I’d heard on a podcast that it was good for couples to do “novel activities” together.
On another podcast came the comment that Landmark Theatres were far superior to the more dominant Cineplex ones. We have a Landmark Theatre close by.
In the newspaper, I’d read how Aziz Ansari had fought to have his new movie get a theatrical release. And that he’d cast a bunch of Canadian actors in it, albeit not because they were Canadian.
On the shared calendar, I saw that we had an opening Monday afternoon.
Hence Jean and I found ourselves at Landmark Cinemas for a matinee showing of Good Fortune.
Now, by this point the movie had been out for about four weeks and it was, you know, Monday afternoon. So this wasn’t a true “watching with a crowd” experience, given that there were only about two other people in attendance. But—notwithstanding our having gone to see a physics documentary at the Princess Cinema last month—it had been so long since we’d gone to a chain theatre, this seemed to qualify as a “novel” experience.
Plus, you know, Monday afternoon! On a non-holiday! Novel!
The Landmark was nice. We sprung for a few extra bucks to sit in the premium seats with recliners, heaters, a coat hook, and such. The screen was big. The movie was high definition. The sound was surround.
And the story was entertaining. The trailer is a pretty accurate synopsis: Arj, played by Ansari, is trying to stay afloat with part-time and “gig economy” jobs—and not entirely succeeding. He captures the attention of Gabriel, an angel played by Keanu Reeves, who longs to make bigger gestures than saving people from texting and driving. Though advised against it by his supervisor, Gabriel tries to show Arj that money wouldn’t solve all his problems by having him trade places with Jeff, played by Seth Rogen, a wealthy “tech bro” that Arj has been doing errands for. Only Arj very much enjoys living Jeff’s life and doesn’t particularly want to go back, setting off a chain of cosmic chaos.
It’s quite funny, it moves at a good clip (it’s about 90 minutes long), and it has a strong cast. It is pretty delightful seeing Keanu Reeves as a “budget angel”.
But, it’s kind of excruciating sitting through the struggles of Arj, and then Jeff, and also romantic foil Elena (played by Keke Palmer), working so hard for so little while Jeff, and then Arj, live in such leisure, comfort, and luxury. Because it is so true. And because I know which side of that spectrum I’m closer to (sitting in my premium seat, on a Monday afternoon).
Warning that I’m about to be a little spoilery about the ending…
Without meaning to, we went through a series of movies about couples (before breaking the spell with Marcel the Shell with Shoes On, which is very sweet, and not in a bad way): You Hurt My Feelings, Anatomy of a Fall, Simple comme Sylvain / The Nature of Love, and Past Lives. These are the key questions each one seems to address.
You Hurt My Feelings
Is honesty the best policy?
The least artsy of this collection of movies, I suppose, it centres on a happily married couple, Beth and Don, whose relationship is shook when she overhears him honestly tell his brother-in-law that he didn’t like her novel, which is still working its way toward publication. Things become tense and initially, Don has no idea why.
Beth and Don are also having work struggles: Don is a psychiatrist with some unhappy clients, who feel that he hasn’t really helped them. Beth is stunned to discover that the students in her small writing class not only hadn’t read her previous book; they didn’t even know she’d written one. And their son is wilting under the pressure of their expectations, and is angry about it.
So yeah, it’s a movie about relatively privileged people and their relatively minor personal problems. But it’s snappily written, funny, and very well cast, with Julia Louis-Dreyfus and Tobias Menzies as the lead characters. Jean and I both enjoyed it.
As to the question… Well, in life, as in the movie, sometimes you do want to blunt your honesty in order to be encouraging. But it can go too far. At a certain point, a relationship should be strong enough to handle the truth that you don’t, in fact, appreciate those V-neck sweaters you’ve been gifted with every year.
Anatomy of a Fall
Who lives, who dies, who tells your story?
OK, the question is from Hamilton, but it still seems apropos for this movie. The husband and father, Samuel, dies at the start of it, from falling out of his office window. His wife Sandra is the only one home at time. Their partly sighted son Daniel is the one who comes across the body, after a walk with his dog. We, the audience, don’t see what caused the fall.
Sandra lives, Samuel dies, but who tells the story? Initially, Sandra, mostly, as she’s trying to defend herself against an accusation of murder. Daniel also participates, and in doing so, realizes that he has decide what he believes is the truth about what he heard. But in one of the movies many twists—the nature of which I won’t reveal—even Samuel is able to give some input as to his state of mind at the time.
This was a fascinating one, and I came to my own conclusions about what I believed happened—but not because the movie spoon-fed them to me. The facts remain ambiguous to the end, a fact Jean found deeply unsettling.
