THOR: RAGNAROK (2017)

October 30, 2017

 Greetings again from the darkness. The ultimate cinematic dilemma … how to make the next comic book movie stand out from the (many, many) others? The brilliant answer comes from director Taika Waititi and co-writers Eric Pearson, Craig Kyle and Christopher Yost – a screwball superhero action film that delivers not only the required alien war scenes, but also a campy villain for the ages in a movie that may be the funniest of the year.

For those who prefer their superheroes dark and brooding, this one will be a shock. Prepare for Jeff Goldblum as the Grandmaster – the most polite villain we’ve seen in awhile, and one who looks to be straight out of the 1960’s “Batman” series. Chris Hemsworth as Thor is one of many returning actors/characters, only this time he really gets to flash his comic timing on top of his Thunder God biceps. His love-hate, trust-no trust, see-saw relationship with brother Loki (Tom Hiddleston) is in full force, as is the Bruce Banner banter with The Hulk (Mark Ruffalo). It’s certainly more in line with GUARDIANS OF THE GALAXY than the previous movies for Avengers.

As much fun as Goldblum brings to the party, this is really Cate Blanchett’s show. She is the frightening (with a dash of camp) Goddess of Death, and long-lost sister of Thor and Loki, and daughter of Odin (Anthony Hopkins). With a headdress that puts everyone at the Kentucky Derby to shame, Hela’s enormous powers are such that she crumbles Thor’s mighty hammer with little effort – just to remind everyone that big sisters are renowned for messing up younger brother’s toys.

Of course, with that title, we know that the story revolves around what could be the end of Asgard. Joining in the fun are: Idris Elba who is back as Heimdall, Tessa Thompson as a master of one-liners Valkyrie, Karl Urban as Skurge – rewarded with a wonderful exit scene, Ray Stevenson returns as Volstagg, and rocky alien Korg who is voiced by director Waititi. Fans of the series will be happy to know other familiar faces pop up periodically – one especially magical sequence teaches Loki a quick lesson.

In addition to the main rescue story line, the powerful villains, and crazy aliens, there are numerous nods and tributes to previous versions (notably Planet Hulk, and Fantastic Four), and a hilarious early stage play with three cameos that make it clear, big time laughter is here to stay. It’s fun to catch the reunions from such previous projects as Star Trek, JURASSIC PARK and Westworld.

Special acknowledgment goes to director Taika Waititi for hilariously taking the comic book film world down a different path. He’s known for his comedic projects like HUNT FOR THE WILDERPEOPLE (one of my favs from 2016), WHAT WE DO IN THE SHADOWS, and his work on the brilliant but short-lived “Flight of the Conchords”. It’s still very much a Marvel movie, with visible fingerprints of Stan Lee, Larry Lieber, and Jack Kirby. It’s also a fantastic adventure film that sets the stage for next year’s AVENGERS: INFINITY WAR, while also featuring the best use ever of Led Zeppelin’s “Immigrant Song”. So get ready to rock, roll and rollick in a film that is just about as much fun as you can have in a theatre.

watch the trailer:

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Posted by David Ferguson

THE KILLING OF A SACRED DEER (2017)

October 26, 2017

 Greetings again from the darkness. When we become a spouse and a parent, we immediately develop a mode of protection never before experienced. We would do anything possible to protect our kids and spouse – even die for them if necessary. One of the most gifted and imaginative filmmakers working today forces us to consider a terrifying scenario: what if we had to select one of our family members to die?

Yorgos Lanthimos delivered the most bizarre and interesting film of 2016 with THE LOBSTER. This time out he re-teams with co-writer Efthymis Filippou, although this story eschews the dark humor of their previous film, opting instead for a type of gut-wrenching psychological warfare we have not previously witnessed on screen.

