Tuesday, October 19, 2021

film review: Tom Petty: Somewhere You Feel Free: The Making of Wildflowers

 

Directed by Mary Wharton

ChinoKino score: B

Review by Allan Tong

This new documentary unearths the sessions of Tom Petty's Wildflowers album, based on 16mm footage shot by a friend in 1993-5. It amounts to a tribute rather than an exploration of the late musician, told with care and respect, though offering few revelations. Petty fans will revel in seeing him recording in the studio and discussing his songwriting craft. Occasionally, the normally personal Petty opens up. This is significant, since Petty was a guarded individual though apropos here, because Wildflowers was one of his most reflective, personal statements. Hence, this is a canny choice of a period in the artist's life to spotlight.

The film is largely seen in black-and-white, and intercuts to concert footage, say at the Hollywood Bowl, or to an interview in colour. The B&W apporach casts the film in the past. Remembrances abound, mostly laudatory which is frustrating for the viewer. However, patience leads Petty to eventually admit that Wildflowers was about his troubled marriage, but even here he says it was unconsciously done. Petty's daughter disagrees; she insists this album declared her father's feelings more than other statement. She also admits that her dad was going through therapy at the time.

Rick Rubin weighs in on the actual recording. He enters the story explaining that he found Petty too "melodic" until Full Moon Fever, a global smash that (ironically) yielded several radio-friendly hits. Petty admits that he never officially hired Rubin who, instead, was simply there offering feedback on a regular basis. Rubin chimes in that his hip-hop background influenced the rhythm of the hit, You Don't Know How It Feels. He also lauds Ringo Starr's guest drumming for its presence. Also getting a nod was Mary Jane's Last Dance that Petty quickly wrote and recorded to fill a greatest hits collection. Not bad for a knock-off.


Aside from Petty and his daughter, past band members like Mike Campbell and producer Rick Rubin chime in. The latter confesses that he found Petty and the Heartbreakers too melodic until Full Moon Fever, Petty's worldwide hit album that ironically featured pop hits like Free Fallin'. Song excerpts are illustrated by effective animation. Overall, the film flows well and gently guides the viewer through the making of Wildflowers. It doesn't dive too deeply, though. After all, we don't hear much about the troubled marriage after the initial mention though that friction fuelled the heart of the album. However, this film is the closest that fans and viewers so far have gotten of Tom Petty. Thankfully, Somewhere You Feel Free, honours what is perhaps the most important work by this beloved rock 'n' roll musician.

Somewhere You Feel Free premieres in selected theatres for a limited engagement across Canada, starting October 20.

Friday, May 7, 2021

film review: Street Gang: How We Got To Sesame Street

 


Directed by Marilyn Agrelo

ChinoKino score: A

Review by Allan Tong

Chances are you grew up watching Sesame Street and/or your children watch it now. Its blend of entertainment and education charms pre-schoolers into teaching them the alphabet and counting, and yet is smart enough to entice grown-ups. Sesame Street deserves to be a global phenomenon for the last 52 years and 4,561 episodes (and counting), and this superb documentary explains how this happen.

Circle back to the late-1960s when a TV producer named Joan Ganz Cooney and a Carnegie Foundation exec and psychologist, Lloyd Morrisset, were alarmed that children, especially Black ghetto kids, knew how to sing beer commercials before they could recite the alphabet. Why not use the power of TV to educate? That was a revolutionary idea, but also a gamble. Ganz gave free reign to free-spirited creatives, who were riding the experimental vibe of the sixties. They were led by director Jon Stone and puppeteer Jim Henson.

Stone was disillusioned with TV, but like Cooney was an activist and understood her vision for this show. Stone saw a PSA shot in the streets of Harlem and decided to set the series on those stoops, which gave the show an identity light years from any previous children's show. Going further, the show featured a multiracial cast of Blacks, Latinos and whites that was revolutionary for its time and (sadly) decades to come. Stone's masterstroke was inviting Henson to come on board. Actually, Henson had only done puppetry for adults on TV, but was game to adjust for children.

Throw in a mix of dazzling animation, Big Bird and hip musical guests from Stevie Wonder to Johnny Cash, and Sesame Street became an instant smash. Even folks like Muhammad Ali were signing its praises.

