explains in the film's opening shot, not possessed, but is rather a conduit for the demon who follows her around. Later, Lorraine will revise her expert opinion and describe Annabelle as a beacon for evil. That the film never feels the need to specify or reconcile the meaning of "conduit" and "beacon" in this context suits the general incoherence of the series's mythology, based as it is in the Warrens' scattershot pronouncements.
Annabelle Comes Home ties together a disparate set of unsettling phenomena using the single, paper-thin premise that demon-conduit Annabelle is also a demon-beacon. After Wilson and Farmiga have delivered their universe-consolidating cameo, their pre-teen daughter, Judy (McKenna Grace), her babysitter, Mary Ellen (Madison Iseman), and the latter's friend, Daniela (Katie Sarife), are left alone in the Warrens' home. The married paranormal investigators have stashed Annabelle in their storeroom of assorted mystical curios, all brought to demonic life when Daniela—so inquisitive, mischievous, sexually adventurous, and so forth—lets the doll out of her glass case of honor/imprisonment.
The series is still gore-lessly devoted to making us jump by following moments of extended silence with sudden cacophony, but with all its noisy phantoms from the beyond, Annabelle Comes Home is undeniably silly, a monster team-up movie that often feels like a harmless game of dress-up. An undead bride bearing a kitchen knife, a Charon-esque ghost come to ferry people to hell, a monstrous hound from Essex, a TV that foretells the future, a haunted suit of samurai armor, and Annabelle herself comprise the ragtag team that (rather ineffectively) hunts the three teen girls now trapped in Warren's house. The scares, untethered to any deeper concept or theme, are more akin to friendly pranks than they are to distressing events, as if the monsters were friends jumping from around corners in rubber masks.
Annabelle Comes Home is a series of scenes that all follow the same structure: One of the girls finds herself alone in a space and doesn't notice the malevolent presence in the room until well after the audience does. It's then that she screams in horror and the film smash cuts to a different room where the same scenario is playing out with a different girl. There's a certain game-like quality to predicting the precise moment the scare will pop up in each scene, but it's a formula that, after a few repetitions, no longer holds much tension. Gary Dauberman's film is a carnival ride of cheap thrills, at least as likely to elicit laughs as shrieks—there can only be so many slow-zooms on Annabelle's blue-gray face before the doll becomes funnier than she is creepy—and certainly unlikely to leave a lasting impression.
Cast: McKenna Grace, Madison Iseman, Katie Sarife, Vera Farmiga, Patrick Wilson, Michael Cimino Director: Gary Dauberman Screenwriter: Gary Dauberman, James Wan Distributor: New Line Cinema Running Time: 106 min Rating: PG-13 Year: 2019
Review: Three Peaks Tensely Charts the Dissolution of a Would-Be Family
The film ably plumbs the fears of a well-meaning man who tries his best to play by the rules of middle-aged courtship.2.5
Throughout Three Peaks, writer-director Jan Zabeil acutely mines a specific kind of familial tension as he follows a couple, Aaron (Alexander Fehling) and Lea (Bérénice Bejo), vacationing in the Italian Dolomites with Lea's young son, Tristan (Arian Montgomery). This trip is a try-out for a new arrangement, mostly for Aaron as a husband and undefined parental figure to Tristan, as Aaron and Lea are contemplating a move to Paris, which would take Tristan far away from his biological father. Tristan, a sharp child, can read this subtext, and toggles between affection and contempt for Aaron, sometimes in a matter of seconds. The suspense of the narrative is driven by a question of deliberation: Is Tristan actively screwing with Aaron, grieving over his parents' divorce, or both?
At times, Three Peaks resembles a relatively realist version of horror thrillers in which an evil child orchestrates a conspiracy to undo a family, but Zabeil doesn't go for melodrama until the third act. The film is mostly an exercise in tension, driven by an ironic emasculation, as Aaron, a sensitive outdoorsy stud who would be the dream of most women, is continually embarrassed and upstaged by the withdrawn Tristan. These characters are essentially in a no-exit situation, and their forbidden emotions are often expressed via fleeting, often disturbing gestures—as in Tristan threatening Aaron with a saw, and the suggestion that Aaron might throw Tristan off a mountainside—that Zabeil complements with increasingly self-conscious symbolism. Looking at the gorgeous Three Peaks Mountains, Tristan remarks that they resemble a father, mother, and a child, and he often references a story, about a giant, that scans as a sort of rebuke of Aaron's attempt to be the new man of the figurative house.