The goal here is not to make the viewer uncomfortable. Mr. Lanthimos wants us downright miserable from the tension. This is obvious from the opening scene as Schubert accompanies a close-up look at open-heart surgery, and continues through the awkward conversations and speech patterns as we get to know the characters. A terrific Collin Farrell plays the surgeon Dr Steven Murphy. Nicole Kidman is his wife (also a doctor), and their kids Kim and Bob are played by Raffey Cassidy (TOMORROWLAND) and Sunny Sulgic, respectively. The wild card is Barry Keoghan (DUNKIRK) who plays Martin, the most charming and oddball stalker who is hell bent on revenge and retribution. Keoghan is quite brilliant in this most difficult role.

Beyond the psycho-revenge plot lies a story of survival and atonement, making for an excruciatingly unsettling time in the theatre. We feel the vice tightening on us as the tone shifts from uncertain awkwardness to dark sinister intentions. Director Lanthimos and his regular cinematographer Thimios Bakatakis are in perfect sync with the various harsh angles (high and low spiked with screeching violins) and the necessary tight shots to emphasize the uneasiness and confusion of the characters.

Alicia Silverstone is quite memorable in her one scene as Martin’s mother. Frustrated that her flirtations with Steven aren’t reciprocated, she belts out the year’s greatest line of dialogue: “I won’t let you leave until you’ve tried my tart!” Of course, we couldn’t expect sexual relations to be any closer to normal than the conversations, and Ms. Farrell and Ms. Kidman ensure this to be so. Truly at the peak of the acting profession, Ms. Kidman has never shied away from tough material or less-than-ideal characters. Her strength and determination come through in every scene here, and it’s her scene at Martin’s home where she really puts her stamp on the film.

As difficult as it is to describe the film without giving anything away, one thing is certain – it’s a horror film. It’s difficult to imagine a more frightening scenario than what shakes out here with touches of both SOPHIE’S CHOICE and THE DEER HUNTER, while also having nothing in common with those films. The film’s title comes courtesy of Euripides, and its suspenseful awkwardness at a level rarely seen. The next feature from Mr. Lanthimos (starring Emma Stone and Rachel Weisz) is due next year, and if the line was forming now, I’d be in it.

 

 

 

 

 

 

 

watch the trailer:

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Posted by David Ferguson

WONDERSTRUCK (2017)

October 26, 2017

 Greetings again from the darkness. If you know an adolescent who is ready to step up from comic book movies, this would be a terrific introduction to more emotionally dramatic and narrative-driven cinema. That’s certainly not meant to imply that director Todd Haynes’ latest is only for kids, or even that it’s aimed at that demographic. Instead, it’s the rare opportunity to follow two intersecting story lines over two different time periods with kids as the main focus, and have some very interesting post-movie discussions related to characters, eras, and filmmaking techniques.

We follow the stories of two kids who are separated by 50 years. Although the time boundary exists, the similarities between their journeys are many. Each is running away from home in search of their roots and identity. They are both hearing-impaired and living in less than ideal family environments. Additionally, their footsteps cross many of the same places in New York City as two museums play key roles.

Ben (Oakes Fegley, PETE’S DRAGON) is a 12 year old living in Gunflint, Minnesota. It’s 1977 when his mother (Michelle Williams) dies unexpectedly and a freak accident takes his hearing. Convinced an odd bookmark is a clue to finding the father he’s never met, Ben sets off for New York City. Rose (remarkable first time actress Millicent Simmonds) lives in 1927 Hoboken, New Jersey and is obsessed with silent screen star Lillian Mayhew (Julianne Moore in a dual role). Rose is an artistic child whose domineering dad has little time for her, so she hops aboard the ferry and heads to the big city to track down an idol – who may be more closely tied than we first imagine.

Brian Selznick adapted the screenplay from his own novel (he also wrote “The Invention of Hugo Cabret”, which was the basis for Scorcese’s HUGO), and some may find the two story lines muddled or difficult to follow. However, for those who connect with the characters and their adventures, it’s a fascinating and entertaining ride. Director Todd Haynes (FAR FROM HEAVEN, CAROL) has established his expertise in visual stylings, and here he gets to present two distinct looks for the separate eras. Ben’s 1977 world is filled with the polyester and neon colors of that era and it’s even given the washed-out look of 1970’s cinema. On the opposite end of the spectrum, Rose’s 1927 world is presented in black and white as a silent movie. The lack of dialogue allows us to focus on her facial expressions and body language, which tell us what we need to know.

