Oh, what to say about this movie which is a musing on fame, regret, and identity.
Image courtesy of VIFF
You know that I tend to see movies that I hope to write a good review about.
This one is marketed as a bittersweet comedy about a good looking world-famous actor, not unlike George Clooney. Oh my, it is George Clooney! Clooney plays a fading movie star in “Jay Kelly”, which is ironic, because by the end I felt like I was fading too.
Not to worry – my little review won’t hurt his career. And I like Clooney in other things, just not this one.
The film tries to be profound by showing a movie star questioning his fame, but ends up feeling like a celebrity’s therapy session we didn’t ask to attend. I don’t always know a lot in advance about the movies I choose to see at festivals. The title might initially intrigue me and I might like the actors and know a bit about the story, but what I’m seeing a lot of is dysfunctional family drama in almost every movie no matter what the storyline is. It gets tiring.
With Adam Sandler, Laura Dern, and a European road trip, it had all the ingredients for charm. Instead it lacked spontaneity, realism and failed to captivate. Humour is all about surprise….and this one, at least for me, held no surprises. Imagine “Eat Pray Love” without the eating, praying, or loving. Or “Marriage Story” without the story.
The film is directed by Noah Baumbach – known for introspective dramas such as “Marriage Story” and “White Noise.”
Director’s Statement: “Jay Kelly: is about a man looking back at his life and reflecting on the choices, the sacrifices, the successes, the mistakes he’s made. When is it too late to change the course of our lives? Jay Kelly is an actor and as such the movie is about identity. How we perform ourselves. Who are we as parents, children, friends, professionals? Are we good? Are we bad? What is the gap between who we’ve decided we are and who we might actually be? What makes a life? Jay Kelly is about what it means to be yourself.
This is the last weekend for VIFF. You can enjoy movies all year long though at the Viff Centre.
Life doesn’t always wrap up with a “happily ever after.”
Gabriel Ogulu for Unsplash.com
I couldn’t help but notice that two of my favourite TV/Movie heroines over the recent years have ended their series with something in common.
I’m talking about Carrie Bradshaw (Sarah Jessica Parker) from “Sex and The City” (SATC) & the follow up series “And Just Like That” and Lady Mary (Michelle Dockery) from “Downton Abbey” the series and subsequent movies.
They couldn’t be more different in appearance and circumstance but one thing they did have in common was style, confidence, social standing, strength of character and that most men were attracted to them. But as we know in real life, situations change.
I unabashedly watched every episode of “SATC” back in the day as well as the movies. I very ashamedly watched the cringe-worthy follow up “And Just Like That” because like most everyone else who watched it too, we wanted to know how these women’s lives turned out.
Same with “Downton Abbey – The Grand Finale” which I just watched on the big screen. It’s as if we cannot get enough of these people. I watched and loved every episode of “Downton”the TV series, and the movies as well.
Most of us identify (or try to) with Carrie Bradshaw and Lady Mary. We don’t want to see them end up alone. The normal happy ending is that they end up with the perfect partner (or, as perfect as possible)! Why did the writers make the endings…so….solitary?
We’re not used to seeing them that way. We prefer to think that their situation is only a temporary state between relationships. But what if it isn’t?
Many women find themselves single not because they planned it, but because life unfolded that way. Yet within that necessity, some discover strength, freedom, and clarity they never expected. Being alone doesn’t mean being lonely. Having a partner is nice for sharing the good times and complaining about the bad. For me, a big part of connection with affection is having someone who has my back and vice versa, with good strength of character.
Men (or partners in general) don’t complete who we are as a whole. They should “complement” not only”compliment” us. The whole point of having or being someone in someone’s life is to supplement, not supplant one’s life. Tom Cruise in “Jerry Macguire” should’ve said “you complement me” instead of “you complete me.”
So the writers have chosen to end the story with the heroines alone to reflect realism and shift away from traditional romantic tropes. The rise of the single woman isn’t just about empowerment or independence; it’s also about navigating the reality of solitude, sometimes chosen, sometimes circumstantial.