The verbal metaphors feel too clever and on point, though Zabeil's imagery often shrewdly telegraphs the family's shifting power dynamics. In the opening scene, we see close-ups of Aaron and Tristan's faces as they play a game in a swimming pool, trying to hear what each person is saying underwater. This moment also foreshadows the climax, a perverse life-and-death dilemma that's reminiscent of the ending of The Good Son. In fact, every game that Aaron and Tristan play in the film becomes an expression of their oscillating desire and contempt for communion, from the languages they use (Tristan pointedly refuses to speak French, signaling his resistance to Paris) to the hikes the boy and man go on in the Three Peaks. Most poignantly, Tristan calls Aaron "papa," though he quickly reassumes the role of nemesis, leading one to wonder if this brief bonding moment was an illusion of some kind.
Zabeil and Montgomery, in a mature and measured performance, capture the casual eeriness of children, particularly to outsiders who can discern how easily kids can command and manipulate their guardians' attentions. The filmmaker's sympathies are with Aaron, as Lea is disappointingly pushed aside in the narrative, functioning mostly as a MacGuffin, the center of an unconventional masculine duel. Yet Tristan is never reduced either to victim or aggressor, not even in the film's nearly biblical survival climax, which resolves little of the family's issues except to posit, potentially, that Tristan isn't an overt sociopath.
One supposes that's a start, though it's evident that Tristan is a barrier, between Lea and every potential suitor, which might never be breached. This lonely possibility is suggested by the mountaintops, nearly mythical wonders that stand in front of the characters, reachable yet ultimately dangerous and unknowable. By the end of Three Peaks, the mountains transcend Zabeil's early thematic handwringing to become a haunting symbol of estrangement, as the filmmaker has ably plumbed the fears of a single mother and a well-meaning man who tries his best to play by the rules of middle-aged courtship.
Cast: Alexander Fehling, Bérénice Bejo, Arian Montgomery Director: Jan Zabeil Screenwriter: Jan Zabeil Distributor: Greenwich Entertainment Running Time: 93 min Rating: NR Year: 2017
Review: Avi Nesher's The Other Story Is Melodramatically Replete with Incident
Through this endless string of undercooked subplots, Nesher's film continually trips over itself.2
Director Avi Nesher's The Other Story probes the tensions between the secular and religious worlds of modern-day Jerusalem. The story pivots around Anat (Joy Rieger), who, alongside her formerly drug-addicted boyfriend, Sachar (Nathan Goshen), recently shunned her hedonistic past so as to devote her life to studying the Torah. But it's Anat's decision to marry Sachar—thus committing herself to the restrictive moral code and officially sanctioned subjugation of women required by Orthodox Judaism—that serves as the film's true inciting incident, causing her atheist mother, Tali (Maya Dagan), and grandfather, Shlomo (Sasson Gabai), to join forces, even going so far as to recruit Anat's estranged father, Yonatan (Yuval Segal), to help thwart the impending marriage.
It's a compelling setup, namely in the ways it pits harsh dogmatism of orthodoxy against an equally stringent form of atheism that, as a moral philosophy, is just as closed-minded and fiercely held as the religion it rejects. When the film homes in on the strained father-daughter relationship between Anat and Yonatan, who left the family for America when his daughter was a young child, it precisely renders and examines the tremendous emotional baggage behind Anat's drastic decision to convert while also retaining a clarity in its broader allegory about the role of religion in Israel. Through Yonatan and Anat's clashing of perspectives, one gets a sense of how their competing belief systems can be weaponized to both self-destructive and vengeful ends, all but ensuring an unbridgeable gap between two sides.
As The Other Story teases out the myriad causes for Anat and her father's troubled relationship, it also taps into the resentment Tali feels toward Yonathan for leaving her and follows Shlomo's attempts to rebuild his bond with Yonathan. It's already a narrative with quite a few moving parts, so when a secondary story arises involving a married couple, Rami (Maayan Bloom) and Sari (Avigail Harari), to whom Shlomo provides court-mandated counseling, the film slowly begins to come apart at the seams, with a once intimate account of one family's travails giving way to needlessly convoluted melodrama.
While Anat finds herself increasingly drawn to Judaism, Sari is ultimately repelled by it, becoming entrenched in a feminist cult whose pagan rituals she eventually exposes to her son to, and in spite of Rami's vehement protests. Nesher tries to draw parallels to the two women's equally extreme experiences, which lead them to swing in opposite directions on the pendulum from hedonism to asceticism. Yet as these two stories intertwine, one creaky subplot after another is introduced, effectively dulling the emotional resonance of either woman's story by drowning them out it an abundance of trivial incident.