Simple comme Sylvain / The Nature of Love
Do opposites attract?
Sometimes, for sure, and this movie, the most popular Québecois film of 2023, presents one such case. Sophia, a philosophy professor, is in a comfortable but staid long-term relationship with another professor when she meets Sylvain, a handsome craftsman hired to do some renovations on her country home. Sophia and Sylvain’s attraction is quick and deep and soon consummated. And consummated again. And again.
Though she initially tells herself it will just be a fling, ending things proves harder than expected and Sophia starts to wonder about the possibility of a long-term relationship with Sylvain. But they are very different, in education, background, wealth, interests… Each phase of their relationship is punctuated by a section of Sophia’s lecture in the course she’s giving about the nature of love (philosophically speaking).
That structure made me think of Le déclin de l’empire américain, though this film, directed by Monia Chokry, definitely has its own strong vision. Jean and I were both drawn in, and he was better at predicting how things would turn out. Fun fact: This movie beat Oppenheimer as Best Foreign Film at the César Awards in France.
Past Lives
Do you ever really get over your first love?
Easy question; of course you don’t! But few people have the trajectory with their first love as the one followed in this film. Nora and Hae Sung are childhood friends in South Korea. Nora’s mom, wanting her to have good memories of South Korea before the family immigrates to Canada, arranges for them to go on a “date”, the apex of which is them holding hands.
But with her family’s pending departure, the two friends are separated before any true, mature romance can bloom. Years later, though, they find one another on Facebook. The sparks still seem to be there, but so is the distance…
By the time Nora and Hae Sung finally do meet again, in New York, Nora is married to Arthur, a perfectly decent guy who is a good sport about the whole thing.
This is a very low-key, gentle movie—too understated for Jean, who gave up partway through. But I quite enjoyed this exploration of the paths not taken, of the forces beyond your control, and what you do with that knowledge. It was lovely.
“I’d almost forgotten what that was like”, Jean commented, as we exited the Registry Theatre after a Larry Larson’s Jazz Guys concert. And by that, he met a live musical performance of any kind.
We’d intended to attend many a live musical performance over these past and coming months, but then the Kitchener Waterloo Symphony suddenly and apparently irrevocably went bankrupt—a mere week before what would have been their first concert of the season. Our season’s tickets for various performances, from Bolero to Magic! to Back to the Future to Shostakovitch, suddenly longer worth nothing more than a tax receipt.
There are efforts underway to try to revive the local arts scene, but who knows. Government funding is tight all around. The Globe and Mail has been covering the problems that theatre companies have been experiencing right across the country (🎁 article link). Mirvish is doing fine, but others are not. I suppose the lack of audience return is due to combination of people having become increasingly accustomed to home entertainment; inflation lowering budgetary for spending on discretionary events; and some remaining concern about the health risks of crowded spaces.
But for us, at least this year, it was just mainly that the Symphony disappeared. And we’ve had trouble finding appealing alternatives. It’s been some time since we’ve been out anywhere.
February has seemed virtually packed with arts activities, comparatively speaking.
I really didn’t write about movies much this year, but I did see some, so let’s catch up…
In theatres
We most recently (on Boxing Day) saw The Holdovers—appropriate timing, as the movie does take place at Christmas. It’s a story about a boy’s boarding school where a few students, “the holdovers”, are not able to go home at Christmas. One teacher, played by Paul Giamatti, is tasked with watching over them.
The movie is directed by Alexander Payne, who also directed Sideways, which also starred Paul Giamatti. It’s similar to that movie only in that it’s also a character-driven story focused on male relationships. I did enjoy it, even though it didn’t particularly pass the Bechdel Test. Jean liked it well enough also, though he prefers plot-driven movies.
I’ve gathered up some bits of wisdom of late that I’d like to share.
First up, how to…
…Figure out what streaming service a particular show is on
Netflix, Apple TV, Disney+, Prime, Crave, Tubi, CBC Gem… It’s nuts. So many services! I don’t subscribe to them all, but enough to make it hard to remember what’s where.
It’s even more confusing for Canadians, since US media will tell us a show is on a service we don’t have in this country (Hulu, Peacock, HBO+)—but that doesn’t always mean we can’t get it on a service we do have. Even more confusing, just because it’s on an American version of a service we have (like Netflix or Prime) doesn’t mean it’s also on the Canadian one. Could be on some other service entirely here.
This is why I love the JustWatch app. You select the streaming services you have access to and it serves up what’s on each. You can set up a Watchlist of every TV show or movie you’re currently watching, or plan to watch, and have one-page look of everything you’re currently caring about. You can mark off episodes or movies as you watch them. It will notify you when new episodes or a new season become available. And it has a pretty good recommendation engine if you need more to watch.
