tag:blogger.com,1999:blog-73066369201577025782023-11-16T03:36:17.358-08:00RoboapocalypseSpecializing in the Latest of Independent and Foreign Cinema
By Joshua HandlerRoboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.comBlogger595125tag:blogger.com,1999:blog-7306636920157702578.post-29050189216650946902017-09-26T11:08:00.002-07:002017-09-26T11:08:45.465-07:00AMERICAN MADE Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Courtesy of Universal Pictures<br /></td></tr>
</tbody></table>
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<b><span style="font-size: x-large;">AMERICAN MADE </span></b></div>
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2017, 115 minutes </div>
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Rated R for language throughout and some sexuality/nudity</div>
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<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
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<b><span style="font-size: large;"><br /></span></b></div>
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Some "based on a true story" movies exist to be meditations or reflections on the world like <i>The Social Network</i> or the new (and excellent) <i>Battle of the Sexes</i>. Others simply want to entertain. Doug Liman's new film, <i>American Made</i>, falls squarely, proudly in the latter category. The film tells the story of Barry Seal, a cigar smuggler and TWA pilot who is recruited by the CIA to fly planes over South America to secretly photograph Communist groups. However, Seal's talents are also recognized by Pablo Escobar's nascent Medellín Cartel who begin to pay Seal obscene amounts of money to smuggle drugs into the United States from South America while on his government missions. As Seal becomes increasingly wealthy and used by both the US government and the Cartel, his life spirals out of control.</div>
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Liman has proven adept at creating fast-paced thrillers over the years with <i>Edge of Tomorrow</i>, <i>Mr. and Mrs. Smith</i>, and <i>The Bourne Identity</i>, and <i>American Made</i>, while not as action-packed as the aforementioned films, is no exception. Liman and screenwriter Gary Spinelli keep the film moving at a clip, never allowing it to slow down. Every few minutes something happens that further complicates Seal's life and gives the audience something else to laugh at or marvel at. As a side note, I'm curious about how much of <i>American Made </i>is true and how much was invented for the film, as the story on screen could easily have been played much darker instead of for laughs.</div>
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While <i>American Made </i>is a non-stop, frequently jaw-dropping story, it wouldn't work without a major star leading it. Thus, Tom Cruise was a perfect casting choice. Cruise brings a sense of charisma and confidence lacking in most actors nowadays. Every time Cruise steps in front of the camera, everyone else seems to fade away. While the character of Barry Seal feels less like a character and more like Tom Cruise, he works and carries the movie effortlessly.</div>
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Overall, <i>American Made</i> is solid piece of entertainment from a director and star who consistently deliver. It isn't groundbreaking or life-changing, but it is a fascinating behind-the-history story that should please both fans of Cruise and adults looking for a fun night out at the movies.</div>
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<b>3/4</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-17232693535073231192017-09-22T13:03:00.002-07:002017-09-22T13:24:11.375-07:00STRONGER Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2ouHJjXBf3dym5CbYqLImNrnRpEaW0m8S0iJ2eRKlTIk94RBfQHvn8bAFc7dW51dAkIzss9GGvfJYYitQG8Ln1MT4mL754GfMHuisBrTQgIeG5ogwTqUcJjZR99zBhxJhLWHcS2HCEtU/s1600/STR_D015_07727_R.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="863" data-original-width="1600" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd2ouHJjXBf3dym5CbYqLImNrnRpEaW0m8S0iJ2eRKlTIk94RBfQHvn8bAFc7dW51dAkIzss9GGvfJYYitQG8Ln1MT4mL754GfMHuisBrTQgIeG5ogwTqUcJjZR99zBhxJhLWHcS2HCEtU/s400/STR_D015_07727_R.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Tatiana Maslany and Jake Gyllenhaal in STRONGER</b><br />
Photo credit: Scott Garfield<br />
Courtesy of Lionsgate and Roadside Attractions</td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">STRONGER</span></b></div>
<div style="text-align: center;">
2017, 119 minutes</div>
<div style="text-align: center;">
Rated R for language throughout, some graphic injury images, and brief sexuality/nudity</div>
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<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
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<b><span style="font-family: inherit;"><br /></span></b></div>
<div style="line-height: normal;">
<span style="font-family: inherit;">In the past 10 months, there have been two films about the Boston Marathon bombing of 2013: Peter Berg's intense PATRIOTS DAY and now David Gordon Green's STRONGER. While these two </span>share basic subject matter<span style="font-family: inherit;">, they are very different from one </span>another.<span style="font-family: inherit;"> PATRIOTS DAY focused around the bombing itself and the manhunt that followed. STRONGER has a brief scene of the bombing but mostly focuses around the physical and psychological effects it had on Jeff Bauman (Jake Gyllenhaal) and his girlfriend, Erin (Tatiana Maslany). </span></div>
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<span style="font-family: inherit;">Jeff was standing next to one of the bombs when it exploded, causing him to lose both of his legs. In the ensuing months, Jeff </span>struggled<span style="font-family: inherit;"> with the trauma of the incident as well as the unwanted heroic designation his city gave him. </span></div>
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<span style="font-family: inherit;">Structurally, STRONGER is another inspirational film about a man struggling with adversity. However, largely due to Green's sensitive direction and careful handling of the love story at the film's center, STRONGER is elevated above other films of its kind. This isn't a "greatest hits" version of Bauman's story - Green isn't interested in that. He immerses the audience in Bauman's life and world, choosing to treat the more triumphant moments with equal importance to the smaller ones such as when Jeff and Erin sit on Jeff's roof enjoying each other's company - a rare </span>moment<span style="font-family: inherit;"> of calm. </span></div>
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<span style="font-family: inherit;">Bauman isn't depicted as a hero. He is a flawed human being whose irresponsibility and consistent drinking </span><span style="font-family: inherit;">are amplified by the trauma of the bombings.</span> It is to the credit of Green and screenwriter John Pollono that Bauman's personal troubles aren't glossed over and that he isn't depicted as the hero that he never wanted to be. With Jeff's overpowering yet loving mother (Miranda Richardson in yet another performance that proves why she's one of the most versatile actresses working today) straining his relationship with Erin and his increasing reliance on alcohol, Jeff's life takes a downturn, plunging him to new lows. Jeff bounces back, but when he does, it's treated as a series of small triumphs, not one large moment of triumph where the music blares and the camera swoops. </div>
