Concordia students, particularly members of the Indigenous Council and the Visual Culture Arts Club, the National Film Board is looking for you! The NFB and imagineNATIVE Interactive Partnership is returning this year to involve students in the development of cultural film making! The NFB is one of the world’s leading digital content hubs, creating some awesome interactive documentaries and animations, mobile content, installations and participatory experiences.
What this company does? It explores Indigenous storytelling, supporting new and underrepresented voices within Canada and is a key creative criterion of the National Film Board of Canada. NFB and imagineNATIVE offers Canadian Indigenous students an opportunity to create socially relevant new-media works on our country. Some examples of their works have been De Nort (2012) by the ITWÉ Collective and Venice Biennale-selected Ice Fishing (2014) by Jordan Bennett. (Check them out).
Sounds like something you’re into?
Find where to apply at: http://www.imaginenative.org/nfb-application
Deadline is Monday September 26
The selected artist and proposal will be announced at the 2017 imagineNATIVE festival on October 19!
Good luck you guys!
For all of you not wanting to read this entire review, I’ll let you know now that I gave Beauty and the Beast an 80%. As for the rest of you, feel free to read on.
The classic Disney movie I have been waiting months to be released as a live action film has finally arrived. Beauty and the Beast came out a few weeks ago, and my friends and I flocked to the theater as soon as we could afford it, arriving early to beat the crowd. While this didn’t turn out as we hoped, with the theater practically full (this doesn’t happen too often where I live, especially on a weeknight), we managed to snag a couple of decent seats and prepare ourselves to watch one of our childhood favourites.
There’s a lot to live up to when it comes to remaking a classic, though for something so well-known, they actually did a pretty good job. It all began with the classic story, but with a twist. We all know how it goes: an old woman knocks on the castle door, the Beast refuses her, and she curses him. But re-watching that now leaves me with so many questions, like why would you curse a child for not letting a stranger into his home, or why didn’t a servant answer the door, and how on Earth did the entire village just forget that there was a castle through the woods and a monarchy that ruled over them? This new version has changed the story just enough for all of these things to be answered, filling plot holes that had me pondering for years.
All of the actors did a brilliant job, and with the extra backstory, we were able to get a better understanding of the characters, specifically the Beast. We learned what made the Beast who he was, a person raised and twisted into a monster that the enchantress had good reason to curse. He wasn’t just a child who refused an old woman but a shallow prince who cared only for himself. This version allowed for actual character development. The Beast began as someone who only loved himself and turned into someone who eventually earned the love of a kind and intelligent woman, whereas the classic really just shows a child growing up as someone who’s considered a beast. Belle, too, gained some backstory and extra personality that made her much more interesting, including some answers to the mystery of her mother.
While I truly enjoyed these changes, with all of these new additions, there were a few things that I found put me off from the movie. Some of the songs felt strange, partially because I didn’t know them like I did the old ones, while others just felt kind of off. Maybe they’ll just take some getting used to, but from my two views, I’m not sure it’ll happen too quickly. I also found that while the majority of the movie looked spectacular, a few characters and scenes didn’t look amazing, two being Mrs. Potts and Chip, as their faces seemed slapped on. Most of my problems, though, are small ones, and I noticed them less the second time I saw it.
With this all in mind, I still can’t decide which version of Beauty and the Beast I prefer. I obviously loved the original; I will always enjoy it, but the way the new one added such important aspects made me enjoy the new one as well. Each version has something to bring to the table, and I’ll probably just appreciate each one just as much as the other. As for all of you, I feel that if you’re a fan of the original, then this is something you should watch, whether it’s in the theatre or at home. It brings forth the nostalgia of the classic as well as the thrills of a new story. It gave the old tale a burst of energy, refreshed the songs, gave new actors a chance to step into these beloved roles, and brought me back to my childhood. While it may not be my all-time favourite movie, I don’t doubt that I will watch it a dozen or so more times in the future.
Gentle spoiler warning:
In the closing chapter of his career as the most popular superhero, Logan was as perfect an opus as Hugh Jackman could have delivered. Throughout his 17 year career donning the adamantium claws, Jackman has gone from scrawny, furious, rebel-without-a-cause, to huge jacked man, to old man Logan as is seen in this most recent release. What has to be appreciated when looking at Hugh Jackman’s portrayal of Wolverine, is that he has forever changed the perception of the character. In the comic books, Wolverine is a short, grizzly character whose compassion is seldom expressed, and his loyalty never pledged. However, through nine film appearances as Wolverine, the collective perception of him has changed. Whether or not another A-lister takes on the role, this generation of moviegoers will forever think of Hugh Jackman when thinking of Wolverine.
In Logan, audiences across the globe where given a performance of finality and closure, breaking open the character of Logan, (whose name in the movie is James Howlett) exposing the fragility of his mental health, showing the toll that immortality has taken on his psyche. The movie opens with a scene of Logan waking up from a drunken slumber inside of the limousine he drives for work, outside, a group of Latino gang members are trying to take off the chrome rims of the vehicle. Logan stumbles out of the vehicle, giving out the typical Wolverine, "You don't want to do this" warning. They shoot him with a shotgun. Logan goes down, it takes him a minute to collect himself and to get back into the fray. Upon getting up, Logan receives an asskicking from several of the gang members, kicking him on the ground, and producing screams of true anguish from our protagonist. Channeling his inner rage, Logan extracts his claws mostly, the index claw of his right hand struggling to fully eject from its fleshy sheath. This is when the movie really began to turn the gears, showcasing R-rated brutality in the dismembering and dispatching of the gang members, followed by Logan, showing impaired healing, limping into his vehicle and driving off into the night.