Not only does Anat's involvement with Sari's affairs result in an unlikely friendship between the women, but it also leads to Anat bonding with her father as they do the legwork to investigate whether or not the cult is putting Sari's child in danger. All the while, Yonathan and Tali's passions are somewhat reignited as they're forced to work together for the supposed good of their daughter. Through this endless string of undercooked subplots, The Other Story continually trips over itself, struggling to weave together far too many disparate threads. Both character behaviors and the film's action become driven less by any sense of cultural specificity than a cheap and manipulative need to ramp up the emotional stakes at all cost.
Cast: Sasson Gabai, Joy Rieger, Yuval Segal, Maya Dagan, Nathan Goshen, Avigail Harari, Maayan Bloom, Orna Fitousi Director: Avi Nesher Screenwriter: Avi Nesher, Noam Shpancer Distributor: Strand Releasing Running Time: 112 min Rating: NR Year: 2018
Music at a Crossroads: Les Blank's Chulas Fronteras and Del Mero Corazón
Blank's films on norteño music provide typically peppy examples of the director's immersive, seemingly effortless style.
Les Blank, a filmmaker deeply enamored of the sights, smells, and flavors of particular regional subcultures, was devoted to activating the viewer's senses, and sometimes in unconventional ways. Depending on which one of his films was playing in a theater, you could count on the scent of red beans or garlic to be piped into the room. It was a process that was cheekily called "Aromaround." But even without such accompaniment, his work remains some of the richest, most palpable sensory experiences ever committed to celluloid—films that welcome viewers into vibrant, authentic cultural spaces and treat them like special guests.
Newly restored in 4K, Blank's companion films on the norteño music that originated in the Texas-Mexico borderlands, 1976's hour-long Chulas Fronteras and 1979's 30-minute Del Mero Corazón, provide typically peppy examples of the director's immersive, seemingly effortless style. Eschewing explanatory narration or canned talking-head interviews, Blank isn't all that interested in teaching us about this jaunty, polka-like style of music. Instead, he wants us to experience for ourselves the cultural ferment from which it arises.
Both films play like mixtape travelogues, bouncing around from beer joints to backyard barbecues to a 50th wedding anniversary—anywhere and everywhere that norteño music is played. In Chulas Fronteras, a few interviewees explain their personal career trajectories, and one musician traces the style's roots in German polka. (It's essentially the same, he claims, except that Tejanos "give it a different taste.") Predominately, however, these aren't films about the development of norteño, but rather works that use the music as a lens through which to view an entire subculture of food, celebration, family, and labor.
If the dominant mood of Chulas Fronteras and Del Mero Corazón is undoubtedly festive—a perfect match for the jubilant accordions and lively vocals that fill their soundtracks—a deeper pain nevertheless courses through these films. Many of the lyrics to the songs we hear touch on difficult subjects, such as labor struggles, personal loss, and racism. Blank brings these issues to the fore in many of the films' loose-limbed interview segments, which generally catch the subjects while they're cooking up a big meal or just about to perform a song. In one, a migrant farm worker discusses his life of transience, ceaselessly moving from one area to another, follow the crops. In another, a musician relates an infuriating anecdote about being refused service at a roadside hamburger stand because of his ethnicity.
Blank, though, isn't one to dwell on such cultural strife, as there's a different song being sung elsewhere. There are simply too many wondrous sights to take in for Blank to linger on any one subject too long, like the priest blessing cars with holy water or the woman scooping the meat out of a pig's head to make tamales. Blank's approach to documentary is immersive and inquisitive, at one point rendering a cockfight, an event that's potentially off-putting to outsiders, as the authentic divertissement it is for the people of the region.
Of the two films, Chulas Fronteras is the clear standout, offering a deeper cultural immersion. Del Mero Corazón, which Blank co-directed with Guillermo Hernández, Chris Strachwitz, and Maureen Gosling—the last of whom would become Blank's regular collaborator—is a bit more lyrical, focusing on its subjects' personal relationship to their music and interspersing poetic quotations from love songs and folk tales throughout its running time. But the similarities between the two films overwhelm their differences. They're essentially extensions of each other, with Del Mero Corazón moving beyond the Texas-Mexico border to explore a bit of the San Jose norteño scene, particularly singer and accordionist Chavela Ortiz.
More than 40 years after their making, Chulas Fronteras and Del Mero Corazón not only provide a rich portrait of a region and its people, but an amusing time capsule of mid-to-late 1970s tackiness as well. Providing an unvarnished look at kitchen interiors full of ugly wood cabinets and orange laminate countertops and men in checkered polyester pants sucking down cans of Schlitz, these films are also a blast from an ineffably gaudy past.