Of course, you can also use it to look up some show you’ve heard about, to find out if it is available to you at all, and if so, where.
…Watch Poker Face
Solid as I generally find the JustWatch app to be, one thing it doesn’t quite get is conventional cable. Particularly when it behaves unconventionally.
Jean was complaining that I hadn’t posted anything in ever-so-long—which is kind of true. I’m off for some Christmas vacation time now, so possibly a few posts will be forthcoming. I’ll start here, though, not because it’s most urgent or relevant, but just that it should be good for warming up the writing muscles.
Early in December, we left our house to go to the cinema and see a movie in person! Now, unlike some people, we have done this on a few occasions in these After Times. But I had not realized quite how long it had been since we had visited the Princess Cinema. So long that our membership cards had expired—in July.
We decided that a new membership was probably not a wise investment, even though you only have to see something like three movies a year to make it worthwhile. We just paid the non-member price to see The Menu.
The Menu begins with a small group of people waiting to board a boat to a highly exclusive restaurant on an island. At the centre are Margot, played by Anya Taylor-Joy of Queen’s Gambit fame, and her date Tyler (Nicholas Hoult). Margot wonders how the restaurant can be profitable with such a small clientele. “$1,250 a person” replies Tyler. Margot is stunned, but since it’s on Tyler’s dime, is game to go along.
Not being a devotee of the “foodie” scene, however, Margot finds the serving rituals and staff manner rather odd. To someone who does do the “foodie” thing on occasion (albeit not at $1,250 a pop), the emphasis on freshness and regionality (when the clients arrive, staff are literally fishing for the scallops to be served later), the open kitchen and extensive table settings, and the elaborate presentation of each course is kind of familiar—but in this movie, also a bit strange. The staff is so disciplined. The rules of dining are so strict. And aren’t locked doors a fire hazard?
And the bread course? I don’t want to spoil what happens there, but while kind of weird and off-putting, it also seems, maybe, possible?
But as hinted in the trailer, the movie then moves on from the merely strange to… rather horrifying. (No soylent green, though!) For the squeamish, I would say, that while there is violence, it was nothing I couldn’t handle—and I’m pretty squeamish. Though I possibly did close my eyes at one moment…
Class issues definitely come up, particularly centred on Margot, the one client in a different socioeconomic class than everyone else there.
And through all this, the movie remains pretty funny. You’re never lulled into thinking it’s a documentary. “Dark comedy”, they say. I guess that’s a good descriptor.
I found it all pretty riveting, from the mocking of foodie culture, to the dark turn, to the various plot twists. Jean was never bored, but he wasn’t sure until if he actually liked the movie. But finally concluded that he did (though he was also left wondering if he should feel guilty about love of fine dining).
I think it would definitely appeal to other foodies, to horror fans, to fans of dark comedies, or those who appreciate movies with originality.
After categorically stating (and repeating) that there was no way, no how that Ontario would require proof of vaccination to access certain public spaces, Premier Doug Ford announced that Ontarians would be required to show proof of vaccination to access certain public spaces. The change of heart itself was no surprise to most Ontarians, who’d by now witnessed many similar policy pivots, but its timing was: early September. That is, before the COVID case count was terrible and inevitably about to get worse before it could get better.
Ontarians were then surprised again to find that from roughly that point on—before the policy actually took effect, and despite the start of school—case numbers have improved. Just slightly improved, and still not as good as last summer, but definitely on a downward. Something that it not happening everywhere in Canada.
And locally, the numbers have been a little better than the provincial average (after our “fun” Delta spike in June).
So Jean and I have been getting out there. A little.
I wanted to see the new Marvel movie, Shang-Chi and the Legend of the Ten Rings—mainly because I was a fan of the lead actor, Simu Liu, from Kim’s Convenience. But I also liked that it was an origin story, so it wouldn’t matter that I wasn’t versed in all the intricate details of the Marvel universe. That it was both a critical and box office hit also seemed promising.
I figured that seeing it at the Cineplex VIP theatre would be good, because then we could get an actual meal. Made it quite manageable to go there after work for the early evening showing, even though the VIP theatre is kind of across town from where we live.
COVID protocols in place when we went: They checked for vaccination proof (and mask wearing) at the entrance to the building. Then at the entrance to the VIP theatre, they did contact tracing. Each theatre was limited to 50% capacity; when we bought our tickets in advance, we selected our seats, and the system then blocked off the ones to either side of us so we knew no one would be sitting there.
Mind, the movie had been out for about four weeks by then, and it was week day, so though the 50% capacity of that rooms was 35 people, I think there were only about 10 there? And nobody else in our row.