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Gyllenhaal and Maslany individually give performances of quiet power individually while complementing each other together. The internal torment and physical challenges that affect Jeff throughout the film are brought to life with a sense of dedication, dignity, and realism by Gyllenhaal. There's never a moment when this performance feels like a performance. Erin is Jeff's rock and his most consistent support and Maslany conveys this with grace and subtlety. Watching Gyllenhaal and Maslany track the highs and lows of Jeff and Erin's tumultuous yet committed relationship form the emotional core of this film, keeping the audience consistently engrossed and engaged.</div>
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Overall, <i>Stronger</i> is a familiar story told with skill and a genuine sense of care. There's a good chance audiences will dismiss this as either another inspirational drama about overcoming the odds or another Boston Marathon bombing movie which would be unfortunate, as this is an unexpectedly unconventional film that could inspire not through contrivance and cliché but rather through the sheer integrity and perceptiveness of the work of those who made it. </div>
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<div style="line-height: normal;">
<b>3.5/4</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-90195242589186870702017-05-03T23:52:00.000-07:002017-05-03T23:52:14.777-07:00RISK Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGjJwNrnMfgne_r19ft8t64B8tLzFhuTjrkO7XAo8QGg2U3dYbXFM4IVCZjfePQ6V5hv2KPCER_dTcVpqB5op-C7mw2WQ58I6xqlWQUf2w0p6weLlOoOqDk-UUhO6148xu4vTMYB0CeP-7/s1600/Risk-1600x900-c-default.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGjJwNrnMfgne_r19ft8t64B8tLzFhuTjrkO7XAo8QGg2U3dYbXFM4IVCZjfePQ6V5hv2KPCER_dTcVpqB5op-C7mw2WQ58I6xqlWQUf2w0p6weLlOoOqDk-UUhO6148xu4vTMYB0CeP-7/s400/Risk-1600x900-c-default.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Neon</b></td></tr>
</tbody></table>
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<b><span style="font-size: x-large;">RISK</span></b></div>
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2017, 87 minutes</div>
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Not Rated</div>
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<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
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<b><br /></b></div>
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Laura Poitras has long been a respected documentarian, but
in 2014, she achieved a new level of fame and importance with her Oscar-winning
CITIZENFOUR in which she interviewed Edward Snowden as he blew the whistle on
the US government. The film was history in the making and kept a secret until a
few weeks before its surprise premiere at the New York Film Festival. <o:p></o:p></div>
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CITIZENFOUR was made while Poitras was a few years into
making RISK, a documentary about Julian Assange and WikiLeaks that’s as
unnerving and essential as CITIZENFOUR. In 2011, Poitras began interviewing
Assange, continuing for multiple years. The footage is unsurprisingly
jaw-dropping, with the most memorable being when Assange disguises himself and
flees to the Ecuadorian Embassy in London (where he remains to this day).<o:p></o:p></div>
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RISK originally premiered in 2016 at the Cannes Film
Festival to mixed-positive reviews. But, the story of Assange and WikiLeaks
kept taking dark twists and turns, and Poitras decided to restructure and recut
the film, adding new footage and information as recently as two weeks ago. As
revelations about the 2016 U.S. Presidential Election were revealed, Poitras
reportedly made the film less favorable to Assange and WikiLeaks.<o:p></o:p></div>
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Like CITIZENFOUR, RISK takes that which we read in the news
and makes it personal. Poitras very responsibly (you’ll know why I use the word
“responsibly” when you view the film) inserts herself into RISK with voiceovers, adding some much-needed commentary to the film that further distinguishes it from any others that will likely be produced about Assange. </div>
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While
Poitras captured some stunning footage, Assange largely remains frustratingly
elusive. We do not gain many deep insights into his thought process and don’t
entirely understand him better by the film’s end. That being said, when the information and footage are this riveting, flaws like the above don't detract much from the overall film.<o:p></o:p></div>
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RISK is an important piece of work both for the questions it raises
and for the historical value of its footage. Anyone with any interest in world
news should not miss this film. Poitras continues to be the foremost filmmaker on docs about government whistleblowers and surveillance, and given that RISK was produced over a period of six years, one only wonders what bombshell Poitras is working on now.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">3.5/4<o:p></o:p></b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-66171083177629882872016-07-29T22:05:00.003-07:002016-07-29T22:05:49.127-07:00BAD MOMS Review<div style="line-height: normal; text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3hFf_wMZlFJbOtE6gPjYF2XQi-ipOz6cBwUXZ2SrS-kwTBafbuuofx9ELj_KQP4rTp4wfmELYOyjRNXPtaKXNenQhke7DsWIk7dEGAXsFMDLpC6HpURQfpnsA4fqufTtpiW5XlsOObQ63/s1600/bad-moms-df-12691r1_rgb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3hFf_wMZlFJbOtE6gPjYF2XQi-ipOz6cBwUXZ2SrS-kwTBafbuuofx9ELj_KQP4rTp4wfmELYOyjRNXPtaKXNenQhke7DsWIk7dEGAXsFMDLpC6HpURQfpnsA4fqufTtpiW5XlsOObQ63/s400/bad-moms-df-12691r1_rgb.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of STX Entertainment</td></tr>
</tbody></table>
<b><span style="font-family: inherit; font-size: x-large;">BAD MOMS</span></b></div>
<div style="line-height: normal; text-align: center;">
<span style="font-family: inherit;">2016, 101 minutes</span></div>
<div style="line-height: normal; text-align: center;">
<span style="font-family: inherit;">Rated <b>R </b>for sexual material, full frontal nudity, language throughout, and drug and alcohol content</span></div>
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<b><span style="font-family: inherit; font-size: large;">Review by Adam Gordon</span></b></div>
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<span style="font-family: inherit;">You would assume that the title says it all. You've seen that bloody awful trailer and have already dismissed it as idiotic. What was Mila Kunis thinking? You saw the TV ad and thought, "Who are they kidding with that derivative crap?" And you saw the poster and were appalled! But then something strange happened. The unbelievable occurred. A shocker. A real Hollywood mystery. The word-of-mouth on <i>Bad Moms</i> was quite good and the reviews coming out now are quite positive.</span></div>