And yet, at a time when migrants are relentlessly demonized and brutalized, held indefinitely in government detention centers for the crime of crossing a somewhat arbitrary line separating two nations, Chulas Fronteras and Del Mero Corazón offer a timely and incisive reminder of how porous and artificial the U.S.-Mexico border really is. Cultural exchange doesn't stop at the Rio Grande, a fact of which the people in these films are acutely aware: As the group Los Pingüinos del Norte proudly sings in Chulas Fronteras, "Mexican by ancestry/American by destiny/I am of the golden race/I am Mexican American."
Review: Though Inspiring, Maiden Doesn't Evince the Daring of Its Subjects
Director Alex Holmes ultimately takes a frustratingly simplistic approach to his thematically rich material.2
Alex Holmes's documentary Maiden is an account of the true adventure of the first all-female crew to enter the Whitbread Round the World Race. As their filmed testimonials attest, skipper Tracy Edwards and her crewmembers' defiance of the sailing circuit's rampant sexism back in 1989 proved to be just as grueling as their journey of 33,000 miles through the Earth's harshest oceans. The film, at heart, is the story of women dramatically pitted against the dual forces of nature and human nature. Pity, then, that Holmes ultimately takes a frustratingly simplistic approach to the thematically rich material.
The film paints a vivid portrait of the patriarchal sailing community during Edwards's period as an up-and-coming skipper, even gathering male sports journalists and sailors who seem all too eager to cop to their past chauvinistic viewpoints. Of course, while this effectively establishes some of the large obstacles faced by Edwards and her crew, there's a feeling of repetition in the subsequent inclusion of the subjects' stories about their feelings of vindication in proving the naysaying men wrong by successfully staying the course.
Each anecdote begins to sound like a rehash of the last, and to the point where they feel as if they're intended as applause lines. The detailing of the immense mental and physical strength that the Maiden's crew summoned in order to sail around the around is scant. In fact, Holmes is so frustratingly short on specifics that, with the exception of Edwards, you'll walk away from the documentary without knowing what role each woman filled aboard the vessel.
By extension, we hardly get a sense of the camaraderie that started to build among the crew during the race. It comes off as an empty moment, then, when Edwards describes how each woman essentially knew what the other was thinking by race's end. The fascinating and candid archival footage shot during the race hints at the singular sisterhood formed on the boat that Edwards speaks of, with each member helping one another out through tedium and the dangers of the sea. It feels like a missed opportunity that Holmes didn't utilize this footage of fortitude through female unity more frequently as a statement against sailing's sexism, but, then again, it's in line with a film that doesn't evince the daring spirit of its subjects.
Director: Alex Holmes Distributor: Sony Pictures Classics Running Time: 97 min Rating: PG Year: 2018
The Best Films of 2019 So Far
Whatever the outcome of the streaming wars, we hope that when the dust clears, there's still a digital home for films like these.
In our present day, it feels like we're sitting on the edge of too many abysses to count. Confining our perspective to the world of film, it's arguable that the streaming apocalypse has arrived. Consumers are already fed up with the glut of services offering a library of films at low, low prices that, in sum, add up to the price of the premium cable package we thought we'd escaped. We're still months away from the launch of Disney+, which now looks not so much like the herald of the apocalypse as a behemoth that will arrive in its wake to rule over the vestiges of the internet's cine-civilization.
And there's a different ongoing streaming apocalypse, at least according to the defenders of the movies as a unique medium. The year opened with cinema's old guard attempting to forestall the effects of streaming's rise on the rest of the film industry: Most visibly, Steven Spielberg attempted to cajole the Academy of Motion Picture Arts and Sciences into disqualifying Netflix-produced films from competing for Oscars. And is streaming also to blame for this summer season's dismal box-office numbers? Perhaps in part. In any case, the cracks in the Hollywood fortifications are showing. For years, prognosticators have predicted the unsustainability of the "tent pole" model of film production, but the outcome is that everything is coming up Disney: Even Fox is Disney now, or soon will be.
But if streaming is indeed facilitating the long-delayed collapse of the tent-pole model, then more power to it. The year so far has been disappointing from the perspective of box-office returns, and it has been downright dreadful in terms of the so-called blockbusters themselves—another summer of sequels, side-quels, and soft reboots that has made it difficult to recall a time when big-budget superhero flicks like Dark Phoenix felt like cultural events.
