Valkyrie

For the first time on this blog, I'm going to say that this film is a must-see. For any fan of WWII films, "Valkyrie" will rank near the top for its historical accuracy and brilliant portrayals. For fans of the suspense thriller, there hasn't been a film that has your heart pounding this much in a long time. You need to see this film.

Tom Cruise, although commonly associated with all-American good looks and characters, is brilliant as Col. Claus von Stauffenberg, leader of a secret resistance of very high-up German soldiers. After failed plots to kill Hitler, they bring in a wounded but not broken von Stauffenberg to lead the team. They ultimately band together to attempt "Operation Valkyrie", a large-scale conspiracy whose aim is not only taking Hitler's life, but also control of all of Germany in order to make a truce with the Allies and end the war and its atrocities once and for all.

The most interesting part about this film is that you know the outcome - Hitler doesn't seclude himself in a bunker and commit suicide until nine months after any of this occurs. So half the suspense comes from wondering how they hatch this plan, seeing how it comes together, and finding out how it falls apart. One of the most suspenseful scenes occurs when von Stauffenberg must attend a meeting with Hitler himself and convince him to sign the amended transcript of "Operation Valkyrie" that would ultimately lead to his demise.

"Valkyrie" boasts an incredible ensemble of veteran actors - Kenneth Branagh, Bill Nighy, Tom Wilkenson, Terence Stamp, and David Bamber (who makes a frightening appearance as the dictator himself), all coming together with Cruise to create an epic war thriller that will no doubt be remembered come Oscar time. He may be a little crazy sometimes, but I have the utmost respect for Tom Cruise as an actor, an artist and a businessman. He invested a lot into this film, he's passionate about what he does, and he's a mover and a shaker who makes things happen. And it's obvious when you see the finished product. Go see this film. It's this year's holiday epic.

Yes Man

Jim Carrey's back, and he's proven he can still carry a movie and make us love him for it (no pun intended with the carry reference there).

For those of you who still see Mr. Carrey as a bizarre caricature with a wild hair-do and Hawaiian attire and are wary of his films, fear not. His comedic appeal is mellowing - but he is still the king of physical humour. Thankfully with "Yes Man" he portrays everyman, Carl Allen, with honesty and sincerity, so that the humour becomes more embedded in the character rather than a presentation from the actor, and we actually care about him.

Depressed after a breakup, Carl is coaxed by a long lost compadre to attend a seminar in which he makes a "covenant" with a guru-like motivational speaker named Terrence (Terence Stamp) to open his life to possibilities and say "yes" to anything and everything that comes his way. Of course this results in some silly and rather hilarious situations (namely being seduced by the randy old woman next door), but it also brings unexpected happiness when scooter-riding rocker-girl/photographer Allison comes into his life and the two begin to fall for each other.

"Yes Man" was a wonderful mix of old and new Jim Carrey. A little bit of the earnestness of "The Majestic" and "Eternal Sunshine" mixed with the silliness of "Liar Liar" and "Bruce Almighty" to create a perfect fun film. And on top of that, Zooey Deschanel is enchanting as the free spirited Allison. One look from her big blue eyes and you're hooked on her "happy-what-life-brings-you" attitude.

I would go so far as to say that "Yes Man" was so endearing that it managed to stir up my own desires to live life to the fullest, which says a lot about how easy it is to enjoy this film. Definitely recommendable, and highly entertaining. A great date movie, or if you just want to feel good about life.

The Spirit

Well one thing's for sure: I certainly didn't expect "The Spirit" to be that hilarious! The way I've been describing this film is Adam West's Batman meets Frank Miller. All the cheesiness of your overacted comic book camp smashed together with the dark sexiness of Frank Miller's direction. And it works!

Sitting in the theatre preparing for this film, all I could think of was, "Do I really want to sit through another Frank Miller?" I mean "Sin City" was revolutionary, "300" was riveting, but everything I'd seen in trailers of "The Spirit" looked like nothing new. Like "Sin City" redux, but less violent and gritty. Little did I know that, unlike its predecessor, "The Spirit" blissfully didn't take itself seriously at all. It was campy, it was over the top, and it wasn't ashamed to be silly.

The story follows a former cop named Denny Colt who mysteriously returned to life and proclaimed himself The Spirit (Gabriel Macht), an un-killable vigilante determined to destroy The Octopus (a phenominally crazy Samuel L. Jackson) and learn why the two of them are unable to kill each other no matter how many wounds they inflict. He is constantly haunted by two women, Loreli Rox (Jamie King), the beautiful angel of death who continues to call him back to his grave, and Sand Saref (Eva Mendes), former girlfriend turned jewel thief hell bent on getting some serious bling. Along for the ride are Ellen Dolan (Sarah Paulson), a young doctor who has the hots for The Spirit, her police commissioner father (an unchanged Dan Lauria not seen since "The Wonder Years") and a deliciously sarcastic Silken Floss (Scarlett Johansson), sexy sidekick to Sammy J.

