Rub & Tug

I'm afraid this one is pretty dreadful, despite several good performances and generally competent acting-for-the-camera direction. It's a first and last attempt by writer-director Soo Lyu. "Rub and Tug" (2002) is one of the unfortunate by-products of Canada's program to promote home-grown film-making. While the program encourages worthwhile efforts like "New Waterford Girl" it opens the door for untalented novices like Lyu who did not have to aggressively pitch this project but was green-lighted without an adequate examination of her script or her credentials.

You don't mind the low budget because the shabby production design, bad lighting, poor audio, and dreary docu-style shot selection is consistent with the subject matter; the workers in Canadian massage parlors. But the dialogue and the plotting doesn't give the actors anything to work with, the editor much to assemble, or a viewer any mental challenge other than suspension of disbelief. When your story is this simplistic the last thing you need is a muddled storytelling technique; even though nothing happens, the movie is hard to follow and point-of-view impossible to pin down.

Don McKellar's performance as Conrad is several notches below his similar characterization in "Exotica". Lindy Booth's Lea is her standard quirky airhead; as always she is likable but here she is little else. Kira Clavell's Cindy is a pleasant surprise, a kind of Asian Shelley Duval. The only other role of any consequence, Tara Spencer-Nairn's street-wise Betty, more than cancels out her excellent performance in "New Waterford Girl". Her shallow performance in "Rub and Tug" should curtail any tendency to seek out other films in which she has appeared; unless you need further confirmation of "Waterford" director Alan Moyle's skill in working with young actors.

You quickly conclude that Lyu's reptilian brain cannot grasp concepts like plot complexity, so the need to insert a lazy and lame "deus ex machina" device toward the end is hardly a surprise. Still it could be worse, the listless story has so little internal logic anyway that the unlikely ending is not as painful as would normally be the case.

Then again, what do I know? I'm only a child.

This was an original story line about a Rub & Tug (massage parlor), directed by Soo Lyu who is very new to movie making and has proven that she has got what it takes to put an entertaining movie together.

Clients get more than a massage at this establishment, but the girls refuse to do full service (sexual intercourse). A hand job is about as far as they will go with the customers. The story focuses on three girls and their boss. There is an interesting friction between the gals and their boss which is always amusing. The film doesn't actually show any sexual scenes. The most sexual scene is a dream sequence involving a melting ice-cream cone which won the audience over.

The story was inspired by and based on true stories of many gals working in Rub & Tugs. There is a great twist at the end which I won't tell you about as I hope you'll see this film and I don't want to ruin it for you. I can see this becoming a great cult classic along the lines of Mall Rats and Dogma.

By Greg Ursic

Everyone, whether they want to or not, remembers their first job: trying to figure out what to wear to the interview, being worried that you'd do the wrong thing or that someone would find out that you really had no clue as to what you were doing. Now imagine your stress level if you happen to be a bookworm, with limited social skills and your first job involves managing sex trade workers.

For Conrad - professional student and recent university grad - having a job has, up until recently, been a novel concept. Determined to learn all he can he decides that a great place to learn about business and develop his people skills is to manage a massage parlour. After all, how difficult could it be? All he has to do is answer the door, treat the customers nicely, and ensure that the women follow the rules. Unfortunately for Conrad, the women have other ideas, and in the battle between book smarts and street smarts, there are bound to be some nasty casualties.

Before I proceed, there's a dirty little secret that has to be revealed - this is a Canadian film. But put your fears to rest, this isn't some esoteric experimental bouncing handy cam feature that can only be understood by fine arts post docs. The title alone should be enough to pique people's interest and dispel anyone's notions of a stodgy boring film: the name refers to the service provided at the full-body massage parlours, or as it's known in the trade a "massage with a happy ending" (in this case a hand job).

Don McKellar, Canada's hardest-working actor, is brilliant as Conrad, deftly capturing the character's blunt shell-shocked naiveté both in speech and actions. Conrad is so clearly out of his element that it is painful to watch as he stumbles from one situation to the next, clearly unaware of what he's supposed to be doing. One of the film's funniest moments is a take on DeNiro's classic "You talking to me?" tough guy scene. McKellar (for whom the role was literally written) also manages to make Conrad's gradual transformation believable. The supporting cast also does a terrific job.

Tara Spencer-Nairn is commanding (think dominatrix) as Betty the brassy business savvy street-smart leader of the group. While we get to see her tough exterior (figuratively speaking), Betty's soft and silly sides also peek out. Lindy Booth's Lea defines quirky as the happy-go-lucky member of the group whose interest in the business is driven more by her desire to feel a "skinship" with the patrons rather than cash. And how can you not love a girl with a nipple fetish? The last member of the group is Cindy, the newcomer played with a fresh wide-eyed innocence by Kira Clavell. Rounding out the players is the collection of customers who infuse the film with ribald humor.

The interactions between the characters feel natural which is essential, given the comedic nature of the film - if the situations seem forced, they won't achieve the desired effect. Soo Lyu, the film's writer/director, achieved this through a well-written script and by allowing the actors leeway to improvise both on and off camera.

As most of the action happens indoors, you would be hard pressed to guess that this film was made on a limited budget: the production values are solid, the editing is tight, and the story is evenly paced. Add a lively soundtrack (with a touch of porno chic), punchy writing that flows well, interesting subject matter with a side of voyeurism, and you have the ingredients for a thoroughly enjoyable film.

Seems to be a very true-to-life portrayal of life in a body rub parlor. The movie tries not to be judgemental about the work these women do, but does present it from their point of view. A lot of daily challenges, of going far enough without going too far, keeping it legal, etc.

Don McKellar was brilliant as the nerdy manager of the parlor, who seemed to be in way over his head with this job. He gradually got very good at this job in a big way.

There's a very twisted humorous ending that came out of nowhere. Extremely imaginative. It sort of kept true to the nature of these people, where nothing is as it seems on the surface.

Rub & Tug is promoting itself as a real account of life in the seedy body rub parlors of Toronto. Director and co-screenwriter Soo Lyu spent a year researching the project, but there is none of the grit you would expect from a movie that explores the underbelly of the sex trade. Instead Rub & Tug is a starkly clean, sanitized look at three women who work in that hazy area between masseuse and prostitute - a sexual sitcom. There have been steamier episodes of Three's Company. Don McKellar as the conniving parlor manager acquits himself with his usual bumbling charm, although isn't given enough to do. The same goes for parlor employees Lindy Booth, Tara Spencer-Nairn and Kira Clavell, who fumble through the predictable material. Lyu imbues the script with the concept that sex workers aren't victims, and we shouldn't pity them. The trouble is we don't really care about these characters, so the whole thing falls flat.