That said, it's worth noting that streaming isn't simply killing the box office, but offering an alternative to a moribund institution, as the best chance to see many of this year's best films, for those outside the country's major markets, will be on streaming services. Whatever the outcome of the streaming wars, we should hope that when the dust clears, there's still a digital home for films like the ones on our list. Pat Brown
3 Faces (Jafar Panahi)
Jafar Panahi works references into his film to some of the compositions, landscapes, and boundary-pushing plays of fiction and documentary evidenced in Abbas Kiarostami's cinema. But instead of mere replication, 3 Faces filters these elements through Panahi's own unique sensibilities. Rather than letting the mysteries in his film stand, or prolonging its ambiguities, Panahi prefers to signify potential plot directions and formal strategies and then promptly pivot away from them at the moment they outlast their usefulness. This isn't the mark of a lesser filmmaker, but merely one who recognizes that his own strengths lie in his intuitiveness, his wit, and his humor. Sam C. Mac
Ash Is Purest White (Jia Zhang-ke)
The political dimensions of Jia Zhang-ke's films hve led to a strained relationship with state censors in the past—and so the director's appointment this year as a representative of China's 13th National People's Congress, and the larger indication that he was working to gain the favor of the state, created some worries about the integrity of his films going forward. But thankfully, the clever, subversive, and hugely ambitious Ash Is Purest White assuages those concerns. The film serves as a considered retrospection, and a coherent transition between Jia's neorealist early films and his more recent populist melodramas. It's a quixotic and profound statement on the spatial and temporal dissonances that inform life in 21st-century China. Mac
The Beach Bum (Harmony Korine)
Despite its lax, vignette-like quality, The Beach Bum is perhaps Harmony Korine's most straightforward film to date, even while its form fully embraces its inherently circuitous, nonsensical subject matter. Indeed, the way Moondog (Matthew McConaughey) buoyantly moves from locale to locale, Korine's semi-elliptical style, and a tendency for events to just happen lend the film a chronic haziness where even life-threatening occurrences are treated with a cheery dementia. At one point, a character loses a limb, but it's "just a flesh wound"—something to quickly move on from and to the next toke. Not for nothing has Korine likened the film's structure to pot smoke. Its dreamy, associative style is pitched to its characters' almost random inclinations, while mirroring the spatiotemporal dilation of a high. Peter Goldberg
Birds of Passage (Cristina Gallego and Ciro Guerra)
A narcotrafficking origin story embedded inside an ethnographic study of a vanishing culture, Cristina Gallego and Ciro Guerra's Birds of Passage starts and ends in the harsh Guajira desert peninsula that sticks into the Caribbean Sea from northern Colombia. Showing the same fascination with the interstices of Western and native cultures that Guerro and Jacques Toulemonde Vidal brought to Embrace of the Serpent, the story initially takes a back seat to an examination of ritual and belief. While the basics of the narrative are familiar from other stories about how Colombia tore itself apart serving America's drug culture, the film stands apart for Gallego and Guerra's studied focus on the drip-drip-drip of traditions falling before encroaching modernity as a family grows in wealth and shrinks in awareness. Also, their arresting visual sense power the story in the eeriest of ways, from the sweeping vistas of desert and sky to the surreal appearance of a glistening white mansion where an ancient village once stood. Chris Barsanti
Black Mother (Khalik Allah)
Black Mother finds Khalik Allah doubling down on his established aesthetic to bold, hypnotic ends. This essayistic documentary is organized into "trimesters," chapter headings marked by the growing stomach of a naked woman, and it drifts between digital, Super 8, and Bolex footage as Allah tours the home country of his mother, beginning with a remarkably cogent examination of Jamaican political and religious history through the voices of those the director encounters on the street, before sprawling into more existential terrain, chiefly the feedback loop between humans and the environment. Allah is attracted to loud, confident voices, and the ways in which they hold forth about poverty, sex work, spirituality, and food is crucial to the filmmaker's vision of the proud, angry beating heart of a nation. Christopher Gray
Review: Child's Play Is Cheeky Before It Becomes More of the Same
By the end, it becomes what it initially parodies: a dime-a-dozen slasher film with a silly-looking doll as the villain.2
Much to the very public chagrin of Don Mancini, creator of the knife-wielding Chucky doll, Lars Klevberg's Child's Play unceremoniously wipes the slate clean by more or less pretending that the seven prior films (all written by Mancini) in the franchise never happened. On paper, the film certainly looks like another shameless Hollywood cash grab, an unnecessary reboot of a series that its creator had still planned on continuing. Its winks and nods to the 1988 original will certainly only serve to twist the knife even deeper into Mancini's back. Yet, despite all signs pointing to a dearth of imagination, Klevberg's film finds a new avenue from which to approach the Chucky mythos and does so with an initially gleeful cheekiness in its approach to the inherently absurd concept of a slasher toy run amok.
