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Wynonna Earp provides major revelations while revelling in the crazy

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Wynonna Earp airs Fridays at 9 p.m. E.T. on Space. Photo courtesy Bell Media
Wynonna Earp airs Fridays at 9 p.m. E.T. on Space. Photo courtesy Bell Media

Spoilers for Wynonna Earp Season 3, Episode 4 follow. 

If there was anything we needed after Sgt. Dolls’ heartbreaking farewell, it was some light-hearted Wynonna Earp fare where we see the Earp Crew hanging around, quipping and drinking the day away – in an alternate reality, this could very well be how episode four plays out. In our universe, our favourites encounter everyday hurdles involving potential filicide and the evil trees from The Wizard Of Oz.

The aptly titled name of the episode, “No Cure For Crazy,” begins with Wynonna and Doc tracking down the final Revhead who stole a vial of Dolls’ dragon drugs. While I certainly didn’t expect to see a tree transport itself into the middle of a snowy road, the shocker of this opening sequence has to be when Revhead prepares to make his peace staring at the end of Peacemaker… and no peace is made. Maybe it was Shark Week in the world of the mythical weapon?

As Wynonna and Doc continue their flirtatious streak while babysitting an incapacitated Revenant off-screen, we’re introduced to a brightly coloured jacket-wearing Robin who believes it’s perfectly fine to lick the blood-like contents from a tree. For those of you with a sharp eye and IMDb access, you’d recognize the actor portraying this fashionable weirdo as Justin Kelly, a veteran of the official TV show of Canada, Degrassi. As he finally decides to bolt, we’re left with the wandering eyes of a person seemingly stuffed into the tree’s trunk to usher in the title credits.

Side note: the opening theme reverts to its original version following last week’s touching acapella version and I will forever squeal in delight seeing Katharine Barrell’s name appear alongside the crew.

After two seasons of Earpers striving to learn anything about Nicole Haught, this season so far has done a phenomenal job in sprinkling newfound tidbits about her throughout, gradually connecting the dots between her childhood and an apparent burned down forest that somehow contains fully-grown trees. Haught’s professional growth is an aspect of her character I am incredibly invested in. Later on Wynonna implies, using the subtlety of a jackhammer on a New York City block, if Nedley isn’t feeling the fight anymore he must step aside and let Haught assume the role of Purgatory Sheriff, a prospect I am vocally rooting for.

The episode contains a delightfully awkward “boob-smush” hug between our beloved trio and is something that really should happen more often, as I truly savour moments where everyone is in a single room together. As Waverly attempts to work her way through Mamagate, Wynonna assures her that Mama is “doing better” – the scene that promptly follows warrants a Ron Howard voiceover stating, “She wasn’t.” If you’re one to classify a woman pleading to get out of an enclosed space because an inmate is painting the walls with her blood as “doing better,” well then congratulations on being you, Mr. Lecter.

Wynonna Earp Season 3 Episode 4 – No Cure for Crazy. Photo courtesy Bell Media

Wynonna Earp Season 3 Episode 4 – No Cure for Crazy. Photo courtesy Bell Media

Doc and Wynonna steam up the basement at Shorty’s with talk of old-timey dick pics and pistol innuendos. The only thing that could possibly ruin this moment would be her uncovering a bassinet causing the couple’s feelings to resurface regarding the life-altering decision made about baby Alice last season… and would you look at that! The steam is gone and all that’s left is a cold wind of adoption. Just as the heat levels begin to rise again, Haught pulls a Wynonna and interrupts the doting lovebirds.

