Ian Thomas Malone

Thursday

9

July 2020

0

COMMENTS

Jack & Yaya

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Today we welcome the directors & stars of the new documentary Jack & Yaya to the show, breaking EI’s record for number of guests on one show. Jack & Yaya focuses on the lifelong friendship between the two trans people, neighbors who found a sense of belonging in their shared companionship. Directors Jen & Mary, along with the eponymous Jack & Yaya talk all about the film, many of its exciting scenes, and what they hope viewers take away from the touching narrative.

Jack & Yaya is available now on Amazon, Vimeo, and other major streaming platforms.

Website: jackandyaya.com

Facebook: JackandYayaFilm

Twitter: @JackandYayaFilm

Instagram: @jackandyayafilm

Ian’s review of the film: https://ianthomasmalone.com/2020/07/jack-yaya-is-a-touching-testament-to-the-power-of-friendship/

Film poster courtesy of Hewes Pictures

Tuesday

7

July 2020

1

COMMENTS

Jack & Yaya is a touching testament to the power of friendship

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The toxic nature of homophobia can have an especially profound effect on LGBTQ youth, especially those of us still who are still in the closet. It’s hard to imagine prosperity in a world that so tolerates intolerance as the not-so-distant past once permitted. Companionship is a valued commodity particularly to those who know all too well what it’s like to be othered.

The documentary Jack & Yaya centers itself around a lifelong friendship between two transgender people who found a sense of belonging with each other, well before either knew they wanted to transition. Directors Jen Bagley & Mary Hewey chronicle their journeys to self-realization in a touching, quiet narrative.

In many ways, the film feels aimed at the relatives of trans people, especially those who might be struggling with the concept of gender identity. Christina (Yaya) in particular faced some challenges in acceptance, even from a gay brother, demonstrating the complexities of LGBTQ tolerance. Jack’s extended family are a treat to watch, exuberant in their embrace of him. There’s a bit of a “looks can be deceiving” angle at play, as many of Jack’s extended family look like the kind of folk you’d expect to see more at a Trump rally than a Pride parade.

The film is pretty light on conflict or drama, the kind of tension that tends to drive most narratives. Given how often transgender narratives are sensationalized in the media, this approach is hardly unwelcome. Bagley and Hewey keep the focus grounded in reality, which itself offers some moments that should remind everyone of the struggles that so many in the LGBTQ community face.

In some ways, the film does focus a bit too much on the transition angle, an origin story that at times feels at odds with the trajectory of other trans narratives in the year 2020. Transgender people often point out that their transitions are the least interesting elements of their identity. For those of us who wish to see trans narratives move beyond the rudimentary nature of transition itself, Jack & Yaya does leave a bit on the table to explore.

Transgender people often feel alone, afraid to live life as ourselves. Jack & Yaya is a touching narrative that celebrates the vital relationships we make across our journeys. LGBTQ rights have come a long way since the time when Jack & Yaya were little, but their story serves as an important reminder for the challenges that too many in the community still face.

Tuesday

7

July 2020

0

COMMENTS

Relic is a chilling slow burn

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For a film like Relic, dementia is a natural fit for the horror genre, a real life terror that anyone familiar with the disease can understand. To lose yourself is bad enough, without all the external considerations of a supernaturally charged terror. Set in an eerie house in Australia, Relic stakes out its territory in the kind of frights that naturally creep up on you, because in a way, they could.

The film follows Kay (Emily Mortimer) and her daughter Sam (Bella Heathcote) and they check in on Kay’s mother Edna (Robyn Nevin), an elderly woman suffering from dementia living alone in a dreary home. Edna has been missing for a few days, though reappears unexpectedly without much of a clue where she’s been. The house holds secrets of both a personal nature and those of the more supernatural variety.

The acting is superb. Nevin steals the show as Edna, a resilient woman reluctant to be treated like an invalid. She’s stubborn while still being sympathetic, a kind of persistent pride that lingers even in the face of her illness. Mortimer and Heathcote are quite good as well, layering the horror in a compelling family drama.

Making her directorial debut in addition to writing duties, Natalie Erika James crafts a rich narrative that moves at a careful pace. James frames her shots in a way that lets the house itself function as a character in its own right, a kind of claustrophobic environment that reeks of decay, the perfect setting for a horror film. James makes great use of the lighting, dim, creepy, and bleak.

Relic is a meticulously crafted slow burn. James has a superb sense of pacing that keeps tensions high. The film essentially divides itself into three acts, making quick work of its runtime of just under 90 minutes. You feel like every scene serves a specific purpose, without the need to explain every last detail.

As a horror film, Relic falls more under the category of creepy than outright scary. It’s the kind of narrative that crawls under your skin more than making you jump out of it. James has made a bit of an esoteric type of film, one that encourages critical thinking well after the credits have stopped rolling.