The voodoo-based origin story of the original Chucky, in which a serial killer is transported into the doll's body, is here replaced with one of artificial intelligence gone bad. One of thousands in a line of technologically enhanced "Buddi" dolls, the new Chucky's (voiced by Mark Hamill) lack of restraint when it comes to both speech and its capacity for violence stems from a disgruntled sweatshop employee who reprogrammed it before killing himself. In a clever twist, Chucky isn't evil right out of the box. In fact, he uses a laser scan to immediately bond with the young Andy (Gabriel Bateman), who he will go to great—and eventually very unnecessary—lengths to protect. Chucky genuinely just wants to play with Andy, and simply learns that it sometimes takes a bit of bloodletting to achieve that goal.
It's one thing for Chucky to wake Andy up in the middle of the night to sing with him, but when Chucky strangles a cat after it scratches Andy, the boy senses something might be off with his new toy. Pity that the boy's mother, Karen (Aubrey Plaza), won't heed his warnings. The subsequent escalation of Chucky's psychosis makes for the film's most unexpectedly amusing stretches, effectively playing the doll's deadpan penchant for violence off of Andy's horror at Chucky's extreme reactions to his complaints about things that bother him. Whether it's Chucky's stalking of Karen's asshole boyfriend (David Lewis) or his learning how to kill while Andy and his friends are watching Tobe Hooper's The Texas Chainsaw Massacre 2, a much-needed levity accompanies Chucky's growing fatal attraction to Andy, especially as his friends Falyn (Beatrice Kitsos) and Pugg (Ty Consiglio) come into the fold.
Once Chucky turns into a full-on psycho, though, Child's Play starts taking the tongue-in-cheek bite out of its approach to horror, with the unconventional interplay between a boy and his toy sidelined by an abundance of mindless gore and jump scares. Although this final act allows the filmmakers to take more advantage of Chucky's technological prowess, particularly the doll's ability to record video and connect to nearly any electronic device, the humorlessness of Child's Play by this point effectively transforms the film into the very thing it initially poked fun at: a dime-a-dozen slasher film with a silly-looking doll as the villain.
Cast: Aubrey Plaza, Mark Hamill, Gabriel Bateman, Brian Tyree Henry, Tim Matheson, David Lewis, Beatrice Kitsos, Trent Redekop, Amber Taylor, Kristin York, Ty Consiglio Director: Lars Klevberg Screenwriter: Tyler Burton Smith Distributor: United Artists Releasing Running Time: 88 min Rating: R Year: 2019
Review: Nightmare Cinema Offers a Mishmash of Horror Mischief
The anthology justifies Mick Garris's passion for horror, though he ironically proves to be one of his project's liabilities.2.5
As he proved with the anthology shows Masters of Horror and Fear Itself, Mick Garris has no problem recruiting once-great filmmakers and getting them to enthusiastically recycle horror cinema's most obvious tropes. With only a few exceptions, such as episodes directed by Takashi Miike and Dario Argento, both of these productions often suggest the horror equivalent of an aging rock band at a stadium, playing music that's leeched of its former danger. With Nightmare Cinema, Garris semi-successfully brings this act to the increasingly figurative big screen, assembling directors Joe Dante, David Slade, Alejandro Brugués, Ryûhei Kitamura, and himself for more genre mischief.
Nightmare Cinema is generally of a higher caliber than Masters of Horror, and particularly of Fear Itself. The film starts almost in medias res, with Brugués's "The Thing in the Woods" approximating the third act of a slasher movie. It's a relief to skip the expositional throat clearing that usually gluts the opening of such a narrative, and Brugués stages the stalk-and-slash set pieces with style, energy, and a flair for macabre humor. There's also a twist that leads to a wonderfully irrational image. The murderer who stalks the requisitely attractive young people, called The Welder for his choice of mask and killing instruments, is revealed to be a sort of hero, having discovered that alien spiders are nesting in the skulls of his friends.
Dante's "Mirari," written by Richard Christian Matheson, is even more deranged. Anna (Zarah Mahler) is about to marry a handsome man (Mark Grossman) who manipulates her into undergoing plastic surgery so that she may live up to the ideal set by his mother. The joke, a good one that recalls a famous episode of The Twilight Zone, is that Anna is already quite beautiful, though tormented by a scar running down her face. The plastic surgeon is Mirari (Richard Chamberlain), who turns out to be the orchestrator of a surreal asylum of horrors. Chamberlain is pitched perfectly over the top, lampooning his own past as a pretty boy, and Dante's direction is loose and spry—authentically channeling the spirit of his best work.