So we felt pretty OK about unmasking to eat our dinner. We don’t get to the VIP theatre often. I still love the novelty of ordering food and wine (!) at my extra-comfortable, reclining seat. My edamame, fish taco, and Kim Crawford Sauvignon were all quite fine. Jean also liked the edamame and his Malbec, but was a little less impressed with the pulled pork.
As for the movie, I found it really fun. Jean complained about how many fight scenes it had. He’s right—so many fight scenes! Normally, this would bore me. But I thought these were quite well-choreographed fight scenes that did move the plot along. It was too bad Simu Liu didn’t get more funny lines—Awkwafina (who was great!) got most of those. But he looked good. I was diverted. Nice night out.
The following Monday, we went to see a different sort of film at a different sort of theatre (but with basically the same COVID protocols to follow): I’m Your Man, at the local art cinema, The Princess. The premise of that one is a woman scientist tasked with testing a humanoid robot designed to be the perfect partner for her.
Tom, the robot, is endowed with artificial intelligence that causes him to adapt to whatever his “partner” wants, though in case he has a partner who’s skeptical of the whole idea and trying to maintain objectivity. As he dials down the romantic gestures and ramps up the practical assistance he can provide, she gives him more mind, and then more heart…. It was quite engaging and thought-provoking and—though Jean thought they could have done even more with the premise—we both enjoyed it.
Then later in the week, we decided to try some more indoor dining, back at S&V Uptown. It’s our third time there since they moved to uptown Waterloo, and again we were really impressed. In terms of consistent food quality, I think it’s the closest we’ve come to Verses—the only issue is the tendency to sometimes over-salt the sauce, at least to our taste. But even that never ruins a dish, because nothing is ever drowning in sauce.
They had just launched their Fall five-course menu, and that’s what we had, again with shared paired wines (1.5 oz each per serving). Fried oysters, halibut with mushrooms, beef cheek, sponge cake…
(I also finally got to wear my new pantsuit.)
Meanwhile, in another bout of optimism, I’ve acquired tickets to a number of events at Centre in the Square for the coming months:
Blue Rodeo (in December)
Letterkenny Live (in February)
Billy Joel’s The Stranger by Classic Albums Live (in April)
These all depend on lifted capacity restrictions—which the government has just announced (albeit not yet for restaurants and gyms). So we’ll see how that goes.
What’s next?
I will mention that the rapid testing program that I blogged about previously has been shut down by the Ontario government. Not entirely—it can still be used by the small businesses it was originally intended for. But Communitech’s extension to community groups and individuals was making the province look bad, I guess, so they put a halt to it.
The tests are available free to businesses, who can then make them available to their employees. So talk to your company about it. (If you own a business, get some on that basis.)
Travel to a place like the UK or Nova Scotia, where they’re widely available and cheap (though I have no idea if it’s just as easy for tourists to acquire them)?
Nova Scotia public health campaign
Now for a bit of trivia: What would you guess is the most highly vaccinated age group in Waterloo region? The over 80s, perhaps?
Nope. It’s the 18 to 29s. Followed not far by the 30 to 39s. (Frankly, my age group are a bit slackers here, at possibly the lowest rate of “at least one dose”?)
Source: Waterloo Region COVID-19 Vaccine Distribution Task Force
The kids are all right—and they’ve earned their way into bars, restaurants, gyms, and concert halls.
Ontario has reached that point in its slow reopening where almost everything is reopened, but with some restrictions, like distancing, capacity limits, and masks. Vaccination rates are some of the highest in the world, but the pace of increase is slowing. Case counts are fairly low, but slowly starting to rise again.
Mentally, I still switch between feeling fairly good / confident (I probably won’t get it! And if I do, it shouldn’t be that bad!) to still somewhat anxious (But the delta variant! What about long covid!).
And I have missed doing things. Some things, anyway.
One of the local restaurants we like, Swine and Vine, decided to move from its Kitchener location to uptown Waterloo. As part of the move, they rebranded, changing their name to S&V Uptown, and changing their menu focus away from charcuterie board to “upscale bistro”. I loved the look of their menu. I thought that they might not be so busy on Tuesday nights? So we decided to try it, as our belated anniversary dinner out.
Though they don’t have a dress code or anything, we decided to spruce up a bit for the event. I dug into the far reaches of my closet for shoes with heels—first time wearing such-like footwear in a year and half. (Wedge heels, though. Didn’t want to twist an ankle.) And though it was a nice enough day for their patio, we thought we’d try the indoor dining thing. First time we’d done that locally since—well, you know.
