CMW 2016: Pale Lips @ The Silver Dollar

WEDNESDAY – If you went looking for the graves of all the dead Ramones, dug them up, extracted their souls, washed those souls and dried them and carefully folded them for shipping to Canada, where they were infused into the living bodies of four women from Montreal, the band those women would then form would almost certainly sound a lot like Pale Lips. They play quick, furiously catchy punk songs — all hooks and distortion and tattoos and denim, with just a hint of the Beach Boys-y seaside vibe that the Ramones brought all the way across the continent from California to the dark and dingy clubs of New York City. And Pale Lips didn't exactly hide their influences during their Wednesday night show at the Silver Dollar, turning the Ramones' "Rock & Roll High School" into "Rock & Roll Dipshit"and referencing old timey jukebox rock & roll with shout outs to songs like "Blue Suede Shoes" and "Great Balls of Fire." There's plenty of the '50s and '60s and '70s in the Pale Lips — but it made for one of the best sets we saw at CMW in 2016.

 

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Read all our coverage of CMW 2016 here.

Words by Adam Bunch, Editor-in-Chief of the Little Red Umbrella and the creator of the Toronto Dreams Project and Toronto Historical Jukebox. You can read his posts here, follow him on Twitter here, or email him at adam@littleredumbrella.com.

Photos by Carmen Cheung, the Arts Editor for The Little Red Umbrella.


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CMW 2016: Bend Sinister @ The Comfort Zone

WEDNESDAY – Few bands in Canada are more reliably awesome on stage than Bend Sinister are. And they proved it once again this Canadian Music Week. Their first set of the festival was a fairly low profile slot: late at night on a Wednesday, while most of the city slept. But in the basement of the old Hotel Waverley, bathed in the sickly blue light of the Comfort Zone, the Vancouver prog-rockers tore through a blistering series of songs — the kind of tunes that it's hard to believe were written in the 21st century, and not in the hey day of classic rock. Sweat-drenched headbands and raging keyboard solos; vicious leg kicks and vibrating tambourines. Given the timeslot, the audience was sparse — only about a couple dozen strong — but I'm not sure I've ever heard such a small crowd give such a big roar in response to a band. And Bend Sinister deserved it. Just as you'd expect.

 

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Read all our coverage of CMW 2016 here.

Words by Adam Bunch, Editor-in-Chief of the Little Red Umbrella and the creator of the Toronto Dreams Project and Toronto Historical Jukebox. You can read his posts here, follow him on Twitter here, or email him at adam@littleredumbrella.com.

Photos by Carmen Cheung, the Arts Editor for The Little Red Umbrella.


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Meet The Band: Pins & Needles

Pins & Needles play the Silver Dollar at 8pm tonight (Wednesday, May 4) for Canadian Music Week. We originally published this interview with them April 23, 2014.

There might not be any band in Toronto with a better age-to-awesome ratio than Pins & Needles. They got together at Girls Rock Camp back in 2012 and they already count some of the city's best acts among their supporters — groups like The BB Guns and Patti Cake. "We're a mix between '50s doowop and garage rock," they explain when we asked them to describe their music. "Just picture loads of three-part harmonies, beachy riffs, some punk influences, some soul sprinkled in there, and some tinkling of '80s synth. Not sure if that gives a clear picture, but that means the more reason to check it out!"

A new, crowd-funded, debut EP will be coming within the next few months, but you won't have to wait that long to hear Pins & Needles for yourself. They'll be playing at May Cafe this Saturday night (April 26, 2014) as part of a fundraiser for Princess Margaret Hospital. All the details are on Facebook.

In the meantime, you can get to know them a little better with some live videos and a round of Five Questions right down here:


VITALS



Members: Deanna (Guitar and Vocals), Nastasia (Keytar and Vocals), Sabrina (Bass and Vocals) and Rebecca (Drums)

Hometown: Toronto


FIVE QUESTIONS


1. If you could open for one current band that you haven't played with before, who would it be?

R: I want to say The White Stripes, but since I can't I'm going to go with Jack White. That or The Dirty Projectors!

D: I would say The Strokes, or Best Coast.

N: Alive, would be Half Moon Run, because they seem so awesome and they play sick music. Dead, the Beatles before they were super super big. Because damn, who wouldn't want to hang with the Beatles?

S: Everyone has such good answers! Jack White would be unreal, the Strokes absolutely insane and the Beatles (?!) would be mind blowing. Anyone got connections?


