Movie reviews: It’s hard to dislike a movie as relentlessly upbeat as ‘Gran Turismo: Based on a True Story’

GRAN TURISMO: BASED ON A TRUE STORY: 3 STARS

Sometimes truth is truly stranger than fact. “Gran Turismo: Based on a True Story,” a new anything-is-possible movie, now playing in theatres, is the unlikely, but true, story of Jann Mardenborough, a gamer who defied expectations in the real world.

“Listen son,” says his father Steve. “You think you’re going to play your stupid video games about cars, and you’re going to become a race car driver?”

When we first meet Jann (Archie Madekwe) he’s a 19-year-old underwear salesperson, who, when he isn’t selling briefs, spends his time playing Gran Turismo, a racing simulation video game that emulates the experience of elite car racing. He dreams of getting behind the wheel for real, but will his thousands of hours on the simulation translate to the real world?

He gets a chance to find out the answer to that question when Nissan motorsport executive Danny Moore (Orlando Bloom) proposes a wild marketing idea. He wants to gather the best Gran Turismo players, train them at Nissan’s GT Academy, and, under the watchful eye of crusty trainer Jack Salter (David Harbour), enroll them in real life races. The winners of the competition will earn a spot on Team Nissan and a “place in history.” Jann’s high scores catch Moore’s attention, and after a qualifying simulation, Jann is off to the races. Literally.

Despite initial setbacks, the disdain of pit crews and the other drivers who consider him a novelty, a simulation driver playing in the big leagues, Jann excels and finds himself pitted against Europe’s finest drivers.

“Gran Turismo: Based on a True Story” is essentially a series of races with some family drama, a hint of romance, some twisted metal and flying tires and heaping loads of product placement and sports cliches wedged in between. It’s a crowd pleaser with some fist-in-the-air moments, but emotionally, it’s on cruise control. Director Neill Blomkamp never strays from the traditional underdog sports movie formula.

Mardenborough’s story is remarkable. Unfortunately, the telling of it isn’t as remarkable. It goes pedal to the metal on sports cliches—“I’m going to push you harder than you’ve ever been pushed before,” roars Salter— and follows the same path to the big race as many others have taken before.

But sports movies are never really only about the sport. They are about universal themes, like, in this case, an underdog following his dreams. On that score, “Gran Turismo” works well enough. The story itself is manipulative, but when the movie is speeding around a track at 200 miles an hour, it is an exciting manifestation of Mardenborough’s dreams coming true. When the characters are talking, it is more a cavalcade of cliches and easy exposition.

Of course, there are exceptions. For example, Mardenborough listens to soft rock to psyche himself for races, leading Salter to bellow, “You take all that Kenny G anger and you release it.” It’s a good, funny line and it ranks up there with my other favorite movie line, “I’m from Waterloo, where the vampires hang out,” from “Blackberry” earlier this year.

It’s hard to dislike a movie as relentlessly upbeat as “Gran Turismo: Based on a True Story.” As the cars whiz around the track it is all forward momentum in service of the inspiring story. It’s just a shame that the human parts of the tale aren’t as immersive as the racing scenes.

GOLDA: 3 STARS

“Golda,” a new biopic of Israeli prime minister Golda Meir is not a cradle-to-grave look at the life of the first woman in the world to serve as a head of government in a democratic country. Instead, the film, now playing in theatres, focuses on the eighteen days of the Yom Kippur War in October 1973.

Hidden under an inch or two of make-up, Helen Mirren plays the chain-smoking, 75-year-old Meir with equal parts fragility and steeliness. Confronted with the news that Syrian forces are gathering on the Golan Heights, she convenes a military consultation with Mossad chief Zvi Zamir (Rotem Keinan). Ignoring his warnings of imminent invasion, she approves full-scale mobilization but rejects a preemptive strike, fearing the perception of warmongering would affect Israel’s access to foreign aid and military support from their allies, especially the United States.