It was a quiet evening there, with no other dinners seated right beside us (distanced though that table be). And we were quite impressed with the whole experience:
The service was quite attentive and knowledgeable. They presented and described each dish as served. They were able to guide us to some good wine matching choices.
Everything was creative and delicious, with the octoplus a la planchette and lamb noisette as highlights.
The few service hiccups (they did just open in this space, with this new menu) were smoothly addressed. Our entrees were slightly delayed, so they gave us a pate taster to tied us over, and still compensated us on the bill.
Movie theatres have also reopened at half capacity (masks mandatory for entry and recommended when seated, except when eating or drinking). The last movie we’d seen in person in the before time at The Princess was Parasite, the Oscar winner. This week, in deciding to venture back, we went to see Nomadland, this year’s Oscar winner.
I didn’t pay much attention to the Oscars this year, so Nomadland wasn’t really on my radar until Jean mentioned that he’d read and quite enjoyed the book the film was based on. I then watched the trailer and thought it looked interesting.
It’s about people whose economic circumstances cause them to live in their trailers, or vans, and move around America in search of work. They converge on Amazon to help with the Christmas rush. They work in national parks during tourist seasons. They pick beets. Work in restaurants. It seems kind of bad—and in a number of ways, it is—but maybe not that bad? In terms of the freedom, the camaraderie that develops among the people who do this (the “nomads”), and the ability to see the beauty of the country.
An engaging film, even without a huge dramatic through-line. (And wearing a mask during a whole movie is moderately annoying, but quite doable.)
This long weekend we got tickets to see a production in Stratford. Unable to put on their usual large, elaborate, indoor productions of Shakespeare, musicals, and other plays, they have on offer instead some smaller plays and cabarets, presented outdoors, currently with a limit of 100 people in attendance (I believe with expectation that they can increase this later in the season). At those numbers, pretty much everything sells out, so it was thanks to advance ticket access that we were able to get tickets to the cabaret Play On! A Shakespearean Mixtape.
That took place on a rainy-ish day, with thunderstorm risk present. Still, it was sunny when we walked in under the canopy, about 10 minutes before the start.
But about 5 minutes after it started, the thunderstorm kicked up.
Now, everyone was under canopy, and we were pretty centrally seated, so we stayed dry—unlike the people nearer the opening, who had to raise up their umbrellas behind. And the wind, occasional thunderclap, and sight and sound of heavy rainfall were somewhat distracting to everyone for the storm duration.
But wow, the four singers—two young women, two young men—were terrific. (And one of the gents seriously looked like slightly portly Adam Lambert.) To introduce songs, they would perform some lines from the associated Shakespeare play, then launch into the song. It was quite a wide-ranging set: Taylor Swift, Radiohead, Rush, Mumford and Sons, Madonna, Prince… Well, here’s the playlist:
Some songs were played for laughs—Brush Up Your Shakespeare, Billy S., I Am the Walrus. Some performances were haunting—A Case of You, and especially, Exit Music (For a Film). And some were awesome, notably the take on Rush’s Limelight. Overall, great to hear live music for the first time since January, 2020.
We had selected The Bruce Restaurant for dinner. And we had hedged our bets by making two reservations: one for the patio, one for indoors. Of course, we didn’t want to tie up both tables, and the weather forecast made us think that indoors would be a safer bet. But by actual dinner time, it had pretty much cleared up again. Unfortunately, when asking about being seated outdoors, a large party had already filled the space.
Again, it wasn’t a full establishment, though it was a little busier than S&V Uptown. And just as good! I started with a lovely watermelon salad with a glass of Champagne, while Jean had a goat cheese and beet entree with Stratus White. He then had an amazing truffle pasta with a Languedoc Pinot Noir (new to us, Pinot Noir from that region) while I enjoyed a lobster BLT with the Stratus White. (The bread and bacon were the highlight of that sandwich.)
For dessert, I had berry assortment, with berry tea, while Jean had a cheese plate.
And now we have an email that some ballroom dance classes are restarting—refresher courses (literally). Hmm…
Feeling that I should blog about something, although it’s difficult with so much going on in the world, and so little going on in my life. I could certainly give my opinion of events, but science says that there’s actually no mental health benefit in ranting about an issue that is frustrating you, but that you have no control over.
So guess I’ll try writing about the little things in my world that do make me feel better, at least for a while.
This year, like most other people, we weren’t able to do what we normally do at Christmas time. A chance to develop our new traditions, perhaps? Except… Will we really want to nostalgically recall anything from 2020?
So hey, best to focus on the now, and on the “what you can do” vs. what you can’t. In 2021 and subsequent, we’ll see if anything sticks.
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