2. If you could play one venue you've never played before, what would it be?

D: I would love to play The Opera House, because I've seen some great bands there and it's a gorgeous venue.

S: I think I want to play a big festival. It seems like such a cool experience and you would get to meet and see so many bands! In Toronto though I think I'd have to go with Sound Academy or the Phoenix, they're really good venues!

N: The one venue I desperately wanted to play was Lee's Palace, and we've sort of already done that... So.... Yeah... But the next step up for me would also be the Phoenix, definitely.

R: Stonehenge, the original rock concert.


3. If you absolutely had to get a face tattoo of album art from one record, which record would you want to have on your face for the rest of your life?

D: I would say either Elephant by The White Stripes or Sgt. Pepper's Lonely Hearts Club Band by The Beatles.




S: I feel like my taste in music changes every month and I don't have any albums that are classics to me! But for right now I guess I'll have to say Grimes because I just got her album on iTunes and the art is really cool.



N: Its a tie between the Velvet Underground's Banana Album, or Eagles's Hotel California. Just because both would make sick tattoos.




R: I want to stick The Cat Empire’s logo in the middle of my forehead!



4. What was the first record you ever bought? When was the last time you listened to it?

N: In all honesty the first record I ever owned was an original Alvin and the Chipmunks Christmas Album. In the summer I would run around my grandmother's house in my bathing suit and scream "christmas time is here" at the top of my lungs. It was a dark time. I haven't listened to it since I was seven or eight.

R: My first was Arular by M.I.A. I just rekindled my love for it, so I'd say I listened to it less than 24 hours ago. However, when I was younger my mum asked me to pick out any album I wanted at the record store, and I picked out Delta 5’s Singles and Sessions mix. Haven’t listened to it since I was little… Maybe I should go do that now!

S: I think the first CD I ever got was Raven Simone, but the Cheetah Girls came shortly after and I think it had more impact. I'm a really cool person as you can see.

D: The first record I bought was Joan Jett and The Blackhearts I Love Rock And Roll, and I played it on my uncle's record player in Montreal.



5. If you could switch places with another musician in some type of "Freaky Friday" type incident, who would you want it to be? 

  
D: Present day, it would be Leslie Feist for sure, because I think she's gorgeous and one of the most talented women out there.

ALL: * Simultaneous agreement. *


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Meet The Band is a regular feature in which we introduce you to bands we like.





 
Posted by Adam Bunch, the Editor-in-Chief of the Little Red Umbrella and the creator of the Toronto Dreams Project. You can read his posts here, follow him on Twitter here, or email him at adam@littleredumbrella.com.




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Holy Shit Weaves' New (ish) Single Is Great

We're been a bit slow to come out of our winter hibernation this year, which means we've been unforgivably slow to listen to the new song from Toronto's wonderful weirdos in Weaves. But holy shit. "One More", which premiered on NPR back at the beginning of March, is one of the best tunes the band has released to date. Which is saying something — the bar has been set high by the distorted squeaks and squeals of songs like "Motorcycle." Pretty much every track Weaves has released has been one of our favourite tracks in recent years.

So if you haven't checked it out yourself yet, it's about time you listen to "One More":



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Starting Over At 35 by Melissa Hughes

I can remember precisely when it hit me. I was staring out the window of my big, empty office, watching an even bigger home go up across the street. We were living in one of those up-and-coming neighbourhoods, selected not for its charm, but for its potential increase in value. The fact that houses were being torn down and replaced was a selling feature, my fiancée said.

In principle, I agreed, but the atmosphere of destruction depressed me. All winter, while I struggled to set down words that would mean something to someone, somewhere, I’d looked over at what had been on that lot. It was a small, pink house that sat awkwardly on the street, a sloped-roof affair in a land of bungalows and stone McMansions. Its upper windows were left open to the elements, frozen curtains flapping in the wind, as if in capitulation, though the spray-painted markers and safety tape had already gone up by that time: nothing and no one could save it.

On the outside, my life at 35 looked great — a promising career, a doting partner, an elegant home, things, vacations, a big engagement ring, money in the bank.

There was just one problem: I wasn’t happy. I was good at my work but I didn’t believe in some of the fundamental aspects of what I was doing. I was invested in the idea of a partner I could share my life with, and yet I felt deeply alone.