First of all, I gotta say... incredibly gorgeous women in this film. Thank you Frank Miller, you have made classy sexy again. That said, I would argue that Sam Jackson and Scarlett, yes Scarlett, make this film worth watching. Whenever the two of them are on screen together it's pure comedic gold. I never knew she had it in her to be that sarcastic and funny, with great comic timing. This movie needs to be seen for the Nazi interrogation scene if nothing else. Priceless.

The other thoroughly enjoyable aspect is The Spirit and his uncanny ability to seduce any woman he meets. He milks that for all it's worth, and it's hysterical. And his ability to deliver such lines as, "Somebody get me a tie. And it'd better be red!" is worth the price of admission alone.

All in all, the action is awesome, the comedy is an unexpected surprise, and the ladies are stunning to behold. Merry Christmas.

The Day the Earth Stood Still

Okay. I haven't seen the original. Every review I've read seems to be comparing it to the oh-so-lifechanging 1950's TDTESS. I wasn't born then. I was barely alive during the Cold War. I can't relate an outdated film to a time that I never existed in, nor can I relate it to a much-hyped remake of today.

That being said, there's not much to say about this film. I mean, the role is perfect for Keanu - an emotionless humanoid. But I can pretty much sum up this movie in a quick paragraph so you don't have to spend the $10+ to see it for yourself. Spoilers be ahead.

Big spheres come to Earth. Jennifer Connelly is called in to help. Kathy Bates looks perplexed. Sphere in Central Park opens up, slimey guy comes out, turns out to be Keanu. Big lazer-eyed guy comes out, kicks ass if threatened with violence. Keanu gets taken in by the government. Kathy Bates won't let him go. Jennifer Connelly helps him escape. Takes him to see a fellow alien at McDonald's. Keanu decides humans aren't going to change their pollutin' ways, sends out the order to exterminate us to ensure the survival of the Earth. Jennifer Connelly takes Keanu to see John Cleese. Keanu is reformed by John Cleese. The extermination has already begun. Keanu sees Jennifer Connelly and her adopted son cry. Finally understands humans. Saves them and takes his own life to save the rest of the world.

Done. With a lot of explosions from a very cliche American army. And a lot of tiny bugs that disintegrate everything they touch.

What astounded me was that this film had the audacity to suggest that an advanced alien lifeform wouldn't be able to understand humanity until it meets an a) Brit, b) highly educated professor who c) listens to Bach. Suddenly it all makes sense. Humans really aren't all bad, most of them are just stupid. If everyone could be like John Cleese, the Earth could be saved.

And poor Kathy Bates. She tried hard with what she had. But even she couldn't salvage cliche after cliche that made this script. It looked as if she was worried anyone was going to notice that she was in this film.

I'm not usually this scathing. At least the film didn't leave me angry. It just left me wondering, why? Why would an alien life form care as to what was going on down on our little planet? Why would they take the trouble of coming all the way here to assess and destroy our species? And why is Keanu Reeves still getting hired?

Twilight

Overacting. Teen angst. Screaming pubescent girls.

I read the book. And I tried to like it. Really girls, I did. Stephenie Meyer's novel of teenage vampire love has been flying off the shelves and into the hands of girls desperate for a new dreamy love/sex icon since its release, and I can understand why. Its passages drip with absolutes - things every girl wishes to hear a lover say to her - and moments of pure Harlequin romance - "He paused to catch a stray lock of hair that was escaping the twist on my neck and wound it back into place. My heart spluttered hyperactively." Spluttered? Hyperactively? My spellcheck couldn't even recognize that as a word. However, having seen first hand the effect the book had on the effect of females under 20 that I knew when I first caught wind of this book series, it's no wonder they're so taken.

The film largely remains completely faithful to the book with minor changes and deletions to keep the flow at a bearable pace. On the whole it was completely enjoyable as a film. It was well shot, well edited, and though overacted, not unbearably. I did not feel like I wasted my $10 (the reaction of every girl in the room at Edward Cullen's first entrance was worth the price of admission alone - probably the closest I will ever get to experiencing Beatlemania with the amount of hormonal screaming). But what disappointed me about Twilight in both book and film form is that it had no underlying subtext, no deep rooted themes for all to relate to, and therefore felt devoid of any real stakes. Unless you're a 14 year old girl swooning over Edward Cullen, the relationship between Edward and Bella becomes so far removed from the audience that it makes it very hard to care about them.