Nightmare Cinema hits a significant speed bump with Kitamura's "Mashit," a tedious and nonsensical gothic in which a demon terrorizes a Catholic church, but rebounds beautifully with Slade's nightmarish "This Way to Egress," in which Elizabeth Reaser plays Helen, a woman who's either losing her mind or slipping into another realm of reality. Slade has directed some of the most formally accomplished hours of recent television, particularly Hannibal, and he brings to Nightmare Cinema a similarly sophisticated palette. "This Way to Egress" is filmed in stark black and white, and the clinic treating Helen suddenly becomes a setting of apparent mass murder, with blood-splattered walls that come to resemble a series of abstract paintings. Meanwhile, the people in the clinic become deformed monsters, talking in gurgles and plunging unseen masses out of sinks. (Giving Nightmare Cinema's best performance, Reaser ties all of this inspired insanity together with an emotional vibrancy.)
Garris directs "The Projectionist," Nightmare Cinema's framing episode, in which a theater portends doom for the film's various characters while Mickey Rourke saunters around, lending the production his usual found-object weirdness. Garris also concludes the anthology with "Dead," a grab bag of clichés in which a young piano student (Faly Rakotohavana) grapples with a near-death experience in a hospital while evading pursuit by a psychopath (Orson Chaplin). Characteristically, Garris over-telegraphs the scares with cheesy music and evinces no sense of specificity or reality even for a story that's set on such a heightened plane. (One may wonder how a boy recovering from a gunshot wound to the chest can defend himself against a much larger madman.) "Dead" also bears an unfortunate structural resemblance to the vastly superior "This Way to Egress," which is also a surreal journey of a character within an institution. There are notable, surprising highpoints in Nightmare Cinema that justify Garris's passion for horror, though he ironically proves to be one of his project's liabilities.
Cast: Mickey Rourke, Richard Chamberlain, Adam Godley, Orson Chaplin, Elizabeth Reaser, Maurice Benard, Kevin Fonteyne, Belinda Balaski, Lucas Barker, Reid Cox, Ezra Buzzington, Pablo Guisa Koestinger, Dan Martin, Zarah Mahler, Lexy Panterra, Faly Rakotohavana, Patrick Wilson, Sarah Elizabeth Withers Director: Mick Garris, Alejandro Brugués, Joe Dante, Ryûhei Kitamura, David Slade Screenwriter: Sandra Becerril, Alejandro Brugués, Lawrence C. Connolly, Mick Garris, Richard Christian Matheson, David Slade Distributor: Good Dead Entertainment Running Time: 119 min Rating: R Year: 2018
Review: Toni Morrison: The Pieces I Am Is an Engaging Tribute to a Legend
In verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.3
Timothy Greenfield-Sanders's Toni Morrison: The Pieces I Am is rather literal-minded, opening as it does with an overhead shot of hands re-assembling black-and-white photographs of Toni Morrison that have been snipped into pieces. The documentary continues in a similar vein, reconstructing Morrison's life and work out of interviews, news clippings, and archival images that, like the reassembled photographs, comprise a structured and fairly straightforward whole. The meticulously organized film alternates between narrating Morrison's background and her writing career, jumping between her family history and her life and legacy to compile a nonlinear but coherent portrait of the author.
The Morrison work that emblematizes the film's approach, then, isn't so much one of her acclaimed novels, but The Black Book, a 1974 anthology Morrison edited in her role as a senior editor at Random House. As described by Morrison and other interviewees in the documentary, the book collects written and graphic work from the history of black life in America, seeking to fill in the gaps in the master narrative of American history. The purpose of The Black Book was to capture the good and the bad of the amorphous assemblage often referred to as "the" black experience, and similarly, The Pieces I Am aims to craft a portrait of the most significant black author of the last half-century without reducing her to "the" black author, the sole voice for African-Americans in an overwhelmingly white canon.
As such, Greenfield-Sanders and his interviewer, Sandra Guzman, call upon a range of significant black writers and intellectuals—Oprah Winfrey, poet Sonia Sanchez, and activist and author Angela Davis, among many others—to discuss Morrison's career and its significance in the context of black America. Even before she achieved fame as a novelist, Morrison was a crucial part of post-civil rights black literature as an editor at Random House, where she published Davis's widely read autobiography and Muhammad Ali's The Greatest: My Own Story. When they began appearing in the early 1970s, Morrison's novels articulated aspects of black life that had long been suppressed, ignored, or softened to tailor to white audiences, forcing into the view of the official culture a distinctly black, female voice.