It challenges the outdated notion that a woman’s story must culminate in coupledom. Instead, it celebrates autonomy and self-worth. These endings resonate with audiences who’ve experienced heartbreak, ambiguity, or have chosen solitude themselves or had it thrust upon them.
This exceptional documentary, with original 1957 restored footage, captures the essence of mid-century exploration in its purest form. Two men, one outfitted range rover and a lust for adventure through untamed landscapes, offers a rare glimpse into a world before greed and chaos upset everything. It’s a film that doesn’t just show you some wild places, it invites you to feel it.
The men in question are renowned Canadian wildlife artist and naturalist, Robert Bateman, and Bristol Foster, a prominent biologist and the first director of BC’s Ecological Reserves Program. What makes it even more special is that these men are lifelong friends.
I think this film will appeal to anyone who loves travel and adventure in general. It will especially appeal to those, who like me, have been to Africa and were lucky enough to see wildlife in their natural habitat and meet local people such as the Maasai with their rich culture, pastoral lifestyle, and deep connection to the land in Kenya and Tanzania.
Taken outside the Vancouver Playhouse.
Although the difference here is that these men traveled to Africa at a time when it was very unusual to see foreign people, especially Caucasians. And they took chances off the beaten path. Young and fearless, but extremely smart and capable. They’re lucky they avoided any harm along the way, sometimes coming close to possible disaster.
The Range Rover (aka “the Grizzly Torque”) ran 30,000 kilometres across Africa, India, Southeast Asia, and Australia.
Foster made sure to acquaint himself beforehand on every aspect of fixing the vehicle. Bateman sketched animals and people along the way and painted a mural of every place they visited along the Grizzly Torque.
With Robert Bateman who is 95 years old now.
Director Alison Reid (the woman who loves giraffes), Robert Bateman and Bristol Foster were there for a Q&A after the showing. I went with a friend who knew the Bateman family from growing up in Ontario. She told me that when Bateman was a teacher, he would take the kids on nature walks and she credits him with having given her a love of nature.
From the VIFF guide:
Through in-depth interviews with friends and family and the original 16mm film footage of their incredible journey, Reid shows how the trip expanded the pair’s knowledge of the physical world while deepening their spiritual and emotional connection to it.
A heartwarming, inspirational love letter to the adventure of life itself.
Photo: d. king – taken in Tanzania
The October 12 screening is a Relaxed Screening. For Tickets:
ALL YOU NEED TO MAKE A MOVIE IS A GIRL AND A GUN – Jean-Luc Godard. Paris, 1959.
Still courtesy of VIFF
There are some things I will never understand. This movie may be one of them. But some things I cannot fully make sense of will still stand stand out as being innovative, artistic and surreal. This movie was the opening film at VIFF…about a film…that’s a bit vague (for lack of a better word). Visually it is stunning, filmed in all black and white. It’s also a true story and the original film Breathlesswent on to win several awards.
Nouvelle Vague stands for French New Wave, which was an influential film movement in France from the late 1950’s to the early 1960’s that rejected traditional filmmaking conventions through experimental techniques like jump cuts, location shooting, and handheld cameras. A direct response against the formulaic and studio-controlled films of the time, which focused on strong, easy-to-follow narratives. This type of filmmaking is a “go with whatever flow” method and has a kind of film noir imaging – creating a more immediate and spontaneous feel.
The low-budget, documentary-style approach of this film speaks to me, because now I don’t feel so bad about my trial and error, guerrilla-style, unprofessional YouTube (not telling you about it right now) channel where I am director, etc.
Directed by Richard Linklater (included in Time Magazine’s 100 most influential people in the world), it is fresh and compelling. It follows the true story of Swiss intellectual Jean-Luc Godard as he makes a movie starring American starlet Jean Seberg (who speaks French with an American accent) and boxer Jean Paul Belmondo.