The American Museum of Natural History plays a significant role in both stories, and the Queens Museum is central to the finale which ties up the two pieces for us. The contrasts of the two eras are as vital as the similarities. Along the way, each of the kids gets a bit of help. Ben befriends Jamie (Jaden Michael) whose connection to the museum and the city provides Ben a boost, while Rose’s much older brother Walter (Cory Michael Smith) also has a connection to the museum and helps put Rose on the right track. The distinct photographic styles help us easily switch between eras, and much credit goes to cinematographer (and frequent Haynes collaborator) Edward Lachman and editor Affonso Goncalves.

Oscar Wilde’s quote, “We are all in the gutter but some of us are looking at the stars”, takes its shot as the theme for the two stories, and really it’s a heartfelt film with interesting storytelling and unusual cinematic effects. The set design is terrific throughout, and especially vital during the silent movie segments of Rose’s story. Carter Burwell’s prominent score also effectively shifts styles between stories and eras. The ties that bind us – a core need to understand our roots – do so regardless of age and time period. This is a nifty little film that provides much to discuss and consider.

watch the trailer:

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Posted by David Ferguson

ALL I SEE IS YOU (2017)

October 26, 2017

 Greetings again from the darkness. Director Marc Forster has crafted a career of making movies that are readily watchable, though for the most part, not especially memorable. These include: FINDING NEVERLAND, STRANGER THAN FICTION, QUANTUM OF SOLACE, WORLD WAR Z, and his best film, MONSTER’S BALL (2001). His latest falls short of those, but thanks to Blake Lively and some creative visuals, we remain interested enough.

This is Ms. Lively’s follow up to last year’s surprise summer hit THE SHALLOWS, her nearly one-woman sea-based spectacle. This time out she does an admirable job of carrying the film in spite of script flaws. It’s co-written by Sean Conway and director Forster, and despite teasing some fascinating psychological aspects, we find ourselves constantly waiting for the movie to show us what we already know is about to happen. Predictability is rarely an asset for a film, and here it acts as a ball and chain to the pacing.

The first third of the film works to establish two things: what Gina’s (Lively) daily life is like as a blind person, and the type of relationship she and her husband (Jason Clarke) have. We get an abundance of distorted light flashes to simulate what she has lived with since the car accident that took away her parents and her vision during childhood. Her marriage finds her very dependent on her husband and Clarke’s character thrives on this … even giving brief glimpses of his demented personality that will eventually take over the film in the final act.

Gina’s doctor (Danny Huston) performs a transplant which successfully restores her vision. The bulk of the story revolves around the changes that vision brings to her life and how the marriage begins disintegrating. The best message here is what happens to a relationship as the individuals change and evolve. Specifically in this case, the wife gains an entirely new perspective, while the husband longs for the days where she was dependent on him.

At times it feels as if director Forster is working hard to create the look and feel of an experimental movie, rather than focusing on the story. There are some interesting visuals provided by locations and camera angles, although the moody atmosphere never really clicks. Ms. Lively singing “Double Dutch” provides an ending that is both odd and mesmerizing in a strange way. We are reminded that evil and self-centeredness can take on many forms, though this film never quite packs the dramatic punch it might have.

watch the trailer:

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Posted by David Ferguson

HEAL (2017, doc)

October 22, 2017

 Greetings again from the darkness. Self-healing has been done in many futuristic and science fiction films, and in the recent BLADE RUNNER 2049 we watched Ryan Gosling instantaneously recover from severe wounds. Of course, most of us aren’t replicants, so we follow along with what our doctors typically do … treat the symptoms rather than the cause. Director Kelly Noonan Gores explores the theory that our bodies are quite capable of self-healing even when serious disease is involved.