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<span style="font-family: inherit;">Stop reading instantly if you are not one to suspend disbelief and let go of your inhibitions. Just enjoy a fun 90 minutes of old-fashioned raunchiness. </span><span style="font-family: inherit;">In the vein of an </span><i style="font-family: inherit;">Old School</i><span style="font-family: inherit;">, </span><i style="font-family: inherit;">Anchorman</i><span style="font-family: inherit;">, or </span><i style="font-family: inherit;">Wedding Crashers</i><span style="font-family: inherit;">, but playing more like a </span><i style="font-family: inherit;">Trainwreck</i><span style="font-family: inherit;"> or </span><i style="font-family: inherit;">Bridesmaids</i><span style="font-family: inherit;"> companion, <i>Bad Moms</i> is the story of Amy (Mila Kunis) an over-committed housewife whose marriage breaks up right as she is about to break. She joins forces with two other stressed-out moms played by the brilliant Kathryn Hahn and sly Kristen Bell, and the trio run out on the PTA meeting, liberating themselves from all the motherly and family duties. Of course, this puts them right on course for a showdown with Bitch Queen Head Mother of the PTA (the ever-hot Christina Applegate), the school itself, and their own families.</span></div>
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<span style="font-family: inherit;">While the script to <i>Bad Moms</i> has nothing on the likes of <i>Trainwreck</i> or <i>Bridesmaids</i>, it does have many, many laughs and will leave you feeling good. It won't change your life, or the human experience, but it does show that we have progressed far enough to say that it is impossible to be a perfect mom, and it is damn hard to have it all!</span></div>
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<b><span style="font-family: inherit;">7 out of 10</span></b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-64697098676860864312016-04-20T20:47:00.000-07:002016-04-20T20:47:04.024-07:00DON'T THINK TWICE: Tribeca Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAygUIDUV0V-Jz8rDdIllVozj6kU0dFyCV4ytAw95JZ0AJm7d3xBRvgd1hS_ODha8zJPRrAWh-mAcKqx5GxbHVhkd08olNzthbLbNmueG9S9BZum915e_FRJx25majWtDRdYESSCCW7607/s1600/FilmStill-23.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAygUIDUV0V-Jz8rDdIllVozj6kU0dFyCV4ytAw95JZ0AJm7d3xBRvgd1hS_ODha8zJPRrAWh-mAcKqx5GxbHVhkd08olNzthbLbNmueG9S9BZum915e_FRJx25majWtDRdYESSCCW7607/s400/FilmStill-23.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of The Film Arcade<br /></td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="font-family: inherit; font-size: x-large;"><b>DON'T THINK TWICE</b></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">2016, 90 minutes</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;">Not Rated</span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: inherit; font-size: large;"><b>Review by Joshua Handler</b></span></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><b><br /></b></span></div>
<span style="font-family: inherit;">Many films have been made about the art of comedy, but few, if any, have been as expertly executed as Mike Birbiglia's newest film, <em>Don't Think Twice</em>, an ensemble film about The Commune, an improv troupe whose members face resentment when one of their members, Jack (Keegan-Michael Key), is hired by <i>Weekend Live</i> (a parody of <i>SNL</i>) and the rest of the members aren't. </span><br />
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<span style="font-family: inherit;">The film revolves around the theme of improv being something that only happens for a brief moment in one's life before leaving. This bittersweet theme informs the tone of the film, creating something that's alternately laugh-out-loud funny and heartbreaking. With <em>Don't Think Twice</em>, it's almost as if Birbiglia has captured lightening in a bottle. The main ensemble is in perfect sync, the jokes land hard, and the drama stings. It's like a comedic symphony.</span></div>
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Birbiglia has not set out to simply make his audiences laugh - that would be far too simple. His film is a complex storm of emotions that, not unlike Jill Soloway's devastating <em>Transparent</em>, often mixes hard laughs with moments of harsh drama. But, like his characters, Birbiglia never forgets that at the end of the day, no matter what has transpired, we all need to laugh. Through scenes both improvised and scripted, Birbiglia and cast earn every laugh, and laughs were in ample supply at Monday evening's New York Premiere.</div>
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Also of note are Gillian Jacobs' performance as Samantha, Jack's girlfriend and Commune co-member, and Joe Anderson's naturalistic cinematography. Jacobs' performance is the beating heart behind the film, and with raw messiness, Jacobs carries much of the film's emotional weight. Her (and the film's) climactic scene are nearly transcendent.<br />
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Anderson, a very talented cinematographer whose work on Andrew Renzi's previous two films (both Tribeca world premieres), <i><a href="http://roboapocalypse.blogspot.com/2014/04/fishtail-tribeca-film-festival-2014.html">Fishtail</a> </i>and <i><a href="http://roboapocalypse.blogspot.com/2015/04/tribeca-review-franny.html">The Benefactor</a> </i>(previously titled <i>Franny</i>) was nothing short of astounding, does more excellent work here, using fluid camera movements to capture the loose nature of the comedy.</div>
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Overall, <em>Don't Think Twice</em> is not only one of the best of the dozen or so films I've seen thus far at Tribeca, it's one of the most insightful films about comedy to have been made. Birbiglia has created something very special, something that comedians will appreciate as much as general filmgoers. This is a universal story about friendships and the lines we all must walk when navigating them. When <i>Don't Think Twice</i> releases this summer, it's very important that you see it. Small indie films like this one need all the support they can get so that filmmakers like Mike Birbiglia can continue creating gems like <i>Don't Think Twice</i>.<br />
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<b>4/4</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-3648960964827926352016-04-16T21:55:00.004-07:002016-04-16T21:55:44.863-07:00SING STREET Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSTL-toyBFB6SCZ_OuD69cc58ke42Zuhn6LGGNp7_3XIXmrhKUVGDQ4LL9aiBXAyDMiG9HiWBgripGp_yY8flxEXoM4WZbIe3W0rGQdYK_JkdCNsZ0bdPR7HAwPO_jc7BO8rtN_AqunNP/s1600/sing_street_band_web_10%25281%2529_pop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMSTL-toyBFB6SCZ_OuD69cc58ke42Zuhn6LGGNp7_3XIXmrhKUVGDQ4LL9aiBXAyDMiG9HiWBgripGp_yY8flxEXoM4WZbIe3W0rGQdYK_JkdCNsZ0bdPR7HAwPO_jc7BO8rtN_AqunNP/s400/sing_street_band_web_10%25281%2529_pop.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The cast of SING STREET</b>Courtesy of The Weinstein Company<br /></td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: x-large;"><b>SING STREET</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">2016, 105 minutes</span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">Rated <b>PG-13 </b>for thematic elements including strong language and some bullying behavior, a suggestive image, drug material and teen smoking</span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: large;"><b>Review by Joshua Handler</b></span></span></div>