The primary pioneers of the French New Wave were film critics and future directors François Truffaut, Jean-Luc Godard, Éric Rohmer, Claude Chabrol, and Jacques Rivette.
He’ll write it as they make it. A bout de souffle… Breathless… will change everything (from the VIFF guide).
Don’t think about getting any clarity in this one and forget about continuity – it is what it is! Love it or hate it – it will leave you feeling a little breathless. See original trailer below:
Right on the heels of the Toronto International Film Festival is The Vancouver International Film Festival (VIFF) which is in full swing right now. What I love about going to these film fests is that you have an opportunity to see movies that you may otherwise never get to see.
My first film was one I missed seeing at TIFF and that won the Grand Prix at Cannes 2025 – the second most prestigious prize. Sentimental Value is cinema (self) – referencing cinema.
Photo Courtesy of VIFF. Nora (Renate Reinsve) + her sister Agnes (Inga Ibsdotter Lilleaas).
Some movies don’t just tell a story; they ask you to feel it from the inside out.
Such as the hauntingly beautiful opening scenes where you hear the voice of one of the main characters as a little girl wondering if the house she grew up in had feelings. It got me in the way she wondered whether the house felt better empty or full, or if it could feel pain. It made the story feel deep, like her house wasn’t just a setting but part of the emotion. I was more moved by the emotional significance the house held for her than the emotional significance the people had for her.
And that’s where the movie lost its charm for me. I think there’s a distinction between movies made primarily for audiences and those crafted with filmmakers or actors in mind. The style and emotional resonance of this one made me think that actors would love it and regular filmgoers would not. I’m neither an actor anymore, or a regular filmgoer – so I left feeling mixed about this movie in general, a movie where the main players are creative emotional wrecks.
Yes, the acting was great. But, the main reason you go to the movies is for the story, right? If you’re okay with the main characters all coming from a dysfunctional place then you’ll probably really like it. If you’re looking for feel-good clarity and entertainment, then this is not the film for you.
A film where parents fight, the father (played by the amazing Swedish actor Stellan Skarsgård) packs up and leaves, only to come back years later with a movie script he’s written (oh yeah, he’s a once-revered film director by the name of Gustav who hasn’t made a movie for a number of years) in which he offers his stage actress daughter Nora (Renate Reinsve) who, now has a series of her own, the main part, which she turns down because she’s still hurt over him leaving. He drinks way too much. The part is then offered to a well-known American actress (played by Elle Fanning) who becomes his new muse. She’s adorable and questions his choice of her in the lead and ends up feeling uncomfortable in the part. Did I mention the mother (Gustav’s wife) who worked as a therapist, committed suicide?
Directed by Joachim Trier. The VIFF overview says “Trier mines both humour and heartbreak from these damaged souls’ attempts to mend their frayed family ties.” I didn’t see much humour in it.
Bottom line is this movie is more chaotic than my take on it. But it has a somewhat happier ending, which is nice.
The Festival is on until October 12th. For Tickets:
Some shine and some suck; but everyone has a personality. It’s how we show up. Character, on the other hand, is who we are when it counts.
Something I’ve been thinking about is people’s character. We’re all familiar with the difference between character vs personality – this is just a reminder to pay attention.
I’ve noticed some changes lately in a few people who I’ve lost respect for over their apparent lack of character, which led me to write this post. It’s such a disappointment when that happens, but reveals a lot about the person. While both personality and character are distinct aspects that make us who we are; character is very different than personality and overall, more important. Personality can show up quickly but shift depending on mood. Character is more stable, revealed over time and loyal.
Knowing the difference between character and personality is as important as knowing the difference between saying and doing, between doing the talk and doing the walk (which too many of us ignore or overlook, especially when judging character and intentions).
It’s easy to tell someone that you care, but if you don’t show it, it’s just words. Having strength of character is being mindful. It’s about having backbone and knowing instinctively what is right. Character doesn’t show right off the bat – it takes some time to realize a person’s moral compass.