“My gut told me that war was coming and I ignored it,” she says. “I should have mobilized that night. All those boys who died, I will carry the pain of that to my grave.”

Told primarily in flashbacks— Israeli director Guy Nattiv uses Meir’s testimony to the Agranat Commission into the failings of the Israel Defense Forces in the prelude to the war as a framing device—“Golda” is actually the story of two battles, the Yom Kippur War against Egypt, Syria, and Jordan and Meir’s struggle with cancer.

Narrowing the film down to the Yom Kippur War allows for a focused look at those events but feels like part two of three of the Golda Meir story. A life of the magnitude and influence of Meir’s deserves and requires historical context. Watching the truncated story of “Golda” I found myself wishing for a more detailed account à la “The Crown,” but without the soapy elements.

The casting of Mirren was controversial—critics said an Israeli or Jewish actor should have been hired to play Israel’s most important female figure—but in Meir’s more intimate scenes, Mirren dives deep to portray the character’s many facets. Her eyes moisten at the reports of the horrors of war, she is resolute as the only woman in the room and, surprisingly, even humourous.

The film works best in Mirren’s scenes with Henry Kissinger (Liev Schreiber) and her assistant Lou Kaddar (Camille Cottin). Her cat-and-mouse with United States Secretary of State Kissinger is far more playful than you might imagine.

“I am first an American, second a secretary of state, third a Jew,” says Kissinger. “In this country,” Meir replies, “we read from right to left.”

DREAMIN’ WILD: 3 ½ STARS

“Dreamin’ Wild,” a new film based on real-life musicians Donnie and Joe Emerson, is a movie that examines failure and success, and the toll each takes on the recipients.

Growing up on a 1,600-acre farm in Fruitland, Washington, population 751, Donnie and Joe (played as teens by Noah Jupe and Jack Dylan Grazer) dreamt of becoming professional musicians. At age 15 and 17, respectively, they took a tentative step toward their goal, recording an album of Donnie’s songs in a makeshift studio on the back 40. Soulful, introspective and melodic, their soft-rock album “Dreamin’ Wild” was released to no fanfare and even less acclaim.

Cut to thirty years later. Donnie (now played by Casey Affleck) and his wife Nancy (Zooey Deschanel) make ends meet playing weddings while Joe (Walton Goggins) has given up the drums in favor of building houses. The flames of musical success are rekindled, however, when a copy of the album is rescued from a delete bin and falls into the hands of an indie label executive (Chris Messina) who believes in the music and wants to reissue the album.

The belated success—“To twist a Brian Wilson phrase,” raves online music publication Pitchfork, “[the album] is a godlike symphony to teenhood.”—uncorks a deep wellspring of emotion in Donnie. “I feel like this dream is coming true but the wrong people are in it,” he says.

Filled with regret at a musical life left unfulfilled, at the life-changing amount of money his father lost investing in his music and the toll his decisions made on Joe, he bubbles over with guilt and shame. “Seems like a lot of things were easier when I was a teenager,” he says.

“Dreamin’ Wild” is a slow burn of a movie, like a song that meanders through verse after verse after verse before getting to the chorus. The leisurely approach allows for Affleck’s trademarked sorrowful inner monologue to shine, to do the heavy lifting. His bittersweet performance pits Donnie’s ambitions against his anxieties, a combustible combo that results to one of the film’s highlights, a heartfelt reckoning between Donnie and his father (Beau Bridges). The scene is a quietly eloquent testament, beautifully performed, to music’s ability to bridge generational gaps and it is a highlight in a film that values understated moments.

Pohlad tells the story on a broken timeline, toggling back and forth between Donnie and Joe’s teen years and present day, creating a complete picture of Donnie’s artistic birth and the subsequent turmoil his commitment to music and his dashed dreams has caused over the years.

Anchored by Affleck’s performance, “Dreamin’ Wild’s” portrait of a tortured artist is like the music Donnie performs in the film; thoughtful, gentle and emotionally authentic.