Another key revelation made in the episode involves Waverly attempting to set Jeremy up with a unicorn of his own in the form of Jazz Lover Robin. The two lads bond over tree-cherous puns and the Glorious Gay Gods are smiling down upon Queen Emily Andras. They travel down to where Robin spotted the Murder Tree and honestly, the forests of Purgatory are easily the second danger residents must steer clear of if Revenants aren’t in view because NOTHING GOOD HAPPENS WHEN WANDERING AROUND THESE WOODS. When they encounter a stairway to nowhere, Jeremy calls on “sexy human bloodhound” Holliday and, as if we need more reason to fear the trees, Doc suddenly hears the cries of a baby while attempting to find them. We’re then treated to a surprise Bulshar appearance, blubbering nonsense about Doc’s destiny and damn it, can’t he & his moustache just live a demon-free existence for a few days?!

Waverly visits Mama after receiving a call that she is set to be transferred to another facility because yet another “incident” has occurred. It goes just as well as anyone would think, as Mama declares she must “kill the demon” while looking directly at a distraught Waverly. It’s no secret that the Wynonna Earp cast is a stupidly talented bunch and Dominique Provost-Chalkley further proves this notion with her nuanced portrayal of Waverly’s internal struggles. Her chemistry with Melanie Scrofano is continually amplified whenever Wynonna learns of any imminent threat to the Earpiest Earp of them all. Mama morphs into Michael Scofield and breaks out of police custody, Peacemaker in hand, leaving Wynonna in the capable hands of the men who let her mother escape.

Wynonna manages to obliterate a guard twice her size while back at the prison and, I mean, what else is new? She nonchalantly brings his decapitated head into the Warden’s office as effortlessly as I bring in Timbits for my co-workers and politely asks to be freed in order to save her beloved sister from their murderous mother.

We’re finally treated with some domesticated Wayhaught sipping tea by the fire as Waverly listens in on her mother’s interrogation tapes. Haught is also wearing a unicorn t-shirt. #RelationshipGoals. When Doc stumbles upon the Homestead looking for the good whiskey, Waverly heads to the barn to find the cure to sooth Doc’s woes and, of course, we see Mama preparing for an attack by a Waverly-hating demon.

The episode concludes with Robin being kidnapped by a tree and a mysterious woman in an apron named Jolene showing up, pouring out some cups of ambition in the form of terror and pastries. The core four seem to be in some kind of food trance and everything seems to be going wrong. Yet another day in Purgatory!

My 3 Favourite W’s of the Episode

I would now like to turn your attention to my 3 Favourite W’s for this episode of Wynonna Earp. These consist of favourite Wynonna Insult, Wayhaught Moment and Waverly Expression – the three pillars of any Wynonna Earp episode.

Wynonna Insult: “I would’ve kicked you in the neck, but you don’t have one.”

Wayhaught Moment: While I adore domesticated Wayhaught as much as the next conscious person, my favourite moment this episode involves Waverly breaking down when discussing what occurred between her and Mama at the prison to Haught. Wayhaught’s consistent support of each other is a vital component of the series and seeing Nicole whip out any pertinent files needed to help out her partner will never cease to give me joy (~26:15).

Waverly Expression: When Wayhaught run into Robin and he compliments Waverly’s bangs (~5:08).

Wynonna Earp Season 3 Episode 4 – No Cure for Crazy. Photo courtesy Bell Media

Wynonna Earp Season 3 Episode 4 – No Cure for Crazy. Photo courtesy Bell Media

What did you think of “No Cure For Crazy”? Let us know in the comments below.

Follow Ghezal Amiri on Twitter.

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Calgary Underground Film Festival

CUFF 2019: Director Rob Grant on the tension (and dark comedy) of HARPOON

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From director Rob Grant (Mon Ami, Fake Blood), Harpoon will make its Canadian premiere at the Calgary Underground Film Festival. Photo courtesy CUFF
From director Rob Grant (Mon Ami, Fake Blood), Harpoon will make its Canadian premiere at the Calgary Underground Film Festival April 28. Photo courtesy CUFF

Adrift on the seas on a luxury yacht, three friends find themselves stranded without food or supplies and quickly realize their survival is less than assured. An official selection at International Film Festival Rotterdam 2019, Harpoon will make its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28. 

The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF. This interview has been edited and condensed for length.

