In recent years, some successful Canadian films have been criticized for being too "Hollywood."

Traditional Canadian films are being replaced by Hollywood-style movies.

"Men with Brooms is a derivative of The Full Monty, and Mambo Italiano is derivative of My Big Fat Greek Wedding," says Carleton University communications professor Ira Wagman. "It is not necessarily a negative approach, but it is driven by Telefilm's initiative to create box-office success."

In 2002, according to Telefilm, Men With Brooms became the highest grossing English-Canadian film since Porky's in 1982. Its North American box-office take was $3.7 million. The next year, it was beaten by Mambo Italiano, which took in $8.2 million.

The money for both films came partially from the federal film and TV funding agency, Telefilm Canada.

Telefilm's new direction

Telefilm is optimistic about this new approach for Canadian films.

"Canadian creators are forging closer ties with their public," Richard Stursberg, executive director of Telefilm Canada, said in a statement.

The agency altered its mandate two years ago, under Stursberg's direction, to shift from "artistic" to "commercial" films. Telefilm says the market share of Canadian film productions rose from 1.4 per cent in 2001 to 2.6 per cent in 2002, and then to 3.6 per cent in late 2003.

This isn't the first time Canadian filmmakers have been criticized for copying American films. In the 1970s and early '80s, during the "tax shelter years," generous government incentives caused a stampede into the film business.

The result was a wave of second- and third-rate American-style movies that made little money and were quickly forgotten, along with a few films that managed to succeed at the box office — such as Porky's and Ivan Reitman's breakthrough feature, Meatballs.

Wagman says Teleflim's drive for more profitable movies is pushing Canadian moviemakers back to their old Hollywood habits.

"Film producers are driven to produce profitable movies, as they will be punished if they don't do well with no more funding," Wagman says.

Producers can earn a "performance envelope," which allows them to bypass the tedious Telefilm selection process for two years, and gives them flexible access to Canadian feature film funds. But these envelopes are directly related to box-office performance, so unless a film makes money during the two-year period, the producers will lose their funding.

"Envelopes should only be earmarked for those companies with the most distinguished track record of performance at the Canadian box office," is how Telefilm puts it in its guide for companies that want to apply for an envelope.

A film needs to earn at least $1 million at the Canadian box office to be considered a hit.

Blockbuster hopeful Decoys hit Canadian theatres this week with limited publicity.

Aliens and hot blonds

One of the latest Canadian films to hit the theatres is Decoys, a sci-fi horror film full of aliens and "hot blonds" that is set at a Canadian university.

Decoys was filmed in Ottawa last year and was directed by Matt Hastings (the Outer Limits TV series), and the cast includes Canadians Corey Sevier and Enis Esmer.

"Everyone is now trying to make more commercially successful Canadian movies," says Neil Bregman, co-producer of Decoys and head of Sound Venture Productions, an independent film and television production company.

The $5 million film was partially funded by Telefilm and supported by the CHUM broadcasting group.

While Decoys is high in Canadian content, its style leans towards Hollywood and it was promoted by CHUM as "American Pie meets Species."

"I am waiting to hear the numbers," says Bregman. "But I am realistic, as there is no way we can compete with Hollywood blockbusters. How can a $1 million or $2 million Canadian production compete with a $50 million to $100 million American production?"

Decoys opened on Feb. 27, without expensive publicity, on about 100 screens across Canada.

Telefilm usually funds 30 to 40 per cent of the film production costs. Applicants may apply for a maximum of $3.5 million per film project from Telefilm. The rest of the funding can be raised from tax credits and distributors, but even those can be problematic.

"The distributors here don't like to give advance money," Bregman says. "It is just not part of the film culture here."

Telefilm's goal is to increase the domestic box office share for Canadian feature films to five per cent by 2006.

Currently, Telefilm says, Canadian films capture only two per cent.

"We'd like to see more Canadian films in Canadian theatres," says Jane Thompson, vice-president of communications at the Canadian Film and Television Production Association, a lobby group. "But it's a tough, competitive business."

Denys Arcand's Les Invasions Barbares (Barbarian Invasions) was funded by Telefilm. The film combined commercial appeal and had distinct Canadian artistic touch, and won the Academy Award for best foreign-language film this year.

But critics say Quebecois films are made under different conditions.

"Quebec is different from the rest of Canada, as it has a highly developed film industry, where they nurture and develop their talents," says Bregman.

"English-Canadian movies haven't yet found their niche with the Canadian audience."

Related Links Telefilm Canada Canadian Film and Television Production Association The Academy Awards Canadian Heritage's Film Department