The Mind-Body connection is explored through case studies and interviews. It’s the intersection of science and the spiritual that forms the basis of the thoughts from experts such as Deepak Chopra (who seems to be in every other documentary these days), Marianne Williamson, Anita Moorjani, Bruce Lipton, Michael Beckwith and others. They subscribe to the notion that your thoughts, beliefs and emotions directly affect your health. Change your perspective and it allows your body to heal itself. We’ve always believed that illness is inevitable, but maybe it’s time to question this.

It seems logical, and has been proven, that we can activate our immune system through a regimen of exercise, nutrition, and supplements. The film covers this and more, including stem cell research, alternative treatments, and the use of healers – holistic energy for chronic pain and disease. As we would expect, the effects of stress are key to any film or study on healing. It’s a known evil and the depth of its impact is only now beginning to be understood. There are some interesting discussions regarding “fight or flight” and “rest and repair”, and the belief that toxins are affecting newborns. These toxins likely lead to future disease and are the key to finding the cause, as opposed to treating the symptom. Director Noonan-Gores follows at least three people on their journeys of discovery and healing, providing hope that self-healing may become a true path for many. For more information, visit www.healdocumentary.com

 

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Posted by David Ferguson

GOODBYE CHRISTOPHER ROBIN (2017)

October 19, 2017

 Greetings again from the darkness. Are you ready for a family-oriented movie based on the origins of the universally beloved children’s character “Winnie the Pooh”? Well, despite the PG rating, this is not one for the kids – no matter how much they adore the cuddly, honey-loving bear. When you realize it was directed by Simon Curtis (WOMAN IN GOLD) and co-written by Frank Cottrell Boyce (MILLIONS), filmmakers known for their crowd-pleasing projects, the final version could be considered borderline deceitful.

It’s 1941 when we first see A.A. Milne and wife Daphne receiving an unwanted telegram whilst tending the English garden. We then flashback to 1916 when Mr. Milne was serving on the front lines of WWI, and returned with a severe case of shell-shock (described as PTSD today). His episodes can be set off by bees, balloons, and bulbs. This affliction also has him in a deep state of writer’s block accompanied by a need to write an important anti-war manuscript.

Domnhall Gleeson plays the famous writer and Margot Robbie his wife. The 1920 birth of their son Christopher Robin makes it clear that lousy parenting exists in every era. Neither father nor mother have much use for their offspring, so they enlist the help of a Nanny Olive, played by Kelly Macdonald. Does it sound like a wonderful family flick so far? Well things do pick up when C.R. is shown as an 8 year old played by screen wonder Will Tilston. His bright eyes and dimples so deep we wonder if they are CGI, bring joy to the viewers, even if the parents remain icy and self-centered.

The film’s middle segment allows father and son to bond on long walks through the 100 acre wood, and we are witness to how the toys become the familiar icons of children’s stories: Winnie the Pooh, Eeyore, Piglet, Kanga, Roo, and of course, Tigger. The picturesque English countryside makes a beautiful setting for the adorable and energetic C.R., known at home as Billy Moon (nicknames abound in the Milne household).

Unfortunately, the father-son segment leads to even more atrocious parenting. After the book is first published in 1926, young Christopher Robin becomes little more than a marketing piece for the family business. The walks in the woods are replaced by radio interviews and publicity appearances. No matter how Nou (the nickname for Nanny Olive) tries to bring normalcy to the boy’s life, the parents remain oblivious to what is happening.

Alex Lawther appears as the 18 year old Christopher Robin. He’s committed to serving his duty in WWII after surviving boarding school bullying and hazing. Equally important to him is escaping the shadow of the celebrity childhood, and finding his own identity – one that is not associated globally with a fuzzy bear. The innocence of childhood stolen by selfish parents is painful to watch, whether 90 years ago with the Milne’s, or today with any number of examples.

