Streaming Review: "Worth"

By Ben Miller

With the 20th anniversary of the September 11th terrorist attacks approaching, Sara Colangelo’s Worth paints a compassionate picture of the victims and their families while attempting to get into the heads of the lawyers in charge of assigning a dollar amount to the victims. While the lead trio are each superb, the host of character actors and actress recounting their lost loved ones tug at the heartstrings.  Poignantly acted and directed, the film lacks the flash and grandstanding of the usual Hollywood fare, but still delivers a heartfelt message on the value of life.

Following the 9/11 attacks, to stave off the potential of economically disastrous lawsuits against the airlines, the United States Attorney General assigns respected lawyer Kenneth Feinberg (Michael Keaton) as the Special Master of the fund allocated to compensate victims and their families of the attacks...

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Review: Nia DaCosta's "Candyman"

by Matt St. Clair

When the 1992 horror classic Candyman made its way to theaters, audiences were introduced to a figure who serves as a representation of America’s original sin and a tragic monster akin to those from the classic era. The original Candyman (Tony Todd) pursuing grad student Helen Lyle (Virginia Madsen) has invited comparisons to The Phantom of the Opera, another lovelorn monster.  But the latest direct sequel of the same name by director Nia DaCosta is less of a Universal Monster-esque tragedy.

Though it continues the original storyline, the new Candyman (2021) expands its racial commentary to tackle generational pain, police brutality, and gentrification...

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Review: Aretha biopic "Respect"

by Patrick Ball

The scene is a packed movie theater in Oakland, California on Christmas Day, 2006. The film is Dreamgirls. We’re finishing up the iconic musical number “Listen”, a solid 75-80% into the movie. Beyoncé’s Deena Jones hits the last passionate note and the audience loses it, clapping and hollering, and a woman stands up and screams “You GO, EFFIE!” That was how powerful Jennifer Hudson’s Academy Award winning performance was, that this woman was ascribing every fabulous moment in the movie to her and her character, even when another character/actress was onscreen.

Hudson has had a bumpy road as a film actress since then, but is back in a big way in Respect, the long awaited Aretha Franklin biopic...

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Locarno Diary #4: Good cop, bad cop

by Elisa Giudici

Locarno Film Festival's symbol is a leopard: before any screening a "pardo" (italian for pard) walks across the screen roaring, just before the edition's motto appears (2021's motto is "Cinema is back"). All prizes are shapes as small, stylized felines, the most important one being Pardo d'Oro, the Golden Leopard. Pardo is for Locarno what Lion is for Venice and Palms are for Cannes...with some interesting results.

The main colours of Locarno Film Festival are yellow and black, as in pard's coat. Pard spot motif can be seen everywhere: window shops, café, restaurants. Everyone in Locarno wants to celebrate the main event of the summer season. So during the Festival there is a little "pard mania" everywhere...

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Locarno Diary #2: Lost men and religiosity

by Elisa Giudici

Heavens Above, a new Serbian film

Locarno has been in, let's say a strange transition period. I first started going when Carlo Chatrian was the Artistic Director (back in 2012). He left for the same position at Berlinale and his successer Lili Hinstin wasn't there long -- under two years which generated a lot of gossip. Giona A Nazzaro is the new director but because of COVID-19 this is his first edition. Maybe I was just lucky or my tastes align more with Nazzaro's than previous directors but this festival started with more energy and verve. (Until now my perception of Locarno was that it held a small number of amazing discoveries diluted in a pull of dull old fashioned auteurial selections.)

I choose today's two movies following my gut instinct and I especially liked how the films were having almost having a dialogue between themselves, despite major differences in tone and setting. Both of them are about the end of the world as known for the male protagonist. Hinterland and Nebesa (Heavens Above) try to describe how men struggle with change and the death of their previous idealogies...

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