THE MUTT: Can you tell me a bit about the genesis of Harpoon?

ROB GRANT: I had a great relationship with my producers (Knuckleball director Michael Peterson and Kurtis Harder) from a film called Fake Blood. I pitched Mr. Peterson on this idea that was a mix between Polanski’s Knife on the Water but by way of Seinfeld characters on the boat. I grew up in Vancouver, and the original idea was, “Well, I spent a lot of time on a boat, we could go take a boat out to the ocean and try to isolate ourselves out there.” Once a budget came into play and the idea grew, suddenly we were shooting the interiors of the boat in a set in the middle of freezing winter in Calgary, and shooting the exteriors on a boat in tropical Belize down south.

TM: Was it difficult for you to balance those comedic elements and still find a way to ratchet up the tension?

RG: It was very difficult, and there were a lot of discussions about that. When you have to give the elevator pitch, you have to say: “This is the genre and this is what it means.” But I subscribe to the logic that in life you can feel in one moment that you’re in a love story and the next minute in a horror movie, and that’s the way real life actually works. But it seems a little more rigid in movies. We were aware of potentially disrupting viewers’ experiences of watching the movie. (We thought) a movie could, or should, be multiple things at once. We’re willing to accept that there’s going to be some audience members that are going to reject that as a movie experience, but we wanted to try it.

Harpoon director Rob Grant said premiering the film at International Film Festival Rotterdam 2019 was a very validating experience. Photo courtesy CUFF

Harpoon director Rob Grant said premiering the film at International Film Festival Rotterdam 2019 was a very validating experience. Photo courtesy CUFF

TM: Can you tell me more about those influences you mentioned? I’m curious about how you mixed something like Seinfeld with more traditional thriller elements.

RG: Hitchcock’s Lifeboat was definitely in there, as well as Polanski’s Knife in the Water. But I had to still find the dark humour in it, and Seinfeld came up specifically because as much as we all find the Seinfeld characters enduring, they’re very much in it for themselves. They’re worried about their own outcomes. So I tried to use a lot of that. As much as these people like to say they’re looking out for each other, the second it becomes a survival story they’re all kind of in it for themselves. Paul Thomas Anderson’s Magnolia was another one, not only for mixing drama and humour, but definitely because the narration was less focused. It sets up what’s going to happen without speaking to much on the nose about what you’re about to see.

TM: I understand there’s some great gore and effects in Harpoon. What was your approach to that, and what effect do you think that has? 

RG: I’ve explored the effects of violence in cinema with Fake Blood, and this was an extension of that. The entire movie, these people speak very casually and aloof about the things that potentially will need to be done without actually considering what that entails until suddenly when it happens. I felt like it would be a good idea to make sure that was extremely violent and horrible, not only because we’ve been teasing up to this moment, but I do believe there’s a certain element that people do not consider the actual realities of having to do something like that. So it’s very shocking, very brutal, it’s like, “ha ha ha this was all funny to discuss” and now that it’s happened it sucks the wind out of you. That was a very intentional decision.

TM: What do you think Harpoon does in a unique way when compared to other similar films? What do you hope the audience walks away with?

RG: I hope when people leave the cinema that it wasn’t the movie they were expecting, that it was a little bit of a different take. I do think it’ll challenge them depending what their expectations are. I just hope they’re expecting something interesting in the genre, and that they’re along for the ride.

Harpoon makes its Canadian premiere at the Calgary Underground Film Festival April 28. For tickets, click here

Click here to read our roundup of 9 Canadian films playing at CUFF 2019.

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Calgary Underground Film Festival

CUFF 2019: The story behind Uwe Boll, the so-called “worst filmmaker” ever

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F*** You All: The Uwe Boll Story dives into the background of the notorious filmmaker, featuring a number of interviews with colleagues, critics and with Boll himself. Photo courtesy CUFF
F*** You All: The Uwe Boll Story dives into the background of the notorious filmmaker, featuring a number of interviews with colleagues, critics and with Boll himself. Photo courtesy CUFF

Director of the critically-maligned video game adaptations Alone in the Dark, House of the Dead and BloodRayne, Uwe Boll has long held a unfavourable reputation in the film industry not only due to the perceived quality of his films, but also due to his antagonistic response to his online “haters.” 

