Montreal Magnum

Yearning for some 90s action? Are you missing the era of over the top, easy to watch explosive entertainment? Well, you cannot get more 90s than The Long Kiss Goodnight (1996), written by Shane Black (the scribe behind the Lethal Weapon franchise, and, more recently, The Nice Guys) and directed by Renny Harlin (of Die Hard 2 and Cliffhanger fame). Following a cryptic enigma in the form of Geena Davis (Harlin’s then wife), the actress plays Sam Caine (work the anagram out), an amnesiac of eight years. . . a teacher with a cute daughter, Caitlin (Yvonne Zima), and loving husband, Hal (Tom Amandes). Completely unaware of her past, the woman washed ashore two months pregnant. . . everything before this, a puzzling mystery.

“You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose.” – Oh, the Places You’ll Go! By Dr. Seuss. A classic tale from the one and only, a positive story often gifted to those who are on their way after graduating. . . but, what happens if you take the wrong path, or as the master word twister so cheekily put it, “You can get so confused that you’ll start in a race down long wiggled roads at a break-neck pace and grind on for miles cross weirdish wild space, head, I fear, toward a most useless place. . .”, or, as the title of today’s short film puts it, I Will Crush You and Go to Hell (2016). Co-written and directed by the team of Fabio Soares and Célia Paysan, the twenty-two minute short is actually, in essence, a back door pilot used as a teaser in order to make a feature length film (full warning, no ending as of yet).

What would you do if you knew the end of days was nigh? Maybe you’d relish in your memories of the good old times, or revel in the anarchy going on around you. . . perhaps you’d party the night away, then go out in a blaze of suicidal glory just to spite a foregone conclusion? ? ? These are some of the topics covered in the Canadian understated-apocalyptic Indie dramedy Last Night (1998). Written, directed and starred in by Don McKellar (his first feature film; also the scribe of the fascinating picture The Red Violin), he litters Canada’s largest city, Toronto, with not only trash (and a few remaining stragglers), but also a simple melancholic poignancy, a dry and awkward humour that covers up the anguish that the ‘New Year’s Eve-like countdown to the end’ brings with it. McKellar’s take on the “2000, Seen By” project (which had filmmakers looking at the approaching excitement and fears of the Millennium), had him making the wise choice of depicting 2000 as the end of the world (rather than a current fad that would have it feeling passé almost immediately after the fact).

A unique take on the Sir Arthur Conan Doyle sleuth, Billy Wilder and longtime co-writer/producer I.A.L. Diamond, take the viewer inside the reclusive world of the enigmatic detective, or as the title suggests, The Private Life of Sherlock Holmes. Released in 1970, it was originally intended to be a three hour Road Show epic (with intermission in the middle), featuring three shorter vignettes and one larger narrative driving the story forward – sadly, the final product found only the main portion as well as one mini-segment (United Artists having a run of flops in 1969, they felt the best way to market the film was to cut it back to its present two hour, five minute runtime – Wilder’s thoughts upon seeing it, “when I came back [from Paris], it was an absolute disaster, the way it was cut. The whole prologue was cut, a half-sequence was cut. I had tears in my eyes as I looked at the thing. It was the most elegant picture I’ve ever shot.”).

Catch Me If You Can, octogenarian-style, 2018's The Old Man & The Gun, written and directed by David Lowery (A Ghost Story), is a fitting final tribute to the great Robert Redford (who will be retiring from acting after this role), a film that, despite its dramatic crime roots, has a certain sweetness, an old-fashioned, often poignant based-on-true-events tale about finding your inner child as well as your lifelong passion, and then living it. For those of you who have seen A Ghost Story, there is something immediately recognizable about The Old Man & The Gun – though they are completely different. Edited in a similar manner, Lowery’s mesmeric rhythm, unique pacing and efficiently simple style (with some nice cinematography from Joe Anderson) allows the charming characters to tell the story.