Relic is a breath of fresh air in the genre. In the past, it may have seemed absurd for a film to give such a meaty role to an elderly woman like Nevin. The female-led production produced a well-crafted delight for horror fans, one that’s perfect for today’s shelter-at-home climate.

Tuesday

7

July 2020

0

COMMENTS

JK Rowling & The Future of Fantastic Beasts

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Join host Ian Thomas Malone for a short episode on the world’s most notorious Feminism-Appropriating Radical Transphobe (FART), J.K. Rowling. Rowling’s latest collection of transphobic temper tantrums have thrown the future of the Fantastic Beasts franchise into question, a series already beleaguered by various controversies surrounding Johnny Depp, Ezra Miller, not explicitly gay Dumbledore, and Nagini the snake.

How many horcruxs does Rowling have left? Tune in to find out.

Trans rights are human rights.

If you enjoyed this episode, be sure to tune in to our episode dedicated to Not Explicitly Gay Dumbledore, which was recorded last year.

 

 

Monday

6

July 2020

0

COMMENTS

Money Plane is a complete disaster

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There is no single element that a film needs to fit the broad definition of “good.” Trainwrecks like The Room and Sharknado are entertaining despite the absence of competent acting, writing, or directing. Bad can in fact be, good.

Fitting for its setting, Money Plane circles around the runway of this territory. Written and directed by Andrew Lawrence, youngest of the Lawrence brothers trio, the film firmly squares itself in B movie territory, albeit with an impressive roster of recognizable faces, including Adam Copeland, Kelsey Grammer, Denise Richards, Thomas Jane, as well as Andrew’s brothers Joey and Matthew.

The film centers around the efforts of Jack Reese (Copeland) and his team to rob the titular “money plane,” an aircraft of debauchery for high-stakes gamblers. Reese follows the orders of Darius Grouch the 3rd, also known as “The Rumble” (Grammer), who blackmails him by threatening his wife, Sarah (Richards). The film mostly centers itself around the heist, both on the plane and through some action sequences on the ground.

Money Plane is sunk mostly through two major issues. Copeland is absolutely terrible in the lead role. He isn’t a bad actor, as his time on Vikings and as Edge in the WWE have shown, but he looks absolutely bored out of his mind in the film. Copeland delivers a wooden, muted performance that’s painful to watch. His obvious disdain for the role can’t help but permeate to the audience.

The other big issue lies with the script. Lawrence is an abysmal writer with no ability to craft dialogue that any human being would actually say. Too many sequences come across as so bizarre that you actually feel uncomfortable watching, as if a five-year-old wrote the script based off how he might think grown-ups talk when he’s not in the room.

The script may not have been as big of a problem if Copeland wasn’t so bad in the lead role. Grammer and Lawrence’s brothers fare much better, putting forth outlandish performances that are among the film’s only highlights. One can forgive the low budget nature of the set, a supposedly luxury plane featuring a poker table that looks like it was purchased at Walmart (complete with cup holders), but if the lead actor isn’t having any fun, it’s hard to care.

Money Plane could have been a fun disaster of a film, but Copeland’s obvious boredom sucks all the air out of the cockpit. Lawrence assembled a moderately compelling cast, but the film is too much of a mess to make for a pleasant ride. A tragic shame.

 

Thursday

2

July 2020

0

COMMENTS

TTTE & Chill: Thomas Gets Bumped

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Grab your mail train and your backing signal, it’s time for Thomas the Tank Engine & Chill. Join Ian & Tara as they dissect this peculiar VHS collection, featuring the return of Diesel and the introduction of Duck’s branch line. The Vicar’s garden party was conspicuously under-promoted before Edward swooped in with the assist. How does City of Truro talk? All of those answers and more in this exciting episode.

This VHS collection includes the following episodes

 

  1. Thomas Gets Bumped
  2. Edward, Trevor and the Really Useful Party
  3. Diesel Does It Again
  4. Gordon and the Famous Visitor
  5. Donald’s Duck
  6. Percy and the Signal
  7. Thomas, Percy and the Mail Train

For more Thomas fun, be sure to check out all of our other TTTE & Chill episodes.

Photo credit: The Britt Allcroft Company

Wednesday

1

July 2020

0

COMMENTS

Wonder

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Today we are joined by Gabriel Furman and Javier Molina, writer and director of the short film Wonder. Wonder has been a favorite on the festival circuit, winning awards at Outfest, RiverRun, and the Oxford Film Festival among many others. The film follows Sammy, a gender nonconforming child who wishes to dress as Wonder Woman for Halloween, a desire that causes some stress in his father Frank (played by Furman).