<div style="text-align: center;">
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<span style="background-color: white;"><span style="color: #222222; font-family: inherit;">If every movie was like </span><i style="color: #222222; font-family: inherit;">Sing Street</i><span style="color: #222222; font-family: inherit;">, the world would be a happier place. A blast of perfectly-calibrated joy, energy, and charm, John Carney's brilliant new film is his third music film and is so wonderful that it can be mentioned in the same breath as his 2007 Oscar-winning masterpiece, </span><i style="color: #222222; font-family: inherit;">Once</i><span style="color: #222222; font-family: inherit;">. The film follows Conor (Ferdia Walsh-Peelo), a teen who starts a band to impress a girl, Raphina (Lucy Boynton), against the backdrop of 1985 Dublin. Music becomes an outlet for Conor to escape his school and family troubles, eventually becoming a way for him to break free. </span></span><br />
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<span style="color: #222222; font-family: inherit;">Few films capture the youthful optimism that </span><i style="color: #222222; font-family: inherit;">Sing Street</i><span style="color: #222222; font-family: inherit;"> does. This film is obviously a personal project for Carney, and he infuses it with a rare kind of authenticity, especially through his and Greg Clark's soulful, energetic soundtrack (it would be very easy to mistake a number of their songs for authentic '80s pop hits) and the performances of the cast. Ferdia Walsh-Peelo is a major new talent. As the lead of the film, he makes us all believe in and cheer for Conor. Walsh-Peelo captures the kind of I-can-do-anything ambition that only teens have when starting their lives. </span></div>
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<span style="color: #222222; font-family: inherit;">As Raphina, Lucy Boynton is alluring, seductive, and sweet. She and Walsh-Peelo made me feel as if I was first falling in love all over again through their convincing chemistry. And, Jack Reynor provides much of the film's emotional core as Conor's troubled brother, Brendan. His quiet yet naturally charismatic performance makes every second of his limited screen time potent.</span></div>
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<span style="color: #222222; font-family: inherit;"><br /></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">Too few films celebrate creativity as much as <i>Sing Street </i>does. Carney has made a film that promotes creative risk-taking and how it can lead to a richer life. While with this message he </span></span><span style="color: #222222;"><span style="font-family: inherit;">doesn't say anything new, it's still refreshing to see a film executed this perfectly with a message like this one.</span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;"> </span></span></div>
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<span style="color: #222222; font-family: inherit;">I could sing </span><i style="color: #222222; font-family: inherit;">Sing Street</i><span style="color: #222222; font-family: inherit;">'s praises for months to come. There's truly nothing negative I can say about this film. I walked out of <i>Sing Street</i> with a huge smile on my face and will likely rewatch it many more times.</span></div>
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<span style="color: #222222; font-family: inherit;"><br /></span></div>
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<span style="color: #222222; font-family: inherit;"><b>4/4</b></span></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-27710624966002853872016-04-14T21:49:00.003-07:002016-04-14T21:49:31.697-07:00KEEP QUIET: Tribeca Review<div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfb4StteVCdWvN4d0RRL0jsARW72-ZwIPc-rO7jRJHsW9MbA3AMaohWvaoiQ1sDQ8FXEqaVjIHAcfZxLZv0AKElRvk2a3I2GJJwApzu_Pqaa4pKFIpyqqI6hxEYmb7zqpDxlF-3bl2Wkp/s1600/1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfb4StteVCdWvN4d0RRL0jsARW72-ZwIPc-rO7jRJHsW9MbA3AMaohWvaoiQ1sDQ8FXEqaVjIHAcfZxLZv0AKElRvk2a3I2GJJwApzu_Pqaa4pKFIpyqqI6hxEYmb7zqpDxlF-3bl2Wkp/s400/1.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Czanád Szegedi and Rabbi Boruch Oberlander. KEEP QUIET, directed by Sam Blair and Joseph Martin. </b>Photo credit: Gábor Máté, Courtesy of AJH Films & Passion Pictures</td></tr>
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<span style="font-family: inherit; font-size: x-large;"><span style="background-color: rgba(255, 255, 255, 0);"><b>KEEP QUIET</b></span></span></div>
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<span style="font-family: inherit;"><span style="background-color: rgba(255, 255, 255, 0);">2016, 92 minutes</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: rgba(255, 255, 255, 0);">Not Rated</span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: rgba(255, 255, 255, 0);"><b>Review by Joshua Handler</b></span></span></div>
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<span style="font-family: inherit;"><span style="background-color: rgba(255, 255, 255, 0);">The Tribeca Film Festival has become known as a prime hub for documentaries, and Sam Blair and Joseph Martin's <i>Keep Quiet</i> is further proof as to why that is. </span><span style="background-color: rgba(255, 255, 255, 0);">The film tells the story of Csanád Szegedi, a leader of Jobbik, a far-right, anti-semitic political group who, upon finding out that he's Jewish, goes through a major identity crisis and turns himself around.</span></span></div>
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<span style="background-color: white; color: #222222;"><span style="font-family: inherit;"><i>Keep Quiet</i> chillingly and movingly explores whether a person can ever truly change and what the motive for that supposed change is. Blair and Martin make great use of archival footage from Szegedi's political days along with footage he shot when he interviewed his grandmother, a Holocaust survivor. </span></span><br />
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<span style="font-family: inherit;">But, the film's most powerful scene comes when Szegedi visits Auschwitz. It's a scene that ranks along with <i>The Act of Killing</i>'s finale as one of the most revealing and raw in recent documentary history. Rarely do we get to witness someone's mind almost literally splitting open and changing heart, but we see it on full display in this shattering sequence in <i>Keep Quiet</i>. </span></div>