The lies crept in softly. First it was a kind of sublimation, in the shaky ‘trying my best’ of my 20s — well, that isn’t exactly what I wanted, but that’s probably close enough — and into my 30s it became a momentum of “alrightness,” of being okay. A sort of, ‘hey, this is like what other people I know are doing,’ without a real consideration of whether it was right for me, or what a happier life would even look like.

And here’s the secret: I got good at it. You get really, really good. And then you wake up one morning and you pad into your office, and something in your line of sight has changed, and you have no idea who the hell you are or how you got there.

That’s reductive, of course — in reality there were myriad tiny realizations. But the sum was this: if you aren’t honest with yourself — cuttingly, painfully honest — life can’t be honest with you. I could not attract the deep understanding, the tenderness in a partner that I wanted and still want more than anything. I could not use my talents and insights to help the people and causes I care about, to effect the change I want to see. Not unless I was honest about who I am and what I want.

Walking away wasn’t the hardest part, though it felt like it at the time. He followed me around the house as I threw my life into boxes.

You can’t leave me, he kept saying. Oh, but I could.

For the first time in my adult life, I was going to do what was right for me, without a complex inner negotiation, without a decimation of self. I did not want to marry this man — no part of me did — and if I couldn’t find someone that every fibre of my being did want, someone I could deeply love and respect, I would rather live the rest of my life alone, with my ideas and my sense of self intact.

What I didn’t realize at the time is that facing into our decisions is where the real work and the fear and the self-doubt begins. It’s everything after the dramatic exit, the door slam, the (justified and unjustified) self righteousness, the rolling down the street in a truck with nowhere to really go, realizing you’ve wasted time and there’s no way to get it back. That the reason you don’t have the things you wanted — a loving husband, a family, a career that actually makes a dent in the world and will leave something after you’re gone — is you, your own shortcomings and your fear. And maybe you’ve missed the boat, entirely.

What I’ve described here is the decision not to “settle”; my experience is in no way special. But what’s worrying, and worth pointing out, is that settling was like air; except for brief punches of grief and despair that seemed to come out of nowhere, it didn’t feel like anything at all. I had lied to myself so well — in so many areas of my life — it seemed natural, normal to just keep pressing forward until the memory of what I’d wanted was like a distant dream, faint and ridiculous. 

But our dreams aren’t ridiculous. In fact, they aren’t really “dreams” at all. They are who we are —  the most fundamental expression of ourselves as individuals, before the negotiations and the bullshit and the doubt pile up on us.

The specifics of why I veered so far from myself aren’t important, except for this: I believe it’s part of a pattern, one we can’t fully see until the end of our lives. Of course, if we look, it’s almost certain we’ll find what we seek: We’ll see our triumphs and our failures in the context of the hands we were dealt. Regardless, I’m certain of this: If you are honest with yourself, no experience — good or bad — is ever truly wasted.

After walking away from a life I didn’t want, I let go. I fell deeply and honestly in love for the first time in my life. It was short and brutal and he broke my heart — he actually crushed me completely, for months I felt like I couldn’t breathe — but I saw the curve of what an honest love could be like. It’s the most beautiful and breathtaking thing, to place yourself gently in the hands of another human that you respect and like, and ask for what you want: to be loved back, cherished, understood.

I see now that this is all part of my pattern, and so are the good things, too. I moved to a place I like. I deepened my friendships and made new ones. I embarked on a new career path, working with people who inspire me. I found the courage to start sharing my fiction — the deepest held parts of me that I’ve been pushing down all my life.

It occurs to me that starting over was letting go, and letting go is a bit like prayer: Involuntary and also deliberate. You will get what you ask for, what your energy moves undeniably toward, the most desperately whispered desires of your heart. It’s only that the answer might look like nothing you imagined.

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This post originally appeared on Medium.

Melissa Hughes is a Toronto-based writer whose freelance work has appeared in The Globe and Mail, Ottawa Citizen, and on CBC radio. She has worked as a reporter for the London Free Press and the Barrie Examiner. You can read all of her posts here and follow her on Twitter @meliss_hughes.


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The Toronto Historical Jukebox: "Tired Of Waking Up Tired" by The Diodes

The Diodes may very well be the most important punk band in the history of Toronto. They were formed in 1976 — playing together at the Ontario College of Art just as the Queen West punk scene was about to become one of the greatest punk scenes on Earth. And The Diodes played a founding role.