Monday, May 3, 2021

film review: Chinatown Rising

 


Directed by Harry Chuck & Josh Chuck

ChinoKino score: A

Review by Allan Tong

Though it was completed before Covid struck, Chinatown Rising couldn't be more timely. Racist attacks against Asians, particularly those of Chinese descent, have erupted across the United States and Canada. Asians are being scapegoated for the pandemic, but Asians are now fighting back, and they can draw inspiration from the earlier generation, depicted in this riveting documentary.

Co-director Harry Chuck was a film student and community activist in the turbulent 1960s. He was part of that generation that grew up after the Chinese Exclusion Act and were no longer afraid of keeping quiet. This younger generation was inspired by the Black Civil Rights and anti-Vietnam War movements. Their turning point came in 1965, when the U.S. liberalized immigration policies and many more Chinese were allowed into the country (the Exclusion Act had forbidden it). In 1969, the activists demanded a school at the San Francisco State College to teach the contribution of the Chinese community. Also, they wanted Chinese to be used in classrooms in order to teach younger immigrant kids. They clashed with the Six Companies, a group of Chinatown elders whom they felt were out of touch and ineffectual.

The activists demonstrated in the streets, sometimes battling the police, and they fought city hall. Victories came, but not easily. The activists also worked hands-on within the community, particularly to stem the rise of street gangs, fed by kids who didn't assimilate and turned to crime. Tragically, they likely killed the head of the Youth Services Center, Barry Fong-Torres (brother of celebrated Rolling Stone magazine writer Ben Fong-Torres). Also in the 1970s, activists demanded better housing for the elderly and young families. Thankfully, Chuck captured these squalid conditions on camera which were presented at a rancorous city hall debate.

Tuesday, March 2, 2021

film review: The End of the Storm

 


 

Directed by James Erskine

Written by James Erskine

ChinoKino score: D

Review by Allan Tong

The End of the Storm plays like one of those glossy mini-hagiographies that sports networks run during intermissions to keep hometown fans cheering between halves and periods. The big difference is that End of the Storm runs for 99 agonizing minutes and hypes the entire Liverpool football club who topped the Premier League in 2019-20. 

I'm not slagging Liverpool FC at all. They're a great team. Legends. But this documentary is such an obvious exercise in corporate P.R. that I get no sense of what it's really like for them to compete in the top football (soccer) league on the planet. Pro football is big business, where coaches are turfed when their team slides or players are hounded by fans when they slump. The pressure is enormous, the egos are explosive and the fan expectations unrealistic. You get none of that in this film.

Sunday, February 28, 2021

What to watch this week: Pelé, Tokyo Girl, Creem magazine

 

Tokyo Girl

reviews by Allan Tong 

TOKYO GIRL (on Prime)

ChinoKino score: A

Tokyo Girl would kick Emily in Paris' ass in a Superbowl game.

Tokyo Girl is a Prime series about a smalltown girl who finds her dreams working in fashion in the big city, while Emily in Paris, the Netflix hit, follows a Chicago girl who trimphs in the European culture capital through her Instagram account. Both heroines are fishes out of water, bore wear gorgeous clothes and they dine in dazzling restaurants with lovers and backstabbing colleagues.

After watching Emily in Paris, I remember gorgeous Paris and posh clothes. After watching Tokyo Girl I remember work triumphs, everyday struggles and broken relationships. I remember watching a real person mature.

This comparison, I admit, can go only so far. Emily is told in real time while Tokyo Girl spans nearly 20 years in the heroine's life. Also, Emily is lighter while TG mixes drama with laughs.

Both shows are helmed by strong actresses, though. Emily takes a lot slagging for being an American philistine, but Lily Collins nails the role. Collins injects her character with unexpected vulnerability at times. (A shout-out goes to Philippine Leroy-Beaulieu who nails Emily's bitch boss.) Asami Mizukawa (pictured above) has a tougher gig in Tokyo Girl, portraying how smalltown girl Aya turns into career woman Aya by age 40, when she wonders what th hell she'll do next with her life. Mizukawa pulls it off.

TG's writing is tougher, smarter and more complex. Guys need to watch this show to understand women better. Emily, in contrast, overdoses on gee-whiz sweetness that would kill a diabetic. But, hey, Paris, is dazzling.

The call: Tokyo Girl by 14 points.

 

PELÉ (on Netflix)

ChinoKino score: B

Before Michael Jordan and Wayne Gretzky, there was Pelé. This kid from the slums of Sao Paulo shot to football (soccer) superstardom and put Brazil atop the football map. This doc covers the meat of his career, playing for Santos and leading Brazil to three World Cups, from 1958 to 1970.