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<span style="font-family: inherit;">Throughout the film, Blair and Martin feature interview footage that they shot with Szegedi and it's riveting. He's a dream interview subject, as he's very open and vulnerable on camera. Lots of credit must go to Blair and Martin for never judging Szegedi. They're capable enough filmmakers to allow their subject and material to speak for themselves and allow us, the audience, to come up with an opinion of what we've seen. </span></div>
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<span style="font-family: inherit;"><i>Keep Quiet</i> is undoubtedly going to be one of the most hotly-debated films playing at Tribeca that should (if distributors are paying attention) be acquired for distribution fairly fast. Festival play should be good for this one, both at doc and Jewish film festivals. If possible to make the Tribeca screenings for <i>Keep Quiet</i>, go with friends and plan dinner afterwards, as this film will provide plenty of post-screening discussion. </span></div>
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<span style="font-family: inherit;"><b>3.5/4</b></span></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-48315667614334480332016-04-13T21:48:00.000-07:002016-04-14T21:50:24.211-07:005 Tribeca Films Worth The Ticket Price<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9OSNPjTwSV9JXYs341o4NXfVmvr_G5xm20ZTT8XrFm4dYR0nQd3813XtuJWGD0whHGGw4_jmVSzTP8Mt-S_-ylQZmhyYN8GAi6nY_pdWqUcqTUHu5AlNF3FPvqeVdxxPyj5xN7wSpIxhW/s1600/tribeca_film_festival.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9OSNPjTwSV9JXYs341o4NXfVmvr_G5xm20ZTT8XrFm4dYR0nQd3813XtuJWGD0whHGGw4_jmVSzTP8Mt-S_-ylQZmhyYN8GAi6nY_pdWqUcqTUHu5AlNF3FPvqeVdxxPyj5xN7wSpIxhW/s400/tribeca_film_festival.png" width="400" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<b style="font-family: inherit;"><span style="font-size: x-large;">5 Tribeca Films Worth The Ticket Price</span></b></div>
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<span style="font-family: inherit; font-size: large;"><b>By Joshua Handler</b></span></div>
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<span style="font-family: inherit;">The Tribeca Film Festival is back, and I am once
again covering. This year, as always, has many great films to offer and likely
many more to discover. Without further ado, here are the films that I think are
well-worth the ticket price:<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX05BrZu4cB7KWybEesAQ6fNAGsoJ-jbdQKzlWXy9N_2Z9JPnFzHq5WWWA6_w5DJmRcoiih-kdKGomRMJT4Z-yhHcdiI45ct5EFyfbj1r5QLnM7zjOjuZbEZc8DIHm9lyH6Ada60l9CQEc/s1600/life-animated-sundance-2016.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX05BrZu4cB7KWybEesAQ6fNAGsoJ-jbdQKzlWXy9N_2Z9JPnFzHq5WWWA6_w5DJmRcoiih-kdKGomRMJT4Z-yhHcdiI45ct5EFyfbj1r5QLnM7zjOjuZbEZc8DIHm9lyH6Ada60l9CQEc/s320/life-animated-sundance-2016.jpg" width="320" /></a><span style="font-family: inherit;"><b>LIFE, ANIMATED (Dir. Roger Ross Williams)</b> – Winner of this
year’s Sundance Directing Prize for Documentary, Roger Ross Williams’ <i style="mso-bidi-font-style: normal;">Life, Animated</i> tells the story of Owen
Suskind, an extraordinary young man who has autism. At the age of three, Owen
stopped talking and became withdrawn, but his parents discovered that they
could get him to talk again through Disney’s animated films. Through this
discovery, Owen finds normalcy in his life and a path to reconnection with the
rest of the world. <i style="mso-bidi-font-style: normal;">Life, Animated</i> is
a universal film that’s moving and heartbreaking, and it’s animated sequences
are transcendent.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhfr4wlkfoSyqr7tgZq8BpPfLQW0zOzqJRFf5T1Ys7Ye2xeU-uMP8-C7wGOwWk0lTtge54d-2sY5Xr3sWwawZZ_Ul2vIKW3ZGeOOaOPYtVvE-YKdNv7udad7bM-sk4e0PEuO4FLffH-MI6/s1600/Midsummer_In_Newton_web_1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhfr4wlkfoSyqr7tgZq8BpPfLQW0zOzqJRFf5T1Ys7Ye2xeU-uMP8-C7wGOwWk0lTtge54d-2sY5Xr3sWwawZZ_Ul2vIKW3ZGeOOaOPYtVvE-YKdNv7udad7bM-sk4e0PEuO4FLffH-MI6/s320/Midsummer_In_Newton_web_1.png" width="320" /></a></div>
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<b style="font-family: inherit;">MIDSUMMER IN NEWTOWN<span style="mso-spacerun: yes;">
</span>(Dir. Lloyd Kramer)</b><span style="font-family: inherit;"> – </span><i style="font-family: inherit;"><span style="mso-spacerun: yes;"> </span>Midsummer in Newtown </i><span style="font-family: inherit;">had the potential to
be a downer, but while it certainly is heart-wrenching, it is also a clear-eyed, optimistic, powerful
look at how art can transform lives, even in the shadow of unimaginable
tragedy. The film follows a group of New York theater creators who go to
Newtown, CT to produce a version of </span><i style="font-family: inherit;">A
Midsummer Night’s Dream</i><span style="font-family: inherit;"> with a cast primarily made of local students, many
of who were directly affected by 2012’s Sandy Hook school shooting. The show has a profound impact on the children's lives. Unmissable.</span></div>
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<o:p><span style="font-family: inherit;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF0hoJllP1nEq41vdnVLc1exEUXWJzFSBnvSMyZ6l0ycD0gDflAwxaePpSrYhjXgvf823qKgOGZaX0YHZkwVZJRrPWa38WwF2mW9gQdXDxvkc79xA3Qoyt2rY9JoJBUGSpt6ZV248DxNLl/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF0hoJllP1nEq41vdnVLc1exEUXWJzFSBnvSMyZ6l0ycD0gDflAwxaePpSrYhjXgvf823qKgOGZaX0YHZkwVZJRrPWa38WwF2mW9gQdXDxvkc79xA3Qoyt2rY9JoJBUGSpt6ZV248DxNLl/s320/1.jpg" width="320" /></a></div>
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<span style="font-family: inherit;"><b>HIGH-RISE (Dir. Ben Wheatley)</b> – Ben Wheatley’s surreal class
war drama, <i style="mso-bidi-font-style: normal;">High-Rise</i>, is completely
crazy and ridiculously entertaining. Since its premiere last fall at TIFF
(where I first saw it), <i style="mso-bidi-font-style: normal;">High-Rise</i> has
proven to be one of the most polarizing films on the festival circuit, but it's the audacity and uncompromising way in which Wheatley directed this film that made me fall in love with it. Tom
Hiddleston leads an incredible cast that includes Jeremy Irons, Sienna Miller,
and Elisabeth Moss. If you want to be adventurous, see <i style="mso-bidi-font-style: normal;">High-Rise</i>. It’s one of my personal favorite films to be releasing
in the next month or two.<span style="mso-tab-count: 1;"> </span><o:p></o:p></span><br />
<span style="font-family: inherit;"><span style="mso-tab-count: 1;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBMAkKRyDAxVCTAnPlftTbVfMhwvmXkNFeuQamFdtdq3l9AhXum83u_EUyQkCt7UbZnhfE_t7x1JoYwsKN6sIaY6l9IFLRii1CkcBr_ruLTh35P1yaB8zqOPFGIDezAiHvhTdi0ZP4097n/s1600/1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBMAkKRyDAxVCTAnPlftTbVfMhwvmXkNFeuQamFdtdq3l9AhXum83u_EUyQkCt7UbZnhfE_t7x1JoYwsKN6sIaY6l9IFLRii1CkcBr_ruLTh35P1yaB8zqOPFGIDezAiHvhTdi0ZP4097n/s320/1.jpeg" width="320" /></a><span style="font-family: inherit;"><b>KEEP QUIET (Dir. Sam Blair, Joseph Martin)</b> – Bound to be one
of the most-discussed and widely sought-after docs at this year’s festival, Sam
Blair and Joseph Martin’s <i style="mso-bidi-font-style: normal;">Keep Quiet </i>is