But a new documentary, F*** You All: The Uwe Boll Story, seeks to better understand the firebrand filmmaker, diving into Boll’s past through a series of interviews with colleagues, critics and Boll himself. 

The Mutt spoke with F*** You All: The Uwe Boll Story Vancouver-based director Sean Patrick Shaul prior to the film’s Alberta premiere at the Calgary Underground Film Festival April 27. This interview has been edited and condensed for length.

THE MUTT: How did you first become acquainted with Uwe Boll?

SEAN PATRICK SHAUL: I first met Uwe Boll on the set of Assault on Wall Street. I worked as a crew member with him. Seeing him work was so fascinating. The way he directed was like no one I had ever seen before. He was such an interesting guy. That was almost 10 years ago and I ended up working on a TV show that was shooting in his restaurant. That was how I came across the idea for the documentary. The idea was to look at someone who is widely known as the world’s worst director. It was more asking, “Why was he considered that? How did he get that title, and whether or not he was.”

TM: As his persona on the internet developed, did that mesh with what you knew of him? Did you feel he was being portrayed in a way that was inaccurate?

SPS: I had seen some of his movies and I understood the reputation he had. He also fuelled that himself through the internet, engaging with all of these trolls and these critics. He takes it head on, which is fun to watch. But I had no idea what he would say when I pitched the documentary to him. Within five minutes, I realized we had a lot in common. He was excited about the documentary, excited to have that side told of it.

Vancouver-based director Sean Patrick Shaul first encountered Uwe Boll on the set of the 2013 action thriller Assault on Wall Street. Photo courtesy CUFF

Vancouver-based director Sean Patrick Shaul first encountered Uwe Boll on the set of the 2013 action thriller Assault on Wall Street. Photo courtesy CUFF

TM: How does Boll feel about being referred to as the “world’s worst director”?

SPS: He thinks it’s very unfair, which I guess I would agree with. Art is subjective, so it’s hard to say whether something is good or bad. But I think he’s also aware of the type of movies he was making. He didn’t think he was making The Godfather. He knew these were video game adaptations movies, so his expectations were low with those. But he has made more personal films (since then), but he already had this black cloud following him around. It stalled his career in that way. I thought that was really interesting – he made 32 movies, but by his fifth movie, people had already written him off.

TM: Why do you think Boll feels the need to respond to his trolls and his critics online?

SPS: I think he’s a very proud guy. He’s aware of his accomplishments and I don’t think he can let a comment like that go. If someone has the motivation to go after him online, he has the equivalent motivation to fire back at them. He hasn’t really calmed down on that too much. I think he’s currently banned from Twitter for going after trolls. It’s kind of tongue-in-cheek for him when he goes after these people. He enjoys it, he likes engaging with them. It became part of his personality. As much as it hurt his career, it also helped his career in a way.

TM: In spending time with Boll, what surprised you about him as you got to know him better?

SPS: Before, I thought he was kind of an asshole, from his online persona, I thought he was just kind of a jerk. Through meeting him, I realized he’s a super sweet guy, he’s a really, really genuinely nice guy. He cares about films, he’s a real film guy. He knows all of the classics, he’s seen all these foreign films – he’s a real cinephile. But there’s something about him not being able to pull that off. All his favourite movies are the classics, but for some reason he can’t make those films himself. He was kind of handcuffed by all these tax loopholes and funding schedules, that he would have to pump these films out in a certain timeframe to get the tax credit. There’s a lot of reasons his earlier films turned out the way they did. They didn’t turn out the way he envisioned.