It was The Diodes and The Viletones who quickly became the giants of the scene: their infamous rivalry pitted the art school background of The Diodes against the working class thuggery of The Viletones. But it was still a tightly-knit community. In 1977, The Diodes turned their rehearsal space in the basement of a small office building (on Duncan just south of Queen) into a punk club called the Crash 'N' Burn. That summer, they invited all the best punk bands in the city to come play — The Viletones included. For a few, brief, glorious months, bands like The Curse, The Dishes and Teenage Head shook the building to its foundations. But it didn't last: The Liberal Party of Ontario had an office upstairs; by the end of the summer, their complaints about the noise and rowdiness forced the club to shut down.

By then, word had gotten around. That August, The Diodes became the very first Toronto punk band to sign a deal with a major label. The year after that, they started playing a brand new song. "Tired Of Waking Up Tired" would prove to be one of the most popular tracks to ever come out of the Queen West punk scene. Chart even put it at #17 on their list of the Top 50 Canadian Singles Of All Time.



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Listen to more Queen Street punk here.

You can find links to buy Didoes records here.

Special thanks to Ralph Alfonso (The Diodes "manager, designer, lighting guy, roadie, publicist" and co-founder of the Crash 'N' Burn)  for his help with this post.
You can listen to more songs from the Toronto Historical Jukebox here.

Posted by Adam Bunch, the Editor-in-Chief of the Little Red Umbrella and the creator of the Toronto Dreams Project and the Toronto Historical Jukebox. You can read his posts here, follow him on Twitter here, or email him at adam@littleredumbrella.com.



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Who Was This St. Patrick Guy, Anyway? by Rebekah Hakkenberg

Originally posted March 17, 2011

You're probably too drunk on green beer or Guinness to even read this right now, so why don't you come back tomorrow when you're sober- no wait, better give yourself a day off tomorrow and come back the next day, you know, when you're feeling more like yourself again...

Hey, you're back! Did you have fun? Good. Now, where was I? Oh yeah, St. Patrick! What was his deal? He was Irish, that much I know. Wasn't he the guy who led all the children out of town with his flute? Oh, no, that was some other guy... okay, I have no idea then. Maybe it was snakes? To Wikipedia, I go!

Let's see now, so it turns out that Saint Patrick wasn't Irish! I know, right? It's not known exactly where he was born, but it was definitely either Scotland, Britain or Wales. He was actually captured by Irish marauders when he was 16 and sold into slavery, the poor little guy. He was sold to some Druid dude named Milchu, and little Paddy (oh yeah, his name wasn't actually Patrick, it was Maewyn Succat, but for our purposes, we'll refer to him as Pat) was his slave for 6 years, until finally being told by an angel to run away, he escaped (on literally, a wing and a prayer) and headed on a boat back to Britain.

Now, during his time with the Druids, Pat got really into God. He prayed a lot. I mean, it's not like he had much else to do while he was out in the fields all day tending his master's flock (let's just hope all he did all day was pray...). He also learned the language and traditions of the people of Ireland, and decided it was about time those barbarians got some God in them. So, when he got home he went immediately into the priesthood, and then started gunning for a posting in Ireland, so that he could return to convert the pagans. He eventually did get sent back, and the first thing on his list of people to see and things to do was to find Milchu and give him a piece of his mind. Apparently, though, he didn't want revenge, he just wanted to save the guy's soul. Milchu got wind that his slave boy had returned and was looking for him, so he just went ahead and killed himself. Seriously. Seems a bit extreme, doesn't it? He was either really scared that Pat actually wanted revenge (and so, I imagine this Milchu character must have been a pretty cruel guy) or, he just really didn't want to have to listen to any of Pat's proselytizing (and I mean really, who could blame him?).

So, after that little setback, Patrick continued his mission to convert the Irish to Christianity. For someone who ended up becoming their patron saint, he sure wasn't treated too well while he was there, often getting beaten, robbed, and probably nearly executed! Not to mention that nasty little detail about the kidnapping and slavery... which is probably why Patrick believed that owning another human being was, you know, like, wrong? And that actually caused a bit of tension between him and the church, which took another 1000 years to get around to condemning slavery. Anyways, judging by Ireland today, Patrick was pretty successful. It is pretty ironic (maybe more like in an Alanis Morisette kinda way, though) how he's celebrated around the world today, though. I'm pretty sure he wouldn't have been totally cool with the drunken belligerence and public urination that one usually encounters on March 17th. My worst experience with St. Paddy's Day was taking a vomit-smeared bus home at 2am. Literally, the floors, seats, and poles were covered in vomit. Where was my luck o' the Irish then, huh?