The 3 reasons to watch this film are: the photography is beautiful (cinematographer Ben Smithard), those other-worldly dimples of a smiling boy, and the near-guarantee that you will feel better about yourself as a parent (if not, you need immediate counseling, and so does your kid). In this case, being a well-made movie is not enough. The film is a bleak downer with the few exceptions teasing us with the infamous whimsy of the classic stories. Sometimes pulling the curtain back reveals a side of human nature akin to war itself. We are left with the impression that the audience and readers are to blame – being held accountable – for the misery suffered by the real Christopher Robin. Crowd-pleaser? More like the blame game.

watch the trailer:

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Posted by David Ferguson

DEALT (2017, doc)

October 19, 2017

 Greetings again from the darkness. One of the sub-genres of film documentaries involves profiling those folks who are doing extraordinary things in life. Sometimes these people are changing the world, sometimes they are sharing their talents, and other times they are overcoming challenges that most of us don’t have. Richard Turner of San Antonio, Texas is one who checks all three boxes.

Mr. Turner is the world’s best card mechanic … a magician, if you will – although he doesn’t much like that word. Now you might be asking how a card trickster is changing the world, and it’s a fair question. The answer becomes clear when we see him quietly bonding and sharing some card secrets with a young, similarly visually-impaired girl late in the film. That’s correct, Mr. Turner is himself blind, and if you assume that a blind man cannot possibly execute highly complex and entertaining card tricks, you are encouraged to learn more about this remarkable man.

Mr. Turner is quick to recall what drew him to cards. He references the James Garner TV series “Maverick” as an inspiration, and soon decided that would make a pretty good way to earn a living. He has used his touch of hyper-activeness to relentlessly master his card skills, while also honing his stage presence. We hear others discuss his impact, and watch vintage clips of his TV appearances. “Blind” was a word he spurned for years, as he was driven to let his skills stand on their own against all others (skills that would be mind-blowing and world class even if he weren’t blind). Turner’s adamant refusal to admit his disability (no Braille, no cane, no dogs) was enabled by his dependence on his son, whose departure for college left a gaping hole in dad’s life. We also meet Richard’s sister Lori. She owns and runs her own construction company … and is also blind.

Director Luke Korem expertly provides the necessary background for us to understand how Turner has become the star he is. Rather than focus on the technical aspects of card “magic”, he focuses on the man and his personal journey. It’s fascinating how he delivers a personal profile of the family man – the flawed man – who has slowly, but surely come to accept his disability after a life of denial. So while we “ooh and ahh” and gape in amazement at his card skills, our hearts are touched by the relationships he has with his wife Kim, his son Asa (yes, Asa Spades Turner), and his self-reflective drive that allowed him to reach 5th degree black belt. Mr. Turner likely fine-tuned his card skills for nearly16 hours today … how was your day?

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Posted by David Ferguson

THE FLORIDA PROJECT (2017)

October 18, 2017

 Greetings again from the darkness. “The Happiest Place on Earth” has long been a Disney catchphrase. The irony for those living on the road to Disney World is the focus of the latest from ground-breaking filmmaker Sean Baker. Mr. Baker was the creative force behind the remarkable TANGERINE (shot entirely with iphones) a couple of years ago, and his most recent film solidifies his brilliance at bringing us the fringes of society – those we don’t typically see on screen. Beyond that, these are the folks many of us pay little attention to in real life.

The Magic Castle Motel is a lavender monstrosity that belies the daily struggles of those who live behind its purple doors. It’s actually a seedy extended-stay that caters to ultra-budget guests. Included among those are 6 year old Moonee (Brooklyn Kimberly Prince) and her friend Scooty (Christopher Rivera). As we watch them spit on a car below their perch on the motel balcony, we quickly judge these as kids with a bit too much free time and a shortage of parental guidance.

As the summer days roll on, we tag along as Moonee leads Scooty and their new friend Jancey (Valeria Cotto) in some boundary-pushing adventures. Their fun ranges from typical kid mischief to accidents with more serious ramifications. The brilliance here is that through the child’s eye, we see joy and excitement and fun. We hear the purity of giggles and giddy screeches as the kids bound between tourist traps, ice cream parlors, and rooms forbidden as off-limits. All of this miscreant activity occurs amidst the adults who trudge on simply trying to survive another day.