Interviews with the writer herself, now a lively 88 years old, make up the better portion of this filmic collage. As Morrison emphasizes, one aim of her novels has been to escape the white gaze, which Greenfield-Sanders's documentary succinctly defines as cultural presumption that white approval is needed to sanction black cultural production. Novels like The Bluest Eye and Beloved humanize black people without relying on white characters to validate their personhood. They also cover a wide range of black life, spanning various historical periods and taking the perspective of both men and women, children and adults.
The film roots Morrison's ability to imagine and inhabit such an expanse of feelings and experiences not only in her sharp mind and democratic sensibility, but also in the way her life story itself is woven from the contradictory strands of 20th-century black life: from the Jim Crow South to an integrated town in the industrial North, from a historically black university to the overwhelmingly white and male environs of Random House. Aesthetically, The Pieces I Am tends to be a bit flavorless—there's no shortage of photographs presented via the "Ken Burns" tracking effect, and the interviews are conducted against monochromatic backdrops that sometimes make them resemble high school photos—but in verbally recounting her history, Morrison proves almost as engaging as she in print, a wise and sensitive voice.
Distributor: Magnolia Pictures Running Time: 119 min Rating: PG-13 Year: 2019
Review: A Bigger Splash Finds Intimacy in the Space Between Life and Art
Jack Hazan's portrait of David Hockney stands between documentary and fictional film, reality and fantasy.3
Jack Hazan's A Bigger Splash stands between documentary and fictional film, reality and fantasy. Following influential pop artist David Hockney in a particularly uncreative period in the early 1970s as his relationship with muse Peter Schlesinger deteriorates, the film is ostensibly a portrait of the artist as an uninspired man. But Hazan dispenses with many of the familiar conventions of documentary filmmaking that would become de rigueur in years to come. Instead of having, say, talking heads discuss his subject's life and art, Hazan presents Hockney and the people in the artist's orbit as essentially living in one of his paintings.
A Bigger Splash, whose title is borrowed from one Hockney's seminal pieces, offers up a captivating pseudo-drama of alienated people living flashy lifestyles and who have much difficulty communicating with each other. And in its fixations, the film feels like an extension of Hockney's sexually frank art, which has consistently depicted gay life and helped to normalize gay relationships in the 1960s. Indeed, as Hazan's observational camera is drawn to the coterie of gay men who flit about Hockney's world—one notably protracted sequence captures two men stripping naked and intensely making out—it's easy to see why the film is now recognized as an important flashpoint in the history of LGBT cinema.
Even though he appears by turns vapid and seemingly indifferent to the feelings of those around him, Hockney unmistakably displays an acute understanding of human behavior. Hazan begins A Bigger Splash with a flash-forward of Hockney describing the subtextual richness of a male friend's actions, with the artist practically becoming giddy over incorporating what he's observed into one of his paintings. Hazan subsequently includes extended scenes of Hockney at work, eagerly attempting to capture a sense of people's inner feelings through an acute depiction of their body language and facial expressions. At its simplest, then, the documentary is a celebration of how Hockney turns life into art.
Notably, Hockney is seen in the film working on Portrait of an Artist (Pool with Two Figures), incorporating into his now-iconic painting the pensive visage of a friend. It's here that the film homes in on Hockney's uncanny ability to transform a seemingly innocuous moment into a profound expression of desire. And throughout these and other mostly dialogue-free sequences, it's as if Hazan is trying to put us in Hockney's shoes, forcing us to pay as close attention as possible to the details of so many lavish parties and mundane excursions to art galleries and imagine just what might end up in one of the artist's masterworks.
Toward the end of A Bigger Splash, surreal dream scenes sandwiched between shots of a sleeping Hockney and staged like one of his pool paintings show the accumulation of people and details the artist witnessed and absorbed throughout the film. An expression of the totality of Hockney's dedication to drawing inspiration from the world around him, these passages also evince Hazan's refusal to be bound to documentary convention. In these moments, it's as if the filmmaker is trying to tell us that no talking head can make us understand Hockney's genius the way living and dreaming like him can.
Director: Jack Hazan Screenwriter: Jack Hazan, David Mingay Distributor: Metrograph Pictures Running Time: 105 min Rating: NR Year: 1973


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points for monday editorial
•Letter policy of Nassau Guardian
•Best practices of international newspapers-letters must include writer's name and contact information…
While The Guardian does publish'unsigned'letters, it our general policy not to do so unless the letter writer identifies him/herself.
We allow pseudonyms because of the small nature of the community, but pseudonyms must be accompanied by letter writer's name and contact information.-Washington Post and New York Times.
We often publish letters criticial of The Nassau Guardian, whether it's an editorial or article.
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