The expectation with any Wolverine movie is that Logan will triumph due to his healing ability and his unbreakable skeleton, making Wolverine what we might call the 'untouchable' hero archetype. What Logan does so well, which has been seen in comic book story arcs such as 'The Death of Wolverine', and 'Old Man Logan', is dissolve Wolverine's physical perfection, transforming the story to one of a wounded warrior archetype whereby the physical battles pale in comparison to the internal struggles. A child of the Weapon X program, throughout his life Logan has felt disenfranchised from allegiances, even at times distancing himself from Professor X and the X-men, however in Logan, Logan must take on the role of estranged father, after learning of an escaped experiment child (X-23) who was created using his DNA, which was taken at the end of X-men: Apocalypse. Upon discovery of this experimental mutant child, Logan is expectedly callous and indifferent, refusing to take the child to refuge until significant monetary compensation is offered. This ties in with the money Logan needs to provide an aging and ailing Professor X with drugs to keep his seizures at bay. In tandem with their degradative physical states, the poor financial state of Logan and Xavier makes a statement about the treatment of veterans in the United States, living on a prayer of an escape. This theme is compounded by the suicidal thoughts and intentions of Logan throughout the movie, and the dialogue of Professor X, "you're just waiting for me to die", which really drives home the dark nature of life and death in the mutant universe.
In sum, Logan presents the viewer a lens to glimpse into an ever growing arc of superhero stories whereby the fragility of the heroic characters is used as a tool to reflect insecurities common to mankind, and the brutality of the film is used to give Wolverine as fitting a final foray as is deserved of the most violent character in the comic book universe. Jackman's performance is harrowing, sullen, and poignant, relying less on the aggressive portrayal of Wolverine, and bringing out the best of his portrayal of the more human side of Logan.
Final Grade: 9.1/10.0
By: Orrin Farries et al.
Here to help me review M. Night Shyamalan's new movie, Split, are fellow made-up personas, Niles, Monty, Christoph, and Sully. Our review is going to contain some bitter cynicism of the "twists", so, SPOILER ALERT BUCKAROOS.
Niles: We don't know what to think of Split. James McAvoy's portrayal of precisely 9 significant characters, was an effort to be applauded. Alas, we weren't convinced by the writing, the supporting cast, and the shameless plug of a future Shyamalan film.
Monty: This movie made me straight up cringe guys. Except when McAvoy achieved final form, and got like, jacked up. Guy was huge like Jackman. But this movie was a cheese fondue fest held in Vermont or some shit like that, Vermont's known for its cheese, right? This movie should have been rated R though. The show was McAvoy's, and all the supporting characters were just icing on the beefcake. Being 14A, I only got to see a little bit of leg and push up bra action, but we're pretty sure the girls were underage, so it's just jailbait, which is a no go, ya hear me bro? I mean there was a scene where a girl pissed her pants, so that's something. R-rated Would make this movie go from a D+ in my books to a C-. R-rated could include some true violence. The only on screen murder we get is a Goku-like hug of terror applied to an old lady. Come on, Shyamalan. I wanted a bit more sex and violence.
Christoph: Now, now Montgomery, you mustn't be so crude. I found that the film provided an eerie commentary on the general public and mentally different persons. It irked me, however, that M. Night impressed upon the public, that there were 24 dissociative identities present in our main character, Kevin. The film itself only credits McAvoy for playing 9 of those identities, and ever still he namely portrayed five of those characters credited. Furthermor--
Sully: I'm taking the spotlight now. That's how this works. Just roll with it. There was no twist Shama-lama-ding-dong. You had a great idea with the split personality, but you showed your hand way too soon, even the trailers revealed the goddamn "twist", so everyone knew that "the beast was coming". Then "the beast" came, did some soft core murdering, and then got shut down by having his full name said aloud. That is some real dumb-ass Ghost in the Machine bullshit, and you know it, Shama-lama-ding-dong.
Niles: I'll take the torch, Sully. You think you're good, don't you M. Night? I can understand wanting to expand your brand, but this movie was just a climax that never truly came, all some sort of perverted build up of your own career. You loosely tie this movie with your 2000 hit Unbreakable, which featured Bruce Willis, who was also in your madly successful Sixth Sense. The Bruce Willis cameo at the end of the film is you waving the white flag, submitting that this movie is nothing more than a promotional piece for your brand. The task of developing one of the captive girls, giving her a perfectly atypical upbringing including hunting with your guidance-giving father, and your creepy uncle "Lester", then having the guidance-giving father die, having the sexual abuser become her primary caretaker...it is exhausting. Not a twist, not a hit, just exhausting. I understand that it would feel necessary to develop a character that the audience would level with, but the execution on that was muddy, and the delivery was--
Sully: Like 3 hours of shit in a 2 hour time period.
Orrin: Alright, all of you back into the chasm of my mind! Let me try to gather all of my thoughts...Split was not a cinematic masterpiece, not even close. For a psychological thriller, I never truly felt myself on the edge of my seat, nor was I anxious as to the fate of the three captured girls or the multi-person main character. The execution on the brilliant idea by M. Night was choppy, and lacked fundamental structure necessary to truly spook the audience. I must say though, seeing McAvoy play a split personality was truly a treat, and made the movie-going experience passable as the first hyped up movie of the calendar year. However, if as a moviegoer you are looking for a more composed portrayal of a dissociative personality by McAvoy, I would suggest the 2013 film, Filth. In my humble opinion, it is a much more captivating movie, and contains a more diligent display of acting by McAvoy within a better scripted piece.
Chorus: Thanks for reading! Don't go see Split in theatres,or do, it's just advice, do what you please!
Our final grade for Split: 4.8/10.0