Best of Black Sheep: JANE EYRE

Written by Moira Buffini

Directed by Cary Fukunaga

Starring Mia Wasikowska, Michael Fassbender, Judi Dench, Jamie Bell

and Sally Hawkins

Jane Eyre: I wish a woman could have action in her life like a man.

It agitates me to know that the horizon is our limit.

A young lady with a stern, hard look on her face leaves a large stately manor. She makes her way into the rain-soaked fields that stretch on as far as she can see. Soon, she can no longer hold back her tears and they stream down her cheeks while she forges ahead toward an unknown destination, an undetermined future On the surface, the introduction to Cary Fukunaga’s second feature, and first major production, JANE EYRE, based on the Charlotte Bronte classic, can come off as dramatic, even overly so. Fortunately for him though, the woman walking this mile in Jane Eyre’s shoes is Mia Wasikowska and it is clear from one look at her that if anyone possesses the resolve to bear the burden of Eyre’s hardships, she does.

There is a particular brand of period piece that always seems to feature women who just don’t fit into the molds society expects they should. Jane Eyre, taken in as a child by her aunt (Sally Hawkins) after her parents passed, has never been looked upon as though she matters. She has always been plain in the face and difficult to control, which renders her somewhat useless, as the only purpose a woman held at the time was to be married off. An uncontrollable tongue needs at least be camouflaged by a pretty face to make it worth the trouble. She grows up surrounded by attempts to make her conform but emerges from the torture triumphant when she pursues a position as a tutor to a young girl who comes from reasonable means. While she continues to be reminded of her place in her new surroundings, she also finds herself the object of affection of the master of the house, Mister Edward Rochester (the strapping, sturdy Michael Fassbender). No one has ever loved her before and suddenly her years of abuse endured show their far reaching ramifications.

Fukunaga entered the world film scene with his brilliant immigration drama, SIN NOMBRE(click for review) in 2009. His eye for understated beauty and sensitivity shown to character in that film are put to great use in JANE EYRE. Like his heroine, the sets and costumes are all spectacular but matted as not to overwhelm. Instead, they are further appreciated for their restraint and delicacy and the same can be said of the entire cast, led by another surprisingly potent performance by Wasikowska. She plays Eyre with so many layers that even she seems unaware of them all at times. She claims to have no tale of woe when asked what hardships she has had to suffer through and her determination to carry on despite everything she’s known is certainly commendable. However, as strong a woman as she is, she cannot escape unscathed, forcing her to learn that love for one’s self is a challenge that is always ongoing. As for allowing one’s self to be loved by another, that takes a strength we may not even know we have and this is what JANE EYRE embodies.

GLEE: THE 3D CONCERT MOVIE

Directed by Kevin Tancharoen

Starring Lea Michele, Cory Monteith and Chris Colfer

Anyone who knows me, knows I'm a big gleek. In fact, anyone who has known me for a long time, thinks I could have easily been on the hit Fox series - y'know, if I was about ten years younger and had any acting ability whatsoever, which I don't. I am the first to admit that GLEE has never been as good as it was in the first half of the first season but I still tune in every week to see the spunky little kids at McKinley High belt out my favourite pop and show tunes. Usually, I am belting them out right along with them, much to the dismay of my neighbours, I'm sure. Even with all that gleekiness surging through my veins though, I still found GLEE: THE 3D CONCERT MOVIE to be consistently off key.

I saw the GLEE show live a couple of months ago in Toronto with another gleeky friend of mine. The pair of us were on our feet the entire time and doing a fair amount of screaming for our favourite New Directions members, from Rachel (Lea Michele) and Finn (Cory Monteith) to Kurt (Chris Colfer) and Mercedes (Amber Riley). I remember being extremely impressed with their ability to sing live and overwhelmed by the energy and level of appreciation coming from the crowd. The singing made it into the movie, or at least most of it did anyway, but the energy must have ended up on the cutting room floor (along with Jane Lynch's Sue Sylvester, who was filmed for the project but ultimately not included). I can see the fans applauding; I can hear them going on and on about how GLEE changed their lives but I couldn't feel any of that love coming off the screen (with the exception of one tiny little Asian Warblers fan - that kid had the moves!). And that's despite the attempt to cram it down our face in 3D. Like GLEE itself all too often last season, this new movie just felt too perfectly manufactured at times and lacking the spirit the show once knew.