Those years were a hell of a ride that lifted Brazilian national pride and made Pelé a rock star. Goals, goals, goals. There's an endless stream of Pelé making acrobatic moves on the football pitch, drawn from vintage black-and-white footage and grainy colour. This doc is thrilling to watch, and captures a lot of Pelé's former teammates and coaches on camera recounting their victories and struggles.

Pelé himself, now 80, tells a lot of his story. He needs a walker these days, undoubtedly a result of many years of taking cheap shots from less-talented opponents. Yet, he still speaks with a sparkle in his eye. All great. However, the issue of him never opposing Brazil's dictator, who imprisoned and murdered his countrymen from 1964 to 1985, is thorny. Credit this film for including Pelé's critics as as well as offering Pelé's own justification for keeping his nose out of politics. Maybe we expect too much from our athletic heroes (Jordan and Gretzky were also apolitical, not Ali), but I winced when Pelé hugs the country's butcher after the 1970 World Cup victory.

Friday, February 19, 2021

What to watch tonight on Netflix, Prime & Crave

 


reviews by Allan Tong 

 

THE CROWN (on Netflix)

ChinoKino score: A+

A dramatic series about a rich English family who live in big houses with servants, and they can't stand each other's spouses. The Crown covers the second half of Britain's 20th century and the latest season explores the slick, big-shouldered 1980s. This season (arguably the best) features a powerful woman named Thatcher (brilliantly played by that redhead from X-Files, Gillian Anderson) who bosses a lot of wimpy men around, even though she herself doesn't like women. Thatcher must be a cokehead, because she perpetually speaks as if she has something stuck up her nose.

Meanwhile, the rich family is thoroughly miserable, though they live in really nice palace and millions of people love them, especially the blonde princess, Diana.

The show hits a grand slam in every department: writing, acting, directing. By now, everyone on the planet including the Pope has seen The Crown, so if you haven't, what are you waiting for?


FLACK (on Prime)

ChinoKino score: A-

Canadian Anna Paquin, heads a quartet of spin doctors (Latin for bullshit) in London who rescue their showbiz clients from all kinds of emergencies they get themselves into, whether it's obnoxious behaviour on a transatlantic fight, faking a lesbian sex tape, or a gay hooker OD'ing in a hotel room. The irony is that Robyn is a bigger screw-up than all her clients while her colleagues are no better.

Friday, February 12, 2021

film review: Supernova

 

Directed by Harry Macqueen

Written by Harry Macqueen

ChinoKino score: B+

Review by Allan Tong

The hard reality is that dementia is increasing as our population ages. Supernova addresses how one couple deals with this terrible disease. Specifically, dementia corrodes the memory of older people. They forget where they are, who they are and who they love. Even buttoning a shirt becomes confusing. It can take a few years or many to attack a person. In Supernova, Tusker (Stanley Tucci) was diagnosed a few years ago, so his dementia is in the early innings. Most of the time Tusker knows where he is and who can recognize his lover, Sam (Colin Firth). However, unexpectedly Tusker forgets everything, which can be dangerous. He can literally wander into harm.

In a trailer home, Tusker and Sam journey through England's gorgeous Lake District to relive happy times they spent there. They also visit Sam's childhood home where his sister now lives. She's a safe harbour in a stormy time. The couple want to enjoy this experience together while Tusker still can.

Thursday, February 4, 2021

film review: Falling

 


Directed by Viggo Mortensen

Written by Viggo Mortensen

ChinoKino score: C

Review by Allan Tong

Falling marks the directorial debut of Canadian award-winning actor Viggo Mortensen. The death of Mortensen's mother inspired him to reflect on his parents' divorce and led to him to write this story. How much of this film is autobiographical is unclear, but Falling centres on a fraught father-son relationship as the father searches for a new home and struggles with his health. Mortensen performs triple duty by playing son John, who lives in Los Angeles with his husband Eric (Terry Chen) and their adopted daughter. They take in the old man.

The father is Willis (Lance Henriksen) who is frankly a homophobic, nasty old man. He is suffering the early stages of dementia, which makes John's burden even heavier. Unsurprisingly, Willis attacks his son's homosexuality relentless, even as John feeds and shelters him. John's family restrains itself and doesn't fight back. They just grin and bear it.

Friday, December 18, 2020

film review: Another Round

 


Directed by Thomas Vinterberg

Written by Tobias Lindholm & Thomas Vinterberg

ChinoKino score: A

Review by Allan Tong
 

Suppose you went through daily life drunk?