Oh yeah, the thing about single-handedly banishing snakes from Ireland? Probably never happened. Seems there weren't any snakes up there in the first place. So, maybe the snakes are a symbol for the Druids? Or maybe he just made it up. Now, if you'll excuse me, I'm off to banish all the giraffes from Ecuador (sainthood, here I come...)

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Photo: St. Patrick

Rebekah Hakkenberg is a curator/writer/photographer living in Toronto. She is also the co-creator of Once Again, To Zelda, which is where an earlier incarnation of this post originally appeared.




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The Toronto Historical Jukebox: "Charlena" by Richie Knights & The Mid-Knights

This catchy tune from Richie Knight & The Mid-Knights was the very first #1 single in Canadian history. The band had been around since the late 1950s (originally formed with a different name and a different line-up), but as "Charlena" hit the airwaves during the spring of 1963, the group was launched into a whole new level of stardom. Now, they were one of the most famous bands in Canada. They were in high demand at high schools dances, got invited to play dance halls all over Southern Ontario, and even landed a couple of gigs at Maple Leafs Gardens — one of them opening for The Rolling Stones. Not only that, the fact that "Charlena" had climbed all the way up to the top of the CHUM Chart proved that Canadian bands could get air play too; the song marked the beginning of a whole new era for Canadian music.

And they didn't stop there. Richie Knight & The Mid-Knights were far from one hit wonders. After the success of "Charlena", they released a whole slew of excellent songs — from the rowdy rocker "That's Alright" to the slow burning ballad "You Hurt Me" to the bluesy chain-gang tune "Work Song."



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Listen to more songs from the Yonge Street strip here.

Photo via Garage Hangover. 

Special thanks to Richie Knight & The Mid-Knights bassist Doug Chappell for his help with this post.

You can listen to more songs from the Toronto Historical Jukebox here.

Posted by Adam Bunch, the Editor-in-Chief of the Little Red Umbrella and the creator of the Toronto Dreams Project and the Toronto Historical Jukebox. You can read his posts here, follow him on Twitter here, or email him at adam@littleredumbrella.com.



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Toronto After Dark Film Festival 2015: The Interior Review

Forest settings have been mined for horror material so often that it’s a cliche. Nearly every mainstream slasher series has a scene with a ‘final girl’ running barefoot through the woods from a monster, with an unrealistically bright moon casting mood lighting over the whole affair. Doing something interesting with this setting is tough after 30-plus years of horrors, but The Interior brings something new to the table with strong characters (in particular the lead), and a script that always turns left when you expect it to turn right.

In the unlikeliest of moves, The Interior’s first half contains nothing whatsoever to indicate that you’re watching a horror film. The first act is a sharply-written comedy in the vein of Office Space, where our sarcastic but indifferent protagonist, James (Patrick McFadden) becomes increasingly frustrated with his thankless desk job, his complete idiot of a boss (Andrew Hayes), and his mundane life in his generic Toronto condo. All of this is brought to a boiling point when James is diagnosed with an unspecified but presumably terminal disease. In a moments notice, James decides to quit his job, cash out, and move to the BC wilderness with almost nothing. 

At this point, the horror part of this horror movie actually starts. James arrives in the woods and  quickly indicates to the audience that he's in over his head. When an extremely creepy and menacing presence begins to set its sights on James, director Trevor Juras really begins to show his capacity to instill a slowly-creeping dread rather than going for the cheap jump scare. Lit with nothing but flashlights during the night-time scenes, there is nothing legitimately and affectingly scarier than taking on James's point of view as he's stalked by a disturbed man in a bright red coat, a ghastly personification of the disease that's gradually killing him.  Director Trevor Juras brilliantly uses misdirection  to always keep you wondering where the camera, or the plot, might go next in order to maintain a sense of disorientation.  


You don't need much to make the wilderness of BC look beautiful, and it's on full display here. What's tricky is making such a giant, expansive setting seem like a tight space that's slowly closing in on James, and that's where the skill in The Interior's aesthetic lies.  It's as claustrophobic as a horror like The Descent. Coupled with the film's eerie, non-traditional classical music score, there's a David Lynchian feeling that there's something 'off' (in a calculated way) in even the most innocuous frame in The Interior's bizarre second half.