Gabriel and Javier share many insights into the filmmaking process, including the extensive work that went into portraying LGBTQ issues sensitively and authentically. Their film is a valuable addition to the broader conversation surrounding LGBTQ representation on screen.

Wonder is available on HBO, including its services HBO Max and HBO Now

To learn more about the film and its cast & crew, check out their website https://www.realtalkfilms.com/wonder

You can also follow their Instagram page @wondertheshort

Ian’s review of Wonder: https://ianthomasmalone.com/2019/07/wonder-explores-the-unique-challenges-presented-to-gender-diverse-youth/

Poster credit: Kristin Zahra

Tuesday

30

June 2020

0

COMMENTS

Sahm Flinehan, Obsessive Transphobe & Comedy Writer

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Today we begrudgingly host Sahm Flinehan (Sinner) to the show. Sahm is the creative force behind such TV shows as Sister Ned and The ITM Crowd, who was recently banned from Twitter due to his obsessive transphobia. Sahm talks about the origins of his bigotry and what he’s been up to since his wife divorced him. Such is the life of gender critical radicals who toss their lives away in favor of endlessly pursuing marginalized groups.

For more of our coverage of gender critical ideology, check out our interview with Cosy Snarker

Trans rights are human rights

Tuesday

30

June 2020

0

COMMENTS

Catherine Deneuve and Juliette Binoche are spectacular in The Truth

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Conflict, especially of the family variety, has a tendency to produce widely different interpretations of the events in question. The Truth (original French title: La Vérité) centers its narrative around a mother-daughter relationship, one that never tries to play its drama down the middle. Truth is more complicated than mere matters of right and wrong.

Fabienne (Catherine Deneuve) is an accomplished French actress in the twilight of her career. Her daughter Lumir (Juliette Binoche) comes to visit from America for the launch of her mother’s memoirs, filled with the kinds of fiction that Fabienne made a career of depicting on screen. Lumir is filled with grievances toward her mother, exacerbated by the stalled acting career of her husband Hank (Ethan Hawke).

Rarely interested in revisiting the past with her daughter, Fabienne instead concerns herself with feelings of resentment toward Manon (Manon Clavel), her much younger costar in her latest film. Manon reminds Fabienne of herself and her stardom, now fading, bringing a sense of introspection that those with big egos tend not to enjoy. Manon is less of a rival than an all-too-obvious indicator of the fleeting power of age.

Deneuve is in peak form, portraying Fabienne with an overwhelming sense of gravitas perfect for the narrative. The Truth is the rare film about fame that works. Deneuve isn’t just playing a superstar, she is one, honing in on the pains of time in a heartbreakingly authentic fashion. Fabienne is an awful person, yet the audience can feel for a woman who’s obviously struggling to grapple with the consequences of her life’s decisions.

Binoche brings plenty of nuance to Lumir, perfectly illustrating the complicated relationships that many children feel toward their parents. She gives deference to Fabienne without rewriting history, revisting old scars not to reopen old wounds, but to try and heal. Director Hirokazu Kore-eda clearly recognizes the assets he has in his two female leads, crafting scenes that let them duke it out in minimalistic settings.

Kore-eda relishes the messy emotions that families can bring out of each other. The sad moments in The Truth are often buoyed by humor, a fantastic script. At times, it feels like watching a stageplay and at others like you’ve walked in on a family feud.

Kore-eda has a gift for presenting conflicting perspectives while recognizing the almost-irrelevant nature of conclusions. Human relationships are not finite entities. Closure is a concept often deceptively deployed in film, for endings hardly exist in quite the same manner in reality.

The film juggles its many subplots pretty well. As Hank, Hawke isn’t given much to do, a role that isn’t quite reflective of his starpower, but fitting for a narrative that focuses the bulk of its attention on its mother-daughter dynamic. More Hawke would probably not be too helpful for the story at hand.

The Truth is a powerful narrative reflective of the talent involved. Kore-eda is one of the best directors currently working. Deneuve and Binoche both put forth two of the best performances of their storied careers. Fans of cinema will certainly want to check this one out.

Monday

29

June 2020

0

COMMENTS

Dr. Jen Manion, author of Female Husbands

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We are delighted to welcome Dr. Jen Manion to the show. Dr. Manion is the author of Female Husbands: A Trans History, a fascinating historical perspective on the lives of people who transed gender, living their lives as men and marrying women, between colonial times up to World War One. Ian & Dr. Manion talk extensively about the book and the ways that many of the issues presented have resurfaced in contemporary discussions centered on transgender rights.

To learn more about Dr. Manion or Female Husbands, check out their website https://jenmanion.com/

You can also follow Dr. Manion on Twitter @activisthistory

Cover image courtesy of Cambridge University Press