This is the question that four jaded, middle-aged teachers in Denmark pose to each other, citing (and likely distorting) a scientific study that claims that humans are born with a 0.5 alcohol level shortfall. Martin (played by the superb Mads Mikkelsen) is the focus of this morality tale that balances drama with dark humour. Martin's marriage has gone stale and he bores his history students to the point of them openly revolting. Then, the four guys meet for a 40th birthday and vow to get tipsy, then progressively hammered to prove this theory. 

Did I mention that they were school teachers? Pretty soon, the gym teacher (finely played by Vinterberg veteran, Thomas Bo Larsen) hides bottles in the equipment room until the janitor discovers them. In contrast, Martin actually comes alive as the booze fuels his spirit. He makes love to his wife for the first time in ages, and excites his students when he teaches them about World War Two.

Friday, November 27, 2020

film review: Zappa

 


Directed by Alex Winter

ChinoKino score: A-

Review by Allan Tong

How to sum up the career of the one of music's most provocative, ornery, diverse and contrary talents in two hours? Alex Winter does a good job capturing one of music's most iconoclastic figures in this new documentary, simply called Zappa. No, Zappa isn't complete. The doc goes easy on Frank's notorious arrogance, and unfortunately leaves much of his early family life--and the forces that shaped his headstrong personality--vague. However, Winter does paint a complex, exciting portrait of a unique talent who still attracts a fervant cult of fans. As Alice Cooper says in the film about FZ, "He had the freaks and the artsy people. Then, he had the whole middle that didn't get it."

I'm no Zappa freak, but I do respect his stature in modern music. It's best to approach this film with an open mind or to know nothing about the man at all. Zappa freaks will probably know a lot of the information disclosed here, like Zappa drumming in an interracial band in the late-1950s when segregation still gripped the United States, or his obscenity bust a few years later (likely a set-up) for making an "obscene" recording when he ran a recording studio.

Friday, October 2, 2020

film review: Save Yourselves!

 


Directed & written by Alex H. Fischer & Eleanor Wilson

ChinoKino score: B-

Review by Allan Tong

A tongue-in-cheek comedy about social media, Save Yourselves! is a fun, likable film centering on a  Brooklyn couple named Jack (John Reynolds) and Su (Sunita Mani). Like countless millennials, they are addicted to their devices. Phones, laptops, you name it. However, they fear that all this connectedness disconnects them from the real world. So, they jump on a friend's offer to stay at his isolated cabin in the woods so they can unplug and go e-cold turkey for a few days. What could go wrong?

An alien invasion, for one. Because Jack and Su have disconnected, they have no idea that a swarm of aliens, which look like oversized puffballs, have seized planet Earth. All hell is breaking loose around the globe while our couple live the unwired life. Eventually, they encounter one of these puffballs and notice weird things happening around the cabin, like empty whisky bottles (apparently aliens like to party). Jack and Su break down and finally check their massive backlog of voice-mails and texts to learn that Earth is doomed.

Thursday, October 1, 2020

film review: The Glorias

 


Directed by Julie Taymor

Written by Julie Taymor and Sarah Ruhl, based on My Life on the Road by Gloria Steinem

ChinoKino score: B-

Review by Allan Tong

Feminist pioneer, Gloria Steinem, receives the overdue biopic treatment at the hands of one of the most imaginative directors around, Julie Taymor. Taymor takes an unconventional approach, bouncing between Steinem travels as a university students through impoverished India to her pivotal role in launching the feminist movement and to her struggles against sexism as a young journalist in 1960s New York. The effect, unfortunately, is uneven. It's like a cinematic triptych where we view various Glorias juxtaposed and in parallel which is both dazzling, but confusing.

Young Gloria grows up in Depression-era Ohio where young Gloria is haunted by her mother who plunges into melancholy. Her mother was a journalist, but had to hide behind a man's byline. Glorias learns that it's a man's world and women take a back seat. Gloria's father (played by a scene-stealing Timothy Hutton) is lovable sort of schemer, always looking for ways to turn a quick buck, but ultimately he looks out for his little girl. 

Flashforward about a dozen years, and Gloria is traveling on her own through India, paid by a fellowship. She sets out to listen to the plight of lower-caste women. She hears of young girls being raped and abused in a society that ignores their plight. Her consciousness, born in her mother's house, matures here.