While we might be tempted to recall Cat Stevens’ lyrics, “while the sinners sin, the children play”, it’s director Baker that refuses to pass judgment. Moonee’s mother Halley (Bria Vinaite) was recently fired from her “dancing” job, and is now constantly on the prowl to make enough money to cover the weekly motel bill. She clearly loves her daughter, but is too proud and angry, and just has no idea of how to pull out of this vicious cycle of poverty. The artificial dreams that are prevalent in so many films have no place at the Magic Castle Motel. It’s about the next meal and keeping a roof above.

Don’t go searching for plot here. Instead, at times it feels like a documentary on Moonee or the spirited need for fun and laughter that is in the DNA of kids. We are just following a real kid around, and that’s a tribute to the marvel that is Brooklyn Kimberly Prince. She steals every scene and most of the movie … and that’s in spite of the terrific performances from Ms. Vinaite and screen vet Willem Dafoe. It’s a rare “normal” role for Mr. Dafoe, and he makes the most of it as Bobby, the motel’s manager. He is also a father figure, mediator of disputes, bill collector, and protector of damaged souls. With no hint of saccharine or Hollywood mush, Bobby is unable to detach emotionally from those who live at the hotel, not because he is soft, but rather because he is human. We see his demeanor change drastically when the owner of the hotel arrives for inspection. Bobby understands the fragility of his own situation due to what he witnesses each day.

Director Baker is a master of color use and the blending of abrupt framed images with the handhelds in close proximity within motel rooms and personal interactions. His story (co-written with his TANGERINE and STARLET collaborator Chris Bergoch) never feels condescending, preachy or romanticized. There is no blatant political statement being made. These are folks living their lives as best they are able within the confines of their situation. The police and Child Protective Services are always hovering as a reminder that the next mistake could significantly alter lives. Somehow, the film is both hilarious and heart-breaking. The obvious comparison is to last year’s MOONLIGHT, and it could even be viewed as a prequel to AMERICAN HONEY. Mostly it’s a slice of rarely seen life and further proof that Sean Baker is already an important filmmaker, and one that likely has more to say. As for the debate around the final scene, does it really matter? There is no better place for a child to escape reality … even if it might only be in their mind. Sometimes that’s the only escape we get.

watch the trailer:

 

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Posted by David Ferguson

LOVING VINCENT (2017)

October 13, 2017

 Greetings again from the darkness. For those skeptics who scoff when filmmaking is described as an art form and labor of love, co-directors Dorota Kobiela and Hugh Welchman invite you to take in their nearly decade-in-the-making project. It’s the first fully hand-painted on canvas feature film – experimental filmmaking crafted by more than 100 artists and including an estimated 130 paintings, with 65,000 individual shots/frames.

The spectacular visuals were created by painting over the images … both of actors performing scenes and van Gogh’s paintings. By adding to and amending images, even 10 times or more, the scenes come to life with movement and a pulsating psychedelic feel. The familiar colors of his paintings create a level of connection, while black & white images are used for flashbacks and reenactments.

Though we have never seen this look on screen before (this goes beyond Linklater’s WAKING LIFE), the stunning visuals are accompanied by what can be described as a detective story or murder/suicide mystery. It picks up in 1891, one year after van Gogh’s suspicious death. A local Arles postman holds one last letter from Vincent to his beloved brother Theo. Having held onto it for much too long, he asks his son Armand Roulin to hand-deliver the letter to Theo. Sporting the yellow blazer so recognizable from his portrait, the angry and skeptical Armand heads to Paris. Little does he know, this is only the beginning of his journey … a journey that finds him researching Vincent’s life and a journey that helps him discover more about himself.

There have been many movies made focusing on this amazing artist: LUST FOR LIFE (1956), VINCENT (1987), VINCENT & THEO (1990), and VAN GOGH (1991). This one is filled with contrasting and conflicting stories, theories and recollections, and descriptions of events from those who crossed paths with the artist on a daily basis. We listen right along with Armand as he spends time in Avers-sur-Oise … where Vincent lived, painted, and died.