Director, Kevin Tancharoen (FAME), cuts back and forth between edited concert performances, fan footage at the shows, backstage access to the cast and three distinct gleek success stories designed to show how GLEE promotes diversity and acceptance. A little person finds her way to the head of the cheerleaders, a teenager is forcefully outed and learns that being gay is OK and a girl with asperger's syndrome finds a way to let people in. They are all touching stories to some extent but they take away from the backstage antics of the cast that this gleek wanted more of. As it is, the cast is still in character behind the scenes so the film doesn't actually offer up any inkling of what it was like for them to tour together. This was the perfect chance to get more intimate with the fans they seemed to be celebrating in the film but alas, it was wasted. Instead, I felt as though their lovely voices lured me in but once they knew they had me, they took my money and quickly rushed me out.

Regardless, I'm still on board to return to school in the fall and get my gleek back on good and proper.

30 MINUTES OR LESS

Written by Michael Diliberti

Directed by Ruben Fleischer

Starring Jesse Eisenberg, Aziz Anzari, Danny McBride and Nick Swardson

Dwayne: Sometimes fate brings out it's big, old c@#k and smacks you right in the face with it.

I’ve decided that, in the spirit of the title of this film, I’m going to dedicate no more than 30 minutes to writing this review. In actuality though, my decision has very little to do with the title. I don’t want to dedicate any more time than this to Ruben Fleischer’s (ZOMBIELAND) second film because 30 MINUTES OR LESS plays out like he didn’t spend any more time than that on it either.

First of all, the title itself has nothing to do with this movie. Nick (Jesse Eisenberg, looking particularly pale) is a pizza delivery man-child who never meets his “30 minutes or it’s free” guarantee. He gets jumped by a couple of wannabe thugs (Danny McBride and Nick Swardson) in ape masks and when he wakes up, he has a bomb strapped to his chest. He must then rob a bank and bring back $100 grand to them so that they can in turn pay a hitman (Michael Pena) to kill one of the thug’s controlling father (Fred Ward). You would think he would have all of 30 minutes to accomplish this task but really he has 10 hours. The suspense is pretty much cut out of this picture right there.

Nick is joined by his reluctant best friend, Chet (Aziz Ansari) and they get to work through their growing pains together while they bond in this experience. The cast is solid – Ansari’s deadpan delivery is always brilliant and McBride redeems himself to me after his disastrous turn in YOUR HIGHNESS – but their random moments of mild hilarity are not enough to make up for how paper thin and half-assed this film truly is. Essentially, 30 MINUTES OR LESS will be forgotten just as quickly.

THE HELP

Written and Directed by Tate Taylor

Starring Emma Stone, Viola Davis, Bryce Dallas Howard and Octavia Spencer

Aibileen: What if you don't like what I got to say 'bout white people?

Jackson, Mississippi has a rich history but it certainly also has its fair share of shame. Great turmoil does however make for great drama in novice filmmaker, Tate Taylor’s THE HELP, based on the wildly popular novel of the same name, written by Kathryn Stockett, one of Tate’s oldest friends. They grew up together in the South and their combined familiarity with the subject gives them the distinct perspective necessary to explore the complicated dynamics between white families and the black maids that kept them together. While it is perfectly acceptable for the maids to handle the dinner and the children, it is somehow unthinkable to have them use the same toilet. That's the way it was in Jackson in 1962 and even though some practices were just a step or two away from slavery still, everybody kept to their roles with big smiles on their faces. That's just the way it was done, the way it had always been done … until someone finally started asking why.

In the 1960's, America was in the throes of the civil rights movement. Martin Luther King Jr. led a quarter million people in prayer at the March on Washington and progress seemed achievable. Meanwhile, in the South, black men and women were being beaten senseless, or worse yet killed, for any attempt to push the civil rights movement forward. It was most certainly not a good time for a black maid to sit down and recount what working for white people was really like. It would seem even more ludicrous to share these potentially damaging stories with an actual white woman. Regardless, this is what Aibileen (Viola Davis) does when Eugenia (Emma Stone) asks her, not because she's always done what white women have asked of her, but because it was time. The stories she tells are both heartbreaking and heart warming, revealing just how complex these relationships truly are. There is love between some of these women, of that there is no question. And yet there is also superiority and ownership and perhaps most importantly, there is tradition. This is what all these women know. Change is not easy; making change is even harder.