A playful comparison on this is when we get dressed. We create a sort of armour or how we want to show up for that day. Your outfit is what people notice first, just like your personality which is your social signature. But what is the fabric made of? Quality? Durability? Character is the fabric that holds up over time.
Character is your inner compass – values, ethics, and moral backbone.
It’s revealed in how you treat others. Traits like honesty, integrity, and kindness fall under character.
Here’s another thing I’ve noticed and maybe you have too. Sometimes the person you least expect to show up in a time of need is the one who surprises you the most by showing up first and going beyond expectations. And that’s when a depleted faith in humanity is restored. Because there are a lot of characters theother kind out there!
Be someone even a dog would trust. That’s the true measure of character.
The Arts Club Theatre Company’s production of A DOLLS HOUSEis a reimagining of Henrik Ibsen’s classic – adapted by acclaimed playwright Amy Herzog and presented in partnership with Theatre Calgary. I just watched it Thursday night with my friend Rosa.
With happy children, a pristine house, and a husband secure in a lucrative job, beautiful Nora Helmer appears to have it all. But a secret is bubbling under the surface that threatens to alter her reality.
Herzog’s take brings a contemporary edge to Ibsen’s 1879 drama, sharpening its themes of autonomy, societal pressure, and personal awakening.
The set design is a minimal and whimsical pastel-toned dollhouse. The main character Nora (played by a feisty Alexandra Lainfiesta) evokes a Barbie-like figure trapped in a surreal domestic space. Her portrayal anchors the emotional weight of the production.
Photo courtesy of The Arts Club Theatre.
Ibsen’s original play was revolutionary for its time, challenging gender roles and societal expectations. This Arts Club production honours that legacy with its reinvention.
Directed by Anita Rochon, the staging doesn’t soften the play’s iconic ending with Nora’s dramatic exit which still lands with liberating and intense force, nearly 150 years after it first shocked audiences.
Here’s something interesting I just learned about: A Doll’s House, Part 2 by Lucas Hnath, premiered in 2017 at the South Coast Repertory before transferring to Broadway. It imagines Nora returning years later, confronting the consequences of her departure. The tone, language, and pacing are starkly different from Ibsen’s original, but that rupture is the point – it forces us to reckon with how far (or not) society has come.
In my opinion, the flow suffers, but the thematic resonance of freedom, independence and societal roles is amplified and relevant.
When a reinvention doesn’t “flow,” it might not be a flaw – it could be a deliberate choice to provoke, unsettle, or reframe. I had to sit with it for a while. The audience had mixed reviews.
CANCEL CULTURE was in its early stages when it took down Savannah based celebrity chef, cookbook author and restaurateur Paula Deen. Deen was right up there with Anthony Bourdain; infact, they had a bit of a feud going on which is re-ignited in this doc. Bourdain had famously called Deen the “worst, most dangerous person to America” for promoting unhealthy food, leading Deen to retaliate by criticizing his exotic and sometimes strange culinary choices.
This was one of the best documentaries I’ve ever seen. Any person with a keen and passionate interest in food, along with watching the Food Network knows, or at least has heard about Paula Deen and her show “Paula’s Home Cooking” which was cancelled in 2013.
I watched this one because on a recommendation from a friend living in Savannah, I had been to the famous “The Lady & Sons;” restaurant that she owned along with her sons, Jamie and Bobby Deen. I remember having a delicious Southern meal there and chatting with Bobby Deen. He told me that his mom had just been on Oprah. Since then, she’s been on almost every talk show. With her funny, gregarious personality, everyone liked her!
Her story is a real rags to riches tale. Deen’s journey from humble beginnings in Savannah, Georgia to Food Network royalty is chronicled in this documentary. That in itself is quite uplifting and fascinating.
Her downfall, triggered by a deposition in which she admitted to using racial slurs was one of the earliest high-profile examples of a celebrity losing endorsements, TV deals, and public favour almost overnight. It happened in the early days of social media’s rise, when public backlash could spread rapidly and brands were just beginning to respond to online outrage.