Many of the actors involved are recognizable even in this artistic format: Chris O’Dowd is the postman, Douglas Booth is Armand, John Sessions plays art supplier Pete Tanguy, Eleanor Thompson is the innkeeper’s daughter Adaline, Jerome Flynn is the controversial Dr. Gachet, Saoirse Ronan is Gachet’s daughter Margarita (recognizable from her piano portrait), Helen McCrory plays the disgruntled Gachet housekeeper, Aidan Turner is the boatman, and Robert Gulaczyk is Vincent. Since these folks were all part of van Gogh’s artwork, we are fascinated to see them come to “life”.

Vincent van Gogh picked up a brush for the first time at age 28. He was dead at age 37, and left behind approximately 800 paintings of portraits and landscapes – many among the most famous pieces in the world today. Did he try to commit suicide as he claimed or was there a more sinister explanation for his death? Of course the filmmakers only hint at possible answers and can’t solve a mystery that is approaching two centuries. Understanding the man is challenging, and perhaps our best hope is through the work he left behind. This is a compelling cinematic experience and we have certainly benefitted from the filmmaker’s labor of love. Clint Mansell’s score leans heavily on strings and piano, and is perfect accompaniment for the story. One could question the closing credits use of Lianne La Havas’ version of “Vincent” (renamed “Starry Starry Night”) rather than Don McLean’s, but one mystery per day is plenty. Spot the paintings, play detective, and mostly enjoy the visuals built on the works of a complex, talented, and tragic figure.

watch the trailer:

 

 

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Posted by David Ferguson

WASTED! THE STORY OF FOOD WASTE (2017, doc)

October 13, 2017

 Greetings again from the darkness. “Clean your plate!” Many of us heard those words at the dinner table as we were growing up. At the time, we assumed it was yet another way our parents conspired to keep us from going back outside to play. Co-directors Anna Chai and Nari Kye explain the much bigger picture – the global issue of wasted food.

The opening has culinary expert Anthony Bourdain wondering aloud if we even deserve to live. Merely mentioning the topic of food waste disgusts him. His philosophy is “Use everything. Waste nothing”. Over the course of the film, some startling statistics are thrown at us: one-third of produced food is never eaten, and 90% of wasted food (U.S.) ends up in landfills at a cost of 1 trillion dollars and elevated methane levels.

Some influential chefs discuss their approach to creatively utilizing what was previously considered waste. Dan Barber, Mario Batali, and Massimo Bottura are all on the leading edge of experimenting with new approaches to create delicious dishes from what once was wasted food products. Barber offers Bouillabaisse as an example of a tasty, acceptable dish made from what is actually food waste.

We learn that food is wasted at every link in the supply chain: on the farm, at the grocery store, in restaurants, and on our plates. In response, the EPA has established a food waste pyramid with the goal of preventing, or at least minimizing waste. The upcycle is described as the prioritization of food waste: people-livestock-generate energy-create nutrient rich soil.

The film takes us through each level of this, and we make our way around the globe. The United States , Europe, Japan, Sweden and South Korea all have specific programs designed to reduce food waste. Writers, journalists, farmers, chefs, and food activists all offer insight and specifics on not just what the problem is, but also some of the possible solutions (which is quite refreshing).

Some unconventional approaches include beer made from bread, better distribution methods, stores and shelters serving creative dishes, feeding waste to pigs for improved pork flavor, fishing initiatives, converting yogurt to energy, and educating kids on growing and eating their own food. The most extreme routes involve Japan chefs using pig parts that even the most adventurous among us might balk at.

The Rockefeller Foundation sponsored the film and has pledged millions towards reducing food waste. The filmmakers leave us with the clear message that we don’t need to produce more food, we simply need to act differently. There is an opportunity here for capitalism, and each of us can make a difference by paying attention to what we buy and what we throw away. The closing credit outtakes with Bourdain are comical, and of course, any film that includes Oscar the Grouch singing “I Love Trash” has something going for it.

watch the trailer:

 

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Posted by David Ferguson

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