While it certainly isn't what you'd call commercial horror and doesn't provide a scare-a-minute jolts that such films often lean on, there's a lot to love about this twisted little wilderness advenure. If you're in the mood to work a little harder for your scares in exchange for something that'll sit with you a little longer, I'd have no reservations recommending an escape into The Interior.

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Check out Toronto After Dark's schedule, ticket info, and more here. You can find all of our coverage as it's released throughout the week here.

This piece was written by Sachin Hingoo, a freelance writer when he is not working at an office job that is purpose-built for paying the bills while he works as a freelance writer. His writing has appeared on Mcsweeneys.net, the CBC Street Level Blog, Ohmpage.ca, and The Midnight Madness Blog for the Toronto International Film Festival. He has also been featured at Toronto lecture series Trampoline Hall (which is rumored to be excellent). His mutant power is 'feigning interest'. You can read all of his posts here.



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Toronto After Dark Film Festival 2015: Gridlocked Review

There's a certain kind of action movie that's a bit like comfort food. No matter where you get it, it's always familiar, welcoming, and that comes with a degree of predictability. And that's ok! Not everything has to push boundaries too much, as long as what's there is well-crafted, as I'd say Gridlocked certainly is.

Everyone wants mostly the same things from a movie like Gridocked. A few laughs, a lot of punches to the face, whatever is happening here:

Dominic Purcell does the 'got your nose' move a couple of times in Gridlocked

and maybe some of this

Pop pop! It's Stephen Lang.

 without too much standing in the way. Where a lot of straight-to-VOD actioners go wrong is when they think they're smarter than they are, and fill the far-too-long spaces between the action sequences with faux art-school nonsense or overwritten rants that no one wants to see. Not so with Gridlocked! It's dumb (though charming) as hell but it gets to the fireworks factory right away.

Gridlocked might as well be a remake of the 1991 Michael J. Fox/James Woods action movie The Hard Way, lifting wholesale not only the storyline of a cocky actor being paired with a rough-edged cop as hijinks ensue, but the villain from that movie (Stephen Lang), who’s somehow even more over-the-top and unhinged here here than he was in the 1991 film. 

Danny Glover is assuredly too old for this line of work!
The Hard Way isn’t the only 90’s action film that Gridlocked pays homage to. The entire film is a love letter to those mindless actioners, many of them straight-to-video affairs, that I grew up with. Lethal Weapon, so heavily ‘honoured’ here that Danny Glover plays the police captain (and of course utters his iconic line), is probably the most high profile of these, but the tropes and formulas are so familiar that if you've seen practically any movie starring Steven Seagal, Dolph Lundgren, or Bruce Willis when he was cool, you'll feel right at home here. 

The one thing people will, and I daresay should, want most from Gridlocked is the action sequences, and I'd say they're better than expected, and at times approaching great.  The fights are done in a surprisingly realistic way (in a lot of these movies they seem a lot more cartoonish or generally more choreographed, like a Van Damme vehicle), all things considered, and there's a variety of creative setups to be used as backdrops. Gridlocked mostly seems to be trading on the fact that it's pretty violent, even for this sort of fare, and the R-rating is well-earned.

Trish Stratus does a really great job here and might have been a better lead.
The cast of Gridlocked, while none of them could carry this alone, make for a fun ensemble that always seems genuinely into the movie and nothing is phoned-in.  Dominic Purcell is fine as the lead, but it's the scene-chewing Cody Hackman, Trish Stratus, and the performances of both Lang and Danny Glover that make this one great. Stratus, in particular, does some great work here and shows way more personality than Purcell. A movie where these two roles were switched would be pretty outstanding.

If you're down for some silliness,  a titanic amount of spilled ammunition, blood squibs galore, and you thought 'hey, these Fast and Furious movies would be so much better without any cars in them', Gridlocked might just be your new jam. It's got all the right elements in mostly the right places, and frankly, that's a lot better than we normally get.


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Check out Toronto After Dark's schedule, ticket info, and more here. You can find all of our coverage as it's released throughout the week here.

This piece was written by Sachin Hingoo, a freelance writer when he is not working at an office job that is purpose-built for paying the bills while he works as a freelance writer. His writing has appeared on Mcsweeneys.net, the CBC Street Level Blog, Ohmpage.ca, and The Midnight Madness Blog for the Toronto International Film Festival. He has also been featured at Toronto lecture series Trampoline Hall (which is rumored to be excellent). His mutant power is 'feigning interest'. You can read all of his posts here.



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