TM: Given that he knew the documentary wasn’t going to be all positive, why did Boll want to participate?

SPS: I think he just wanted someone who was looking at the larger picture instead of comparing him to a Tommy Wiseau or a Ed Wood. He wanted to explain himself a bit. The articles and the small kinds of podcast interviews don’t really give him enough time to explain himself, or they ask the same five questions. Almost every headline is “world’s worst director” – I think he wanted to look at something deeper. But he wasn’t shying away from that title. I told him early on in production that we’d be definitely looking at that angle and talking about it. He was more than happy to look at it. Most people would want this buried, but he looked at it head on. “I have that title, but let’s look at why.”

F*** You All: The Uwe Boll story plays April 27 at the Calgary Underground Film Festival. For tickets, click here.

Click here to read our roundup of 9 Canadian films playing at CUFF 2019.

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Acquainted takes a raw and honest look at modern love

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Acquainted stars Giacomo Gianniotti and Laysla De Oliveria as Drew and Emma, two high school classmates who discover sparks between them upon reuniting, despite the two both being involved in committed relationships. Photo courtesy Red Eye Media
Acquainted stars Giacomo Gianniotti and Laysla De Oliveria as Drew and Emma, two high school classmates who discover sparks between them upon reuniting, despite the two both being involved in committed relationships. Photo courtesy Red Eye Media

In Acquainted, a new romantic drama from Toronto-based director Natty Zavitz, high school classmates Drew (Giacomo Gianniotti of Grey’s Anatomy) and Emma (Laysla De Oliveria of The Gifted) reunite with each other at a bar and instantly connect, discovering they share some serious chemistry. Problem is, the pair are both in serious, long-term relationships.

The script for the film was partly inspired by the deterioration of Zavitz’s last major relationship, said producer Jonathan Keltz (Entourage, Reign), who also plays Allan in the film.

“(Zavitz) sent me the script almost four years ago and I just connected so deeply and was so blown away by his script,” Keltz said. “(I was blown away) by how defined his voice was. I was completely moved by it.”

Inspired by films such as Richard Linklater’s Before Sunset trilogy, Acquainted is an honest look at relationships and adulthood, exploring the subject matter with introspection. Keltz said the film examines fidelity and infidelity from a judgement-free place.

Alongside Gianniotti and De Oliveria, Acquainted also stars Johnathan Keltz (Entourage, Reign), Rachel Skarsten and Parveen Kaur. Photo courtesy Red Eye Media

Alongside Gianniotti and De Oliveria, Acquainted also stars Johnathan Keltz (Entourage, Reign), Rachel Skarsten and Parveen Kaur. Photo courtesy Red Eye Media

“The characters are not villains or victims. It’s a raw and honest look at being in relationships, to have these type of things happen and how to deal with that,” he said. “The relationship with the self and the seeking to find out who you really are is really what’s crucial to the building of a relationship with somebody else.

“It’s about taking the time to do that work that puts you in the best position to be a partner with somebody and to be an adult in this world.”

Many of the cast and crew on Acquainted have worked in Toronto’s film community for years, making the set of the film a reunion of its own. 

“In front of the camera and behind the camera, (the film involves all) kinds of amazing artists. It’s really a Canadian film and a Toronto film,” Keltz said. “It’s not trying to either hide that or beat you over the head with that.

“I think that’s done in a very unique way, and in a way that is both Torontonian and Canadian but also universally and commercially viable.”

Keltz said he thought the film would be emotionally affecting to audiences, offering perspective that could help to contextualize modern love and relationship.

“I think this is a really raw and honest and beautiful film about what it means to be in love, to be heartbroken, to be devastated, to be inspired and to try and build a life for yourself and figure out what that means,” Keltz said.

Acquainted is now playing at Cineplex Movies Yonge and Dundas in Toronto, International Village in Vancouver and at Landmark Cinemas nationwide.

Next up on The Mutt: With maturity and depth, An Audience of Chairs reflects on mental illness

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