There’s a moment in Al Pacino’s new film Danny Collins when the eponymous character, alone in his dressing room, touches the ornate Cross nested in his ancient rock star chest hair. The gesture is cinematic sleight of hand.
In the next frame, Collins uncaps the crucifix and pours out a few lines of cocaine to put up his nose so his show can go on. The sign of our faith, in the fingers of a pop icon, turns into yet another clever cache for the pursuit of becoming comfortably numb.

The Good Shepherd doesn’t want Torontonians to forget there are people living on the streets, sleeping in doorways, eating whatever they can find while the rest of us shop for the perfect Christmas morning surprise.