There is so much unrest in these situations but you would never know. The trick is to never let on, a perfect glow must shine on the surface at all times. Of course, it is all terribly ironic that these maids are the ones to polish these particular surfaces. That said, there is plenty of shine in THE HELP. Taylor’s lack of experience behind the camera shows when certain delicate moments feel a tad rushed, but that hardly matters when the entire cast is this delightful and endearing. While it is refreshing to see Stone play something other than sarcastic for a change, and naturally Davis anchors the picture with great weight, it is Bryce Dallas Howard as queen of the white ladies, Hilly Holbrook, and lesser know, Octavia Spencer, as the feistiest of maids, Minny, who truly give THE HELP the punch it requires to become as memorable and enjoyable as it is. Collectively, the entire cast, rounded out by touching performances from Sissy Spacek and Alison Janney, maintain an air of ease, which is even more so commendable considering how they all know somewhere in the back of their minds that everything they know is about to change forever. The best part is that you can also see that some of these women know this change is for the best.

Black Sheep interviews Dominic Cooper

"A Double Dose of Dominic"

An interview with THE DEVIL'S DOUBLE star,

Dominic Cooper

The name may not mean anything to you at first but I assure you, you have seen Dominic Cooper before. It isn't easy for an actor to make a name for themselves these days, not one that lasts longer than five minutes anyway. Cooper's career has been burning slowly for years now. He has stood out in smaller films, like THE HISTORY BOYS or THE DUCHESS, and he has tried to break out in bigger projects, like MAMMA MIA! and CAPTAIN AMERICA: THE FIRST AVENGER, but in every case, his contribution has always been supporting in nature. Turns out, all he had to do to take the lead was make a deal with the devil.

"I just had a burning desire to play it; I kept hounding people about it," Cooper tells me when we meet on the Toronto stop of his press tour. The "it" in this case is the lead role in Lee Tamahori's THE DEVIL'S DOUBLE, and it is no ordinary part at that. THE DEVIL'S DOUBLE, a Sundance breakout, tells the story of Latif Yahia, an Iraqi soldier who was forced to become the body double of Uday Hussein, the eldest son of Saddam Hussein. After undergoing cosmetic surgery to perfect his look, Uday owned Latif and would have Latif fill in for him in public whenever he didn't feel like it or thought there was a chance he might be killed. Cooper would play both of these roles.

"What on earth made me think I could play the son of an Iraqi dictator, I have no idea," Cooper exclaims, as if he is still surprised any of it actually came to pass. And while the 33-year-old, London native, might have been skeptical of his own possibilities at first, he needn't have been. Still, I can appreciate his apprehension. Not only was Cooper about to take on the head space of a notoriously evil human being, but he would have to jump back and forth between that horror and its complete polar opposite. The potential for madness was massive but Cooper didn't care one bit. "The rewards from it were just endless," he beams. "I loved every minute of it even though I was completely exhausted and going slightly schizophrenic."

The filmmakers decided that THE DEVIL'S DOUBLE would be based on Yahia's life but that they would not be pursuing a strict recreation of who Uday and Latif were as people. This would allow them the freedom to focus more on the story and allow Cooper to draw the performances from a more genuine place. It also meant that Cooper did not need to trouble the real life Latif, whom he met with before production in Malta began, with too many personal questions about what he endured. "His mental and physical scars are very present and not long healed," Cooper confides. "It's not that far in the past. I didn't want to start prodding and poking at things that are probably," Cooper trails off here but then refocuses, "things that I don't want to actually know about, quite frankly."

Cooper does not shy away from the torment and torture Latif and his family endured at Uday's hand in THE DEVIL'S DOUBLE. As Uday, he is in a constant state of mania. He is always throwing things at walls and having his way with women and shooting people for no apparent reason. He gets what he wants at all times like the spoiled child he has always been, no matter what the cost, even if that cost is someone else's life. Naturally, Cooper struggled with finding a point of connection between Uday and himself, any scrap that could help him find a place to grow this character from. "I didn't understand how anyone could carry out these atrocities without falling to pieces," he begins, and then reveals what he learned. "He just takes drugs and pills and drinks and that's how he sustains his life. He had to go that speed to not allow himself to think."

When pressed as to whether he enjoyed playing one more than the other, Cooper seems torn. "With Uday, there were no limits to playing him; I could do anything and I did." He ponders a moment. "But Latif was also very enjoyable because you have the stillness of him; things can process." Covering that range allowed Cooper to go somewhere on film he never has before. "For the first time ever, I've watched something I've done and gone, 'yeah, that kinda worked.'"

