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Flyers dominated in loss to Dawson Creek Thursday night

first_imgNext up for the Flyers is a tilt with the Manning Comets on Teddy Bear Toss night, Saturday evening at the North Peace Arena. Puck drop is at 8:30 p.m. FORT ST. JOHN, B.C. – The Fort St. John Flyers had their six-game winning streak come to an abrupt end Thursday night at the hands of the Dawson Creek Senior Canucks.The Flyers got outplayed in every facet of the game in the first period as the visitors opened the scoring just before the five-minute mark of play. Dawson Creek made it 2-0 with 4:44 to go before the first intermission.The middle frame saw the visitors keep the pedal to the medal and add to their lead two minutes in. With 8:29 remaining they found the back of the net for a 4-0 advantage, squashing any Flyers momentum from a Mike Van Nostrand.- Advertisement -The Senior Canucks score their fifth goal twenty-nine seconds into the final stanza. They ended the scoring at 9:30 to go in the third period with the 6-0 tally.“We played like a bunch of Peewees tonight, totally outworked and outclassed,” said head coach Andrew Leriger. We have twenty-eight guys signed to the roster with only three of which were out because of injury, our commitment level needs to be higher.”This is the first time in 45 matchups that the Flyers have been shutout by Dawson Creek.Advertisementlast_img read more

I, Tonya review – Margot Robbie doesn’t put a foot wrong

first_imgShare on Twitter Facebook Drama films Share via Email reviews Share on Facebook Support The Guardian Topics Share on Pinterest Since you’re here… Watch a trailer for I, Tonya. Pinterest Like the jaw-dropping triple-axel jump that made champion figure skater Tonya Harding famous, Margot Robbie’s performance in this satirical, postmodern tale of the disgraced star is a tour-de-force tornado that balances finely nuanced character development with impressively punchy physicality. Starring in a passion-project that she also produced, Robbie never puts a foot wrong as the proud Portland outsider (“Trashy Tonya doesn’t belong”) who outperformed her more privileged competitors, only to see her career implode after being implicated in a violent assault on fellow skater Nancy Kerrigan in 1994.Like the media frenzy that surrounded those infamous events, Craig Gillespie’s darkly comic film (from a sharp Steven Rogers script) filters its story through a prism of conflicting narratives that clash like blades on broken ice. The result resembles an adrenalised mashup of To Die For and Blades of Glory, with the stylish zing of American Hustle and a hint of the bruising domestic violence of Raging Bull.We first meet Harding as a plucky kid whose mother hits her with hands, hairbrushes and knives (“Oh please,” sneers Allison Janney’s chain-smoking LaVona, “show me a family that doesn’t have ups and downs!”). Later, Harding becomes a battered wife whose husband, Jeff (Sebastian Stan), thinks the best way to demonstrate his love is through death threats. Throughout, I, Tonya paints its subject as “a real person who never apologised for growing up poor and being a redneck – which is what I am”. A tough cookie in a sport full of little princesses, Harding makes her mark through extreme physical feats that few others would dare to attempt. But when Jeff and his fantasist-idiot sidekick, Shawn (a brilliant tragicomic turn from Paul Walter Hauser), decide to take competitive matters into their own hands, the result is as chaotic as it is catastrophic. Announcing itself as “based on irony-free, wildly contradictory, totally true interviews with Tonya Harding and Jeff Gillooly”, I, Tonya allows its key characters to speak directly to the audience, whether through faux interviews that reproduce the boxy frames of TV reportage, or through fourth-wall breaks during the fluid widescreen action. “This is bullshit, I never did this!” says Robbie’s Tonya as she sees off her abusive husband with a shotgun, only for Jeff to take pot-shots at her (“That’s not me,” he insists) to the strains of How Can You Mend a Broken Heart.At times I was reminded of Michael Winterbottom’s 24 Hour Party People, another furiously entertaining portrait of unreliable pop narratives. Later, as Harding puts herself through a Rocky-style boot camp – tossing logs and lugging huge bags of dog food through the woods – coach Diane Rawlinson (Julianne Nicholson) turns to the camera and says: “She actually did this.” As for who did what in relation to the assault on Kerrigan, the film makes its sympathies clear while inviting audiences to decide for themselves what actually happened.center_img … we have a small favour to ask. More people, like you, are reading and supporting the Guardian’s independent, investigative journalism than ever before. And unlike many news organisations, we made the choice to keep our reporting open for all, regardless of where they live or what they can afford to pay.The Guardian will engage with the most critical issues of our time – from the escalating climate catastrophe to widespread inequality to the influence of big tech on our lives. At a time when factual information is a necessity, we believe that each of us, around the world, deserves access to accurate reporting with integrity at its heart.Our editorial independence means we set our own agenda and voice our own opinions. Guardian journalism is free from commercial and political bias and not influenced by billionaire owners or shareholders. This means we can give a voice to those less heard, explore where others turn away, and rigorously challenge those in power.We hope you will consider supporting us today. We need your support to keep delivering quality journalism that’s open and independent. Every reader contribution, however big or small, is so valuable. Support The Guardian from as little as $1 – and it only takes a minute. Thank you. Figure skating The Observer Lending a propulsive edge to these kaleidoscopic stories are the ice-skating scenes, which are orchestrated like high-octane action sequences. Cinematographer Nicolas Karakatsanis and ice-skating camera operator Dana Morris conjure gliding images that evoke the in-your-face force of Harding’s routines, closer in tone to the crunchy musical car chases of Baby Driver than to any ice-ballet escapades. As for Robbie, every time she steps into the arena, she seems to be channelling James Caan’s gladiatorial Jonathan E from Rollerball.A soundtrack of smartly chosen tunes keeps the pace popping, from the cheeky use of Cliff Richard’s Devil Woman when LaVona first sets the three-and-a-half-year-old Harding (“she’s a soft four”) in pursuit of Rawlinson’s attention, to the brilliant use of Joanie Sommers’s Little Girl Bad as Tonya earns her “fuck you” moment and lands the triple axel.Amid the fallout of “the incident” that defined Harding’s villainous legacy (“It’s what you all came for, folks”), Rogers’s screenplay ensures that we never lose sight of her status as a survivor, someone seeking love and adoration in a world full of aggression, who habitually finds herself on the wrong end of a fist. It’s no surprise that Harding (who later took up boxing) became a “totally American” folk icon, her story inspiring documentaries, dramas, a musical, even a rock opera. “People either love Tonya or they’re not big fans,” says Rawlinson, “just like people either love America or they’re not big fans.” Whatever your views on the US in general and Harding in particular, you’ll leave this cheering for Margot Robbie. Bravo! Share on Messenger Margot Robbie: ‘I asked my girlfriends what they’d been through. And they were angry’ Read more Share on LinkedIn Twitter Share on WhatsApp Margot Robbie Reuse this contentlast_img read more