But when the audience is mostly comprised of those 14 year old girls, I suppose we have a hit on our hands.

I'm not going to rant too much about this film. As far as I'm concerned it speaks for itself. Kristen Stewart is shaping up to be a fine young actress, although it seemed like she was directed that every line had to be said as if her angst-ridden life absolutely depended on it. It would have been nice to see some variation, opposites... real stakes... but so be it. Robert Pattinson is everything he should be, judging by the amount of pheromones released into the theatre at his very presence. He can brood with the best of them, and he almost put Anne Rice's lonely vampire, Louis, to shame. Let's just hope his ego doesn't rival his hair for sheer size.

I will say that the baseball scene was every bit as entertaining in the film as it was in the book. But really, that's what this film is: snippets of real enjoyable entertainment amidst long bouts of teenage hearts spluttering hyperactively with little to no subtext. If you want a film to truly relate to the horrors of being a teenager, read or watch Stephen King's Carrie. If you want a great modern vampire film within the horror genre, rent The Lost Boys or Near Dark (or check out the review below and decide for yourself if it's a vampire film). But if swooning over a dreamy 17 year old vampire is your thing, then enjoy your Twilight, girls. I'm glad I saw it, but I won't be rushing back any time soon.

Let The Right One In

This Swedish vampire film got its start at the Toronto After Dark Film Festival last month, and due to its overwhelming success has received a run in select theatres in Canada. And thankfully so, because it's a gem of a picture.

Be warned right off the bat - this is not 30 Days of Night or even Dracula. It's a very quiet and slow moving piece that is equally as touching as it is creepy. If you're one of those people who is looking for an action packed gore fest, save this one for when you're able to focus on a good storyline with plot and character development.

Let The Right One In is a story about Oscar, a 12 year old outcast who is constantly picked on by bullies and devoid of friends. The film opens silently with this scrawny and awkward boy looking blankly out into the snowy night from his bedroom, placing his hand on the window in loneliness. We are introduced to his feebleness when he faces bullies and never fights back. But then he meets Eli, a strange and beautiful young girl who moves in next door with her apparent father. She is strangely unaffected by the cold and can walk around in the snow barefoot without being bothered, though Oscar doesn't mind this and instantly accepts her (despite this and her other strange qualities). Slowly we are introduced to the idea that she is a vampire when we see her "father" capturing and killing people, pouring their blood into large containers. As Oscar starts to realize what she is he is neither phased nor frightened. For the first time in his life he has someone who actually cares about him, so much that the film's brutal and vengeful climax seems completely justified by these characters.

Even with the slow pace of this film, it was difficult not to be riveted. The audience was given just enough information about Eli to come to their own conclusions about her, and they got a chance to know her and Oscar as emotional beings rather than stock characters. And thankfully, director Tomas Alfredson understands that to make something truly creepy you don't have to see every detail, so that when he wants to make a real visual impact it's that much more effective (namely the demise of another vampire). He also utilizes an effective film tool that I haven't seen too often but am a huge fan of for it's frightening quality - using different terrifying faces on a character you've come to know. This was used most effectively in The Exorcist, when the audiences would see almost subliminal images of a demon face occasionally blasted across Linda Blair's. In this film, we get subtle visions like this in effective places - Eli's eyes adjust from cat slits to normal in sudden light, her face was altered in her vampiric state when consumed with the hunger for blood at strategic points in the film, and at one rather eerily touching moment when Oscar and Eli share a kiss we see a glimpse of Eli's true age in an extreme closeup of her eyes. We have no way of knowing how old she truly is, but in that moment of vulnerability her face became both terrifying and sad in its wizened state before returning to her soft young girl features.

The performances by the two kids are fantastic. Simple, curious, affected and honest. With Eli's confidence and caring, Oscar becomes instilled with the courage to fight back against his enemies, and Eli stands up for Oscar repeatedly in the only way she knows how, providing the films best jumps and creepy moments. However, the film's most touching and frightening moment came when Oscar questions Eli as to why she always needs to ask to be let in, and she takes it upon herself to show him first hand what happens if she doesn't. This results in the only moment when Oscar is truly frightened - not from her being a vampire, but because of the thought of losing his only true friend and causing her great pain because of his own curiosity.

I would hesitate to label this as a "vampire movie", because although the story centres around a character who is, in fact, a vampire, it is really a tale of love, acceptance and revenge. Yes, there are moments where the audience jumps, and there are moments where your breath gets caught in your throat. But the moments of connection to these very real and believable characters far outweigh the need for scares, making this a truly original and refreshing film.