Cooper stops here for a moment. The pause allows me to absorb his ruggedly handsome face and his impressive sense of style. I can't tell if he is tired from the long day of interviews, of which this is his last, or if he is just done. Just then, he chimes in cheerily, as if a feeling has just come over him, "It's extremely rewarding because you know that you've removed yourself from you and you've actually created something. It was really great fun"

And with that, I'm happy to see the new leading man thing hasn't gone to his head.

THE CHANGE-UP

Written by Jon Lucas and Scott Moore

Directed by David Dobkin

Starring Jason Bateman, Ryan Reynolds, Leslie Mann and Olivia Wilde

Dave Lockwood (in the body of Mitch Planko): Oh my God; I'm a douchebag.

There are certain things you need to just plain accept as fact in order to enjoy THE CHANGE-UP. First of all, you have to accept that the notions of what it means to be a responsible adult in the film will be as cliched and contrived as they can possibly be. Past that, you need to accept that, as this is a comedy for dumb boys and from the minds of dumb boys, there will be plenty of T & A and no fart joke opportunity will be missed. Foremost though, you need to accept that two grown men can urinate into a random fountain, wish they had the other's life and then wake up with their wish come true. To be fair, you don't actually have to accept any of this but if you won't, you should definitely avoid this movie.

Director David Dobkin (WEDDING CRASHERS) introduces us to Dave Lockwood (Jason Bateman) and Mitch Planko (Ryan Reynolds) while they are still sleeping soundly in bed. Dave's blue pyjamas match his blue sheets, which in turn match the duvet and complimentary pillowcases. This is a man who is consumed by order. Mitch, on the other hand, would be lucky to find two socks that go together, let alone two pillowcases. They have been friends their whole lives and are only really friends now because of their history. Like any true family man, Dave works tireless hours at a law firm and rarely gets a chance to spend any time with his family. Mitch smokes pot all day and plays with his swords, both of the steel and metaphorical variety. Having switched lives though, Mitch must learn to see something through in his life while Dave has to learn to chill out. Naturally, they each go to extremes in their new lives before they learn that happiness lies somewhere in the middle. They say the grass is always greener, which is even more true when you piss all over it like these two dolts do.

With characters as vapid as this and a storyline as obvious and played out as body swapping, THE CHANGE-UP needs to have solid talent on screen to raise the material to a place where it is at the very least passable, let alone impressive. And while it never truly reaches great heights, Bateman and Reynolds work their hardest to get it there. Both men have sharp tongues and plenty of charisma to engage the viewer and it is at times a great delight to see them play against the type that each has fallen into in their careers. As great as their performances are though, there is only so much they can do for a film that finds spurting poop smeared all over someone's face within five minutes of its opening.

LAST NIGHT

Written and Directed by Massy Tadjedin

Starring Keira Knightley, Sam Worthington, Eva Mendes and Guillaume Canet

A lot can happen in one night. When it comes to couples, seemingly very little can happen but yet still have a momentous impact on the strength of the relationship. And when a married couple is apart for the night, in different cities no less, well the possibilities can open right up for potential disaster to take place. This of course doesn't apply to regular married couples who just go about their business every day and who are just happy to spend their time together at night. No, these couples can take solace that they are not of this particular dramatic variety and just stay in to watch LAST NIGHT instead.

First time feature filmmaker, Massy Tadjedin, understands the nuances between couples who have been together for some time and that the tiniest shift between them can sometimes not be undone. Her first film focuses on these moments, beginning with Joanna and Michael Reed (Keira Knightley and Sam Worthington) as they prepare for a night out. They move around each other like they can anticipate each other's next step, so it is no wonder that Joanna is able to pick up on some sexual tension between Michael and a very attractive co-worker (Eva Mendes), that night at the party. When Michael leaves on a business trip the next day with said attractive co-worker, Joanna accidentally runs into the man that got away (Guillaume Canet). As each Michael and Joanna struggle with their devotion to each other and their baser instincts, Tadjedin observes carefully and allows the sometimes deceitful and selfish sides of marraige to play freely.



LAST NIGHT comes off at times as a tad bit too experimental. The able and engaging cast all smoulder but all the brooding doesn't make for a very entertaining evening and Tadjedin does not allow for many breaks from the drama. Still, it is a stylish, smart work of film that is really only hindered by its intensity from time to time. One thing is for sure, LAST NIGHT will not easily be forgotten.



LAST NIGHT is now available to rent or own thanks to eOne Entertainment.