about a far-right anti-semitic political leader in Hungary who changes his ways to become a
practicing Jew after finding out that he himself is Jewish. Daring and
non-judgmental, this film about a man fighting to leave behind a hateful past
is essential viewing and epitomizes why Tribeca is one of the premiere festival
hubs for docs.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjw_hPUIhd0Btn_JRZP9-jiaoDOkiJ4qd0il2mWbv6cfBRFxIuAtmIlnv_vrKYuXEfquKpDjgdmXz9m-HsLLqW2-Sdz36SuEbZmb_O3S6WxeZPGpdREKcH-z8ES3U2VsyipUBfFbY_l38C/s1600/WILDER_PEOPLE_web_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjw_hPUIhd0Btn_JRZP9-jiaoDOkiJ4qd0il2mWbv6cfBRFxIuAtmIlnv_vrKYuXEfquKpDjgdmXz9m-HsLLqW2-Sdz36SuEbZmb_O3S6WxeZPGpdREKcH-z8ES3U2VsyipUBfFbY_l38C/s320/WILDER_PEOPLE_web_1.jpg" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><b>HUNT FOR THE WILDERPEOPLE (Dir. Taika Waititi)</b> – Taika
Waititi has been on a roll as a director with last year’s hilarious <i style="mso-bidi-font-style: normal;">What We Do in the Shadows </i>(which he
co-directed with Jemaine Clement) and then <i style="mso-bidi-font-style: normal;">Thor:
Ragnarok</i>, which is being released in 2017. Between those two films, though,
he made the delightful <i style="mso-bidi-font-style: normal;">Hunt for the
Wilderpeople</i>, which stars Sam Neill and newcomer Julian Dennison (in a
breakout performance) as a grouchy old man and his foster kid, respectively,
who go on the run after the former’s wife dies. With a huge heart and an odd
sense of humor, this film is a charmer that will be loved by many.</span><o:p></o:p></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-6625546723905417322016-04-13T09:33:00.001-07:002016-04-13T09:33:25.662-07:00THE BOSS Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LfAmgaAxQNDNLeBBe-iuH-sMGjrHElsq4-il4De1-RyGT3tA-hx_krVzU4-MKQtg1IlWHYF1gVYKWxJHax0oJS6UKQZtG3qNbajwQuDEdSjMe3GHxVgPToAzkVG0GVN3uxf2yJVwMQiP/s1600/v1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LfAmgaAxQNDNLeBBe-iuH-sMGjrHElsq4-il4De1-RyGT3tA-hx_krVzU4-MKQtg1IlWHYF1gVYKWxJHax0oJS6UKQZtG3qNbajwQuDEdSjMe3GHxVgPToAzkVG0GVN3uxf2yJVwMQiP/s400/v1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong>Kristin Bell (front) and Melissa McCarthy (behind) in <em>The Boss</em></strong><br />
Courtesy of Universal Pictures</td></tr>
</tbody></table>
<div align="center">
<span style="font-family: inherit; font-size: x-large;"><strong><br /></strong></span></div>
<div align="center">
<span style="font-family: inherit; font-size: x-large;"><strong>THE BOSS</strong></span></div>
<div align="center">
2016, 99 minutes</div>
<div align="center">
Rated <strong>R</strong> for sexual content, language and brief drug use</div>
<div align="center">
<br /></div>
<div align="center">
<strong><span style="font-size: large;">Review by Adam Gordon</span></strong></div>
<div align="center">
<strong><br /></strong></div>
<div>
<span style="font-family: inherit;">Other than 2014’s disaster <em>Tammy</em>, Melissa McCarthy can basically do no wrong in my eyes. Her new collaboration with her husband, producing, writing partner, director Ben Falcone proves to be no epic, but if you let its sophomoric, lowbrow, crude humor wash over you as you turn your mind off, you can have pretty reasonable time at <em>The Boss</em>. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">The film follows the exploits of Michelle Darnell (McCarthy), introduced to us as a self-made billionaire with basically no soul. When she is faced with a reversal of fortune,and faces prison for insider trading for several months, she ends up destitute on the streets of Chicago with no friends or family to speak of. To her rescue comes her former assistant, Claire (the ever-lovely Kristen Bell) and her young daughter Rachel (Ella Anderson). What transpires from here is almost obvious - the three form a family bond, Michelle discovers that Claire has an amazing skill for baking delicious brownies, and Michelle goes to build a new empire around these brownies. From this we get an incredible set-up for a low-down dirty fight between Rachel’s Dandelion Girls (not unlike the Girl Scouts) and the Mothers - it’s an overblown fight, choreographed with slo-mo and swords, vile language and gore. But it's riotous. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;">You also get Michelle’s first taste of family, from her growing bond with Claire, as business partners, as well as Rachel, with whom she gets her first taste of what it would be like as a grandparent. Here the film finds its soul and stride. It also finds some of its funniest moments when it lets McCarthy get physical Bell and their brassieres. </span></div>
<div>
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="font-family: inherit;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="font-family: inherit;"><em>The Boss </em>is far, far from perfect, or even maybe good, though it is totally watchable and enjoyable for what it is. And it does star one of the great living comedians, Melissa McCarthy. For that, <em>The Boss</em> earns a passable <strong>C-</strong></span></span></span></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-68157838721181718572016-04-08T11:54:00.002-07:002016-04-08T11:54:24.554-07:00THE DARK HORSE Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwG-7MApTygDMwHx_hv3fUUkwNzGiIvMGUptBzR26ckzvY02boGP-Hku1grn6jUrk3ytdrNju3GvngHVluZCsS8yYNImoohyphenhyphenrX0CtPwPC2tR9truu4I9BVgJ94LqRBRJAX5k7A6DzvgpjN/s1600/KEY+IMG_4170-0-2000-0-1125-crop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwG-7MApTygDMwHx_hv3fUUkwNzGiIvMGUptBzR26ckzvY02boGP-Hku1grn6jUrk3ytdrNju3GvngHVluZCsS8yYNImoohyphenhyphenrX0CtPwPC2tR9truu4I9BVgJ94LqRBRJAX5k7A6DzvgpjN/s400/KEY+IMG_4170-0-2000-0-1125-crop.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>James Rolleston (left) and Cliff Curtis (right) in <i>The Dark Horse</i></b>Courtesy of Broad Green Pictures<br /></td></tr>
</tbody></table>
<div style="color: #222222; text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit; font-size: x-large;"><b>THE DARK HORSE</b></span></span></div>
<div style="color: #222222; text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;">2016, 124 minutes</span></span></div>
<div style="text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="color: #222222; font-family: inherit;">Rated </span><b style="color: #222222; font-family: inherit;">R </b><span style="color: #222222; font-family: inherit;">for language throughout, and drug use</span></span></div>
<div style="text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="color: #222222; font-family: inherit;"><br /></span></span></div>
<div style="text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="color: #222222; font-family: inherit; font-size: large;"><b>Review by Joshua Handler</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="color: #222222; font-family: inherit;"><b><br /></b></span></span></div>
<div>