However, this documentary isn’t just about Paula Deen – it’s a case study in how fame, race, and media intersect in the age of cancellation. It asks tough questions: Can someone truly come back from public disgrace? Who gets to tell the “real” story? And what does accountability look like when reputations are built on charm and nostalgia?
“Within 24 hours, I lost every job,” said Paula Deen while giving an interview ahead of the premiere of the documentary.
Bombshell Revelations highlight shocking details previously unknown to the public.
Deen and her sons speak candidly about the emotional toll and their belief that the full truth was never told. She claims the scandal was fueled by misinformation and media sensationalism. If you watch it (and I highly recommend that you do), you’ll find out the shocking details of what lead up to her fall from grace. Only then, can you decide for yourself if this was the right move. And you’ll also find out how things are twisted to look worse than they are.
Canceled: The Paula Deen Storyis a provocative deep dive into the rise, fall, and attempted redemption of one of America’s most polarizing celebrity chefs. Directed by Billy Corben, it premiered at the Toronto International Film Festival and has stirred up renewed debate about cancel culture, media narratives, and personal accountability.
And it makes you realize that until we all hear the full story, maybe we shouldn’t be so judgmental.
CN tower is behind me and the CBC Broadcast Centre (with red cross windows) – where I once worked. I was able to walk there from where I lived on King St. W.
I give this one *****5/5
ONE MORE documentary that I thoroughly enjoyed watching at TIFF was JOHN CANDY: I LIKE ME. NO controversy here-even though Bill Murray tries hard to dig up some dirt. By all accounts, the guy was likeable.
This is a heartfelt documentary directed by Colin Hanks (son of Tom) that explores the life and legacy of beloved Canadian actor and comedian John Candy. Through rare archival footage, personal home videos, and interviews with friends, family, and collaborators; including Bill Murray, Dan Aykroyd, and Catherine O’Hara. It paints a portrait of Candy as a generous, deeply relatable figure whose warmth and humor touched millions.
It’s not just a celebration of his career in classics like Uncle Buck and Planes, Trains and Automobiles (which was probably my favorite of all his films), but also a tender look at the man behind the laughs, shaped by early loss and driven by love for his family and craft. Gone too soon!
Ryan Reynolds (Producer), Eugene Levy (longtime friend & collaborator) and his two kids Jennifer & Chris, were in attendance for this world premiere.
Exclusively on Prime Video – October 10, 2025. *****5/5
EASY’S WALTZ had its world premiere at TIFF: it’s a story steeped in moral ambiguity, and old-school Vegas charm. Las Vegas is the perfect backdrop – glitzy on the surface, but full of desperation and secrets underneath.
Photo courtesy of Toronto International Film Festival.
Nic Pizzolatto, the creator of True Detective, made his directorial debut with this feature film; a character-driven story with a touch of film noir because of its flawed characters and gritty atmosphere where glamour and decay coexist. While not shot in black-and-white, the film uses moody lighting and stylized framing to evoke that noir sensibility.
The Vegas-set drama is wrought with grit, nostalgia, and powerhouse performances. Vaughn actually sings and surprisingly, he’s not bad at all.
The film dives into the life of Easy (played by Vince Vaughn), a struggling Las Vegas crooner whose shot at stardom comes via a mysterious offer from a legendary club owner, Mickey Albano (Al Pacino). The movie blends the glitz of Vegas with a melancholic undercurrent, echoing classics like Leaving Las Vegas and Bugsy. Easy juggles self-sabotage, a chaotic younger brother (Simon Rex), a failing restaurant, and his mother’s care (Mary Steenburgen); making his rise to fame anything but smooth.
Vaughn with his wife, Kyla Weber. Photo: d. king.
Vaughn and Pacino share a compelling dynamic, with Pacino delivering a subdued but menacing performance reminiscent of his iconic mob roles. The Supporting Cast: Includes Kate Mara, Mary Steenburgen, Shania Twain, and Cobie Smulders. While some roles felt underdeveloped, the emotional core between Easy and his brother Sam adds weight.