Jersey Boys

See it. Now. And again. You must.

I am biased, I admit it. I've been working as a production assistant to Michael Rafter, the associate music supervisor for the last two weeks. We're in rehearsals for the new Toronto company for when they take over for the touring company in December. This review is of the touring company, though my experiences of seeing it on Broadway and watching rehearsals 6 days a week will creep in.

A year ago I saw the original cast of Jersey Boys on Broadway, and the theatre was electric. I sat in the middle of the upper balcony, and it was still the most entertaining piece of theatre I'd seen in ages. Most easily put, it was like a Scorsese film put onto the stage. It moved like no other "musical theatre" piece I had ever seen. It was tight, it was quick, it was powerful and it was entertaining as hell. John Lloyd Young was astounding as Frankie Valli. Christian Hoff was badass as Tommy Devito. The Four Seasons had people dancing in the aisles, brought cheers to the rafters and tears to our eyes as we went through the joys and pitfalls of fame with them.

Then I saw the touring company in Toronto this fall. And call me crazy, but they topped the untoppable. Joseph Leo Bwarie brought a youthfulness to Frankie that didn't exist for me on Broadway, and yet still managed to age with grace and dignity throughout the show as easy as flashing his brilliant smile to win the audience over. His falsetto notes were pitch perfect, seamless and captivating, and as he grew from teenage heartthrob to powerful tenor in the second act, the maturity settled in perfectly as the subtext of his life ran through every word of the songs he sang. "Can't Take My Eyes Off Of You" became an amalgamation of story lines - from finally getting his horn section, to saying goodbye to Nick Massi and Bob Gaudio as fellow performers, t0 his ex wife and daughter troubles. Suddenly, flashing that smile after accepting thunderous applause became much more than "thanks for listening to me sing."

Steve Gouveia brought a huge amount of humour to Nick Massi that didn't resonate in New York. He brought the house down with his sudden and explosive rant against Tommy, his sarcastic and slightly dim-witted way of saying things, and his hysterical physical humour when discovering how much money Tommy truly owes the mob. A treat to watch and a joy to listen to.

Bob Gaudio was played by Andrew Rannells, and while he was wonderful at the character and had a fantastic voice, there was nothing about his performance that resonated as being overly stupendous. I suppose this is because his character is the most "straight man" of the four. Frankie's got the voice, Tommy's got the attitude, Nick's got the slowwittedness, but Bobby is the most reasonable and level headed of the bunch, and therefore perhaps the least of the four to stand out. Rannells was great at what he was supposed to be doing - being the guy who holds it all together. His "Oh What a Night" scene is priceless, but it's written that way. So really, the man's just doing his job, and doing it well.

The real scene stealer, however, is Jeremy Kushnier as Tommy Devito. A native Canadian actor, he made Tommy far more badass than Hoff's in New York. He was absolutely hilarious exactly when he needed to be. His moves with the guitar and as the band leader were flawless. The person playing Tommy has to be secure and confident in absolutely everything he does since he starts the show and sets the pace for the audience. Slow down the pacing one bit in the first ten minutes and the tightness of the show unravels. Kushnier held the audience in the palm of his hand and knew exactly what to do once he had us there. Every nuance of his Tommy was suave, cool and collected even if he knew he was digging himself and the group into a million dollar hole. And on top of it all, you could see that he cared about Frankie and the guys.

At this point, I suppose you could say I'm biased since I'm working on the show and get to watch a new set of performers take over for these roles. Thankfully, Jeremy Kushnier gets to stay in Toronto with his wife Jenny Lee Stern, who plays another badass in the form of seductress/mother to Frankie's daughter - Mary Delgado. Both of their successful stints with the touring company will only serve to help the new Toronto company settle into their respective places, and if what I've seen in these two weeks in rehearsal is any indication of what the show will be like when they take over on the 12th of December, Toronto is in for a real treat.

How wonderful is it that Toronto is finally starting to see some sit-down companies again after the years of Livent? Mirvish has got We Will Rock You, Dirty Dancing and now The Sound of Music happening. Dancap's got Jersey Boys and who knows what else in the near future. The economy may be crumbling around us, but Toronto is still finding a way to have a cultural renaissance.