<span style="background-color: rgba(255, 255, 255, 0);"><span style="color: #222222;"><span style="font-family: inherit;">It's amusing that this film is being released less than a month away from another acclaimed film with the same title, save for the word </span><i style="font-family: inherit;">the </i><span style="font-family: inherit;">in the title. That other film is Louise Osmond's Sundance Audience Award-winner, </span><i style="font-family: inherit;">Dark Horse</i><span style="font-family: inherit;">, which, unlike this film, actually is<i> </i>about a horse. And while that inspirational crowd-pleaser is highly recommended (Sony Pictures Classics will release it May 6 NY/LA followed by a nationwide expansion if you're interested), James Napier Robertson's <i>The Dark Horse</i> also gets a high recommendation.</span></span></span></div>
<div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><br /></span></span></div>
<div>
<span style="background-color: rgba(255, 255, 255, 0); color: #222222;"><span style="font-family: inherit;"><i>The Dark Horse</i> is an inspirational true-life drama about Genesis Potini (Cliff Curtis), a mentally-ill former chess champion who decides to run a chess club for at-risk youth. While the film is entertaining, touching, and well-directed, it is Cliff Curtis' quietly empathetic performance that makes <i>The Dark Horse</i> worth spending the time and money to see. Curtis' internalized performance paints a bone-deep portrait of a good man forced to fight with his own mind. If this film were being released by a major studio and if Curtis was a well-known actor, he would be a serious Oscar contender.</span></span><div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><br /></span></span></div>
<div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;">The ensemble is also perfectly cast. They give surprising, impactful performances that dot the film. The most notable, other than James Rolleston as Genesis' nephew, Mana, is that of Wayne Hapi who plays Genesis' brother, Ariki. A key scene between Curtis and Hapi is a brilliant acting showcase - it's so powerful and filled with subtext that acting coaches could use it in classes. </span></span></div>
<div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><br /></span></span></div>
<div>
<i style="color: #222222; font-family: inherit;">The Dark Horse </i><span style="color: #222222;"><span style="font-family: inherit;">is a film that all audiences will enjoy. While the film certainly doesn't do much that's new, it does what it does with such skill and subtlety that the fact that it doesn't do anything new doesn't matter.</span></span></div>
<div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><br /></span></span></div>
<div style="color: #222222;">
<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><b>3.5/4</b></span></span></div>
<div style="color: #222222; font-family: arial, sans-serif; font-size: 13px;">
<span style="background-color: rgba(255, 255, 255, 0);"><br /></span></div>
</div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-37767269788057847252016-03-28T23:23:00.000-07:002016-03-28T23:23:00.488-07:00THE FITS: New Directors/New Films Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVEWDv8fdhb7RUTw8sVM4BgGjcjmxyi06sjZNdf3270A61Lr8p0KFJbx84LtAF5XaM5A1Zhvk5dpJExr6768g3BYsJZPIO6bjijGoE3sFld97H-mEBaGKbYeJvutqeuta8Y-Bj6-Djzuo/s1600/THEFITS_STILL_04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfVEWDv8fdhb7RUTw8sVM4BgGjcjmxyi06sjZNdf3270A61Lr8p0KFJbx84LtAF5XaM5A1Zhvk5dpJExr6768g3BYsJZPIO6bjijGoE3sFld97H-mEBaGKbYeJvutqeuta8Y-Bj6-Djzuo/s400/THEFITS_STILL_04.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Royalty Hightower in </b><b style="font-style: italic;">The Fits</b><br />Courtesy of Oscilloscope<br /></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">THE FITS</span></b></div>
<div class="MsoNormal" style="text-align: center;">
2016, 72 minutes</div>
<div class="MsoNormal" style="text-align: center;">
Not Rated</div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><br /></b></div>
<div class="MsoNormal">
<b><i>The Fits </i>releases theatrically on June 3 and recently screened at New Directors/New Films.</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anna Rose Holmer’s directorial debut, <i style="mso-bidi-font-style: normal;">The Fits</i>, shows great promise for both its director and young cast.
The film follows a tomboy, Toni (Royalty Hightower), who joins her small town’s dance
troupe. One by one, though, the girls in the troupe begin to be affected by The Fits, which causes them to lost control of their bodies for a short
period of time. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Holmer has a unique vision for her film and has complete
control over it. With director of photography Paul Yee’s steady hand and
crisp shot composition, Holmer creates a film that’s both smooth and calm, yet troubling. The
dance sequences pop off of the screen, so does the film’s climax, which is
exhilarating. Holmer guides her actors very well and in turn gets a strong lead
performance from Royalty Hightower.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Danny Bensi and Saunder Juriaans’ (<i style="mso-bidi-font-style: normal;">The Gift</i>, <i style="mso-bidi-font-style: normal;">Enemy</i>, <i style="mso-bidi-font-style: normal;">Martha Marcy May Marlene</i>) typically
eerie score adds texture
to the subtly uncomfortable tone of the film, and Saela Davis’ editing keeps the film
moving at a controlled pace. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<i style="mso-bidi-font-style: normal;">The Fits</i>
from greatness, though, due to its ambiguity. It’s never explained why The Fits happen and
there isn’t a lot to grasp onto narratively in the film. <i>The Fits</i> is so
intriguing but it sets up more than it pays off, which makes it ultimately
unsatisfying. <o:p></o:p></div>
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Overall, <i style="mso-bidi-font-style: normal;">The Fits </i>is
a good film and an exciting calling card from a director who has the potential
to go on to have a nice career. Holmer’s voice is unique enough to make me want
to see more from her, but I hope that she relies more heavily on concrete story next time. <i style="mso-bidi-font-style: normal;">The Fits </i>is not
going to be everyone’s cup of tea, but for those who like their films a bit
more experimental in nature, this is going to be well-worth the time.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">3/4</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-42597995101896894022016-03-01T21:30:00.001-08:002016-03-01T21:30:10.576-08:00Our Little Sister: Film Comment Selects Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0e56ibjWJzm9bED58MUIFayFXqSARZD6or6AyqVlVX_KCrEjgz7xK6UJIu8vDJepS4RnJuiMTWaVmz64LjwLkOzfMPBauBjD7BNTs7QVF9RBy0HkQfXNDncymxP0yn1bdqKo4zhYxN5mW/s1600/1-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0e56ibjWJzm9bED58MUIFayFXqSARZD6or6AyqVlVX_KCrEjgz7xK6UJIu8vDJepS4RnJuiMTWaVmz64LjwLkOzfMPBauBjD7BNTs7QVF9RBy0HkQfXNDncymxP0yn1bdqKo4zhYxN5mW/s400/1-2.jpg" width="400" /></a></td></tr>
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<b><span style="font-family: inherit; font-size: x-small;">Left to right: Haruka Ayase as Sachi Koda, Suzu Hirose as Suzu Asano,
Kaho as Chika Koda and Masami Nagasawa as Yoshino Koda<o:p></o:p></span></b></div>
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<span style="font-family: inherit; font-size: x-small;">Photo by Mikiya Takimoto, Courtesy of Sony Pictures Classics</span></div>