Overall, I was mixed on this one – it was good but didn’t quite hit the high notes I was hoping for.
Vaughn’s performance as lounge singer Lew Easy earns praise for charm and vulnerability. However, the rest of the film didn’t quite match his energy. The supporting characters lacked depth, and the story didn’t give Vaughn enough to work with.
As of now, there’s no official wide theatrical release date announced beyond its TIFF debut.
Here’s another one I watched at TIFF: ELEANOR THE GREAT
Scarlett Johansson’s directorial debut, ELEANOR THE GREAT, is a heartfelt drama about a 94-year-old woman named Eleanor Morgenstein who’s witty, stubborn, and not ready to fade quietly into old age. After losing her best friend, Eleanor moves from Florida to New York to live with her daughter and grandson – but they’re too busy to give her much attention.
Feeling lonely and out of place, Eleanor stumbles into a group of *Holocaust survivors and, through a mix of grief and mischief, starts telling her late friend’s story as if it were her own. This little lie snowballs, especially when a young journalism student named Nina takes interest and wants to share Eleanor’s “story” with the world. What follows is a mix of emotional bonding, uncomfortable truths, and a deeper look at how we deal with loss, identity, and the need to be seen.
*With the help of the Shoah Foundation and others, Johansson was able to cast Holocaust survivors, all around Eleanor’s age, to portray the support group.
June Squibb plays Eleanor with charm and fire, and the cast includes Erin Kellyman, Jessica Hecht, and Chiwetel Ejiofor.
Fun fact: Johansson is the highest-grossing actor ever, after leading Jurassic World: Rebirth.
This is a poignant and character-driven drama worth watching. Expected to be released in theaters on September 26, 2025. Release in Canada by Mongrel Media.
The title intrigued me before I read the word rap in the description, so I gave it a quick pass.
Photo courtesy of Toronto International Film Festival (TIFF)
I love music and rap is not music to me. Well…actually, I don’t mind some rap. I just detest the non-stop swearing and the anger.
I decided to choose another movie starring Saoirse Ronan over this one. But then, the day before the screening, James McAvoy was in the news. He got punched by someone in a bar that I walked by every day while in Toronto on the way to screenings. Had I known he was in there, I might have walked in. He’s okay though. So his movie sparked my intrigue – I looked it up and there it was – the rap movie I declined to see “California Schemin”…so I decided to read up on it some more.
Lesson learned: never judge a movie by one word! This was one of the best films I’ve seen at the fest – based on a true story that has way more to offer than just rap. The film dives into themes of identity, ambition, and the cost of reinvention.
This is McAvoy’s directorial debut. Based on the wild true story of Scottish rap duo Silibil N’ Brains.
Two childhood friends from Dundee – Gavin Bain and Billy Boyd, dream of hip-hop stardom but are dismissed by the British music industry for their Scottish accents. So they reinvent themselves as American rappers from Southern California, complete with fake identities and flawless West Coast personas. And silly made up names. What starts as a cheeky hustle spirals into a full-blown con, as they land record deals, appear on MTV, and tour with their heroes.
It stars Samuel Bottomley and Séamus McLean Ross as the duo, with supporting roles from Lucy Halliday and Rebekah Murrell.
Critics are praising its mix of humor and heart, with Rotten Tomatoes showing a 92% positive rating from early reviews.
McAvoy’s direction balances the absurdity of the con with deeper questions about identity and authenticity. He plays a small role in the film as a record studio executive.
This movie is a feel-good underdog tale that dives into themes of identity, ambition, and the cost of reinvention. And the lengths young artists will go to break through a system that refuses to take them seriously.
Not to be confused with a 2014 thriller called California Scheming, which is unrelated.
California Schemin’ is already on its way to screens, with StudioCanal leading the charge. If you see it , let me know what you think.
Girl Who Would be KING on Life, Style and INSPIRATION. 
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