My only wish is that Toronto audiences would LIGHTEN UP. The audience in the Toronto Centre for the Arts was the most lively, excited and appreciative that I've seen in a Toronto theatre in a long time. In the past year and a half I've had the fabulous opportunity to attend theatre in the world's top three theatre havens - London's West End, New York's Broadway, and Toronto's... well we don't even really have a name, do we? Broadway North? Hardly, although we're getting there. It's amazing to me how audiences in Toronto seem to think that the shows and the actors owe them something. I mean yes, you dish out that kind of money you expect a good evening of entertainment, but really. Give shows a chance. In London, theatre is a way of life. People are allowed to bring drinks and snacks into the theatre. They come in their blue jeans and bring their kids, and their kids love it. Audiences are appreciative over there (from what I've seen, and I saw 7 shows in 5 days, got the full spectrum). In New York, audiences are rowdy, they're anxious and they want to be swept away. They demand quality, and quite frankly, they get it. And the appreciate it. In Toronto, I feel like audiences are always sitting back in their chairs with their arms crossed silently saying, "All right. Entertain me dammit." And if the evening's show doesn't fit into the tiny box that they want to fill, they go on their snobby way.

Maybe it's just me. I don't know. I see a lot of theatre, or at least try to. Maybe I need to see more, get a more full perspective. But this is what I've seen, and this is what I've felt. I don't know why, but it certainly made me happy to see that Jersey Boys was able to bring a Toronto audience out of its shell for once.

I look forward to seeing the Toronto cast when they arrive in December. Jeff Madden is going to be a great Frankie, and the rest of the cast will not disappoint. Jersey Boys is here to stay. It's just too good to be true.

At the risk of losing friends...

My name's Scott. I'm 24. I live in Toronto. I'm an actor, singer, musician, stage fighter, production assistant, etc. I went to school at the University of Toronto Mississauga and Sheridan College's joint Theatre and Drama Studies Program (go Erindale). I live in Leslieville, and like it quite well. I'm currently single, having recently ended a long term relationship. I have two roommates. They have a cat named Angus. I have a small bedroom with an uncomfortable bed. My computer is old and too slow. I originally come from a country home outside of London Ontario. My parents are divorced, one is remarried, the other in a happy relationship. I love theatre, music and film. In fact, those three things are my life pretty much. To some, that may not seem like much of a life. Those people are usually the ones with aspirations of Bay or Wall Street. Money doesn't rule me, though it's nice to have (neither am I claiming those that want to have Bay/Wall Street jobs are money grubbing tyrants... not all of them at least). In fact I wrestle many days with thoughts of "what am I accomplishing by living my life in theatre and film?" "What am I contributing to the world?" And yet all I keep coming back to is the feeling I get when I step out onto that stage under those lights, when I sing that first high note with a full band backing me up, when the applause erupts not because I want to lavish in praise, but because I've been able to move the audience so much that they can't contain themselves... that's utter satisfaction. If I was in this for personal glory I would have left ages ago from disappointment. For the most part this is a thankless job with no guarantees. But I do it because I love it. Not many people can say that

This is a place for me to rant, to review, to question and to reflect on life, theatre, film and whatnot. As an actor, I live and work in a very tight knit community. Everyone knows everyone, or at least is a friend of someone else. Therefore, if I take this blog space to comment on theatre that I see, there is a good chance that I, or someone I know reading this, will inevitable know someone or a bunch of someones in a particular show, and if I give criticism of an individual or a show that they participate in I run the risk of not being a very well liked person in the theatre community (take Mr. O from Toronto's most popular paper as an example... you love him but you hate him because he seems to never have anything nice to say to hardworking Canadian actors or Canadian theatre unless it falls into a specific category that he personally likes).

At any rate, if I comment on a show on here I will use this as a disclaimer to say that I only ever endeavor to be truthful to the specific show and performance that I see, and I tend to give actors the benefit of the doubt, knowing full well someone can be off their game, nervous, sick, tired, hung over, whatever. I know what it's like to do shows under all those circumstances, and it's an actor's job to be able to do the best show possible under any circumstance. I will always give an actor credit even if I don't enjoy a specific performance, because there are many factors that can inhibit an actor from truly filling a role to its fullest potential. Casting, for example is huge. Brent Carver is a fantastic actor and singer. But was he Gandalf? Not really. Doesn't mean he's not wonderful, he was just miscast. I digress. The point is, I just call it like I see it folks.

I will also use this to comment about films that I see. Much less risk of losing friends, but feel free to comment, agree or disagree with anything that I say. I'm a film junkie and I see as much as I can, and I've always wanted a place to write about my thoughts on all kinds of film. Enjoy.

Lastly, this will also be a place to comment about life in general, things that happen in my life that seem important enough to talk about, things I learn, discover, wish to share. I won't become too deep, I won't get all sappy, but I do want to put things out there to make you think, relate, question, wonder, laugh, ponder, etc. And if you read something like this and have anything to say, I'm always interested in hearing what you have to say.

So, that's me. That's it. Let's go.