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<span style="font-family: inherit; font-size: x-small;"><br /></span></div>
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<b><span style="font-size: x-large;">OUR LITTLE SISTER</span></b></div>
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<b><span style="font-size: large;">Film Comment Selects 2016</span></b></div>
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2016, 128 minutes</div>
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Rated <b>PG </b>for thematic elements and brief language</div>
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<br /></div>
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<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
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Hirokazu Kore-eda’s latest, <i style="mso-bidi-font-style: normal;">Our Little Sister</i>, is a rich film full of life, love, and care. One
of my very favorite films that I saw at last year’s TIFF, <i style="mso-bidi-font-style: normal;">Our Little Sister </i>is a humanist masterwork from a filmmaker who
brings a unique sense of goodness to his films. <i>Our Little Sister</i> tells the story of
three sisters who find out that their recently deceased estranged father left
behind a teen daughter from his second marriage. They connect with this
daughter and invite her to live with them. In the process, the older sisters give this young girl the childhood that she never had and allow her to blossom.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Our Little Sister </i>distinguishes
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this would come as a fatal flaw in any other film, Kore-eda makes it one of
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together and strengthen each other’s lives. Kore-eda allows each character to
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material. Every moment is crafted with thought and acted to perfection. <o:p></o:p></div>
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Kore-eda sees the good in his characters and has immense
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simple and realistic it is. I fell in love with not only the filmmaking but also the
performances, which are of the highest caliber. Each one, particularly of the
lead four, is so realistic, so moving that it’s hard not to care.<o:p></o:p></div>
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With a film this simple and with this little conflict, it takes an incredible amount of control on the part of Kore-eda to keep it from becoming something completely inconsequential. But,
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It’s rare to find a film as genuinely touching as <i style="mso-bidi-font-style: normal;">Our Little Sister</i>, which is why it’s a gift that it exists. Please see this one when Sony Pictures Classics releases it later this year.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">4/4<o:p></o:p></b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-22429016604299495932016-01-15T09:42:00.004-08:002016-01-15T09:42:51.965-08:00Joshua Handler's Best Films of 2015<div style="color: #222222; text-align: center;">
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<b style="font-family: inherit;"><span style="font-size: x-large;">The Best Films of 2015</span></b></div>
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<span style="font-family: inherit; font-size: large;"><b>By Joshua Handler</b></span></div>
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<span style="font-family: inherit;">2015 has been a superb year for film, and to pick 10 films that were "the best" is a joke since it's nearly impossible to compare such different films as <i>Inside Out </i>and <i>Spotlight</i>, even though both were great pieces of cinema.</span><br />
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<span style="font-family: inherit;">That's all I'm saying about this year because I'll speak more about the films that made this year the memorable one that it was. The following were selected from over 200 films.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKneiZhhybmQfRYNL_5PlVBX1qIULg_3qKBkoGLGBBFD0wE6oZ1xyUwTh75TxHXYCPWXPR5kXLQBixQiuGWt8OC2ICMgC3wWMwZgSSCTVDB0rMnC2uOOnWT_0H0yKbumuswIE4ofYEpUCW/s1600/InsideOut54aef6a6e091f.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKneiZhhybmQfRYNL_5PlVBX1qIULg_3qKBkoGLGBBFD0wE6oZ1xyUwTh75TxHXYCPWXPR5kXLQBixQiuGWt8OC2ICMgC3wWMwZgSSCTVDB0rMnC2uOOnWT_0H0yKbumuswIE4ofYEpUCW/s400/InsideOut54aef6a6e091f.0.jpg" width="400" /></a></div>
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<span style="color: #222222;"><span style="font-family: inherit;">1. </span><b style="font-family: inherit;">INSIDE OUT</b><span style="font-family: inherit;"> (Dir. Pete Docter) - Each year, there are always one or two movies that stand out enough to land the number one spot on my "best of the year" list, though the number one film usually is not </span><i style="font-family: inherit;">that</i><span style="font-family: inherit;"> much greater than the one or two films that follow it. This year, however, </span></span><i style="color: #222222; font-family: inherit;">Inside Out </i><span style="color: #222222; font-family: inherit;">is so far above everything else that from the second I saw it first in June, I knew that if anything were to overtake it for my number one spot of the year, it would have to be on a level of greatness not seen yet in cinema.</span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">This sounds like hyperbolic praise, but those who have seen </span><i style="font-family: inherit;">Inside Out </i><span style="font-family: inherit;">know that it is almost an understatement. Peter Docter crafted a courageous masterpiece of cinema about accepting your emotions, particularly sadness. Amy Poehler and Phyllis Smith give particularly impressive performances that color their respective emotion characters with nuance. You're doing yourself a disservice by not seeing this one. It made me think about my own adolescence and emotions in a whole new way. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUtoZgPkxfoKu8n6WU9lVRc6YOZJEZccbmthqnzpzUqD7CIWO-AZ_ZvVGsoH8qN9FSqUjfbmA4yL7U6YUW71TEM1FaAOiHybADBBB34PgAYtWoLWO0tFl82CnI1VlIg9HQJDVPnnyFrRt/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUtoZgPkxfoKu8n6WU9lVRc6YOZJEZccbmthqnzpzUqD7CIWO-AZ_ZvVGsoH8qN9FSqUjfbmA4yL7U6YUW71TEM1FaAOiHybADBBB34PgAYtWoLWO0tFl82CnI1VlIg9HQJDVPnnyFrRt/s400/2.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">2. <b>SON OF SAUL</b> (Dir. László Nemes) </span></div>
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<span style="color: #222222; font-family: inherit;">Horrifying, claustrophobic, immersive, and humane, László Nemes' Cannes Grand Prix-winning debut feature, </span><i style="color: #222222; font-family: inherit;">Son of Saul</i><span style="color: #222222;"><span style="font-family: inherit;"> is another 2015 masterpiece. An essential piece of cinema for every human being, this is inventive filmmaking that takes a clinical approach to highly emotional subject matter to create a film so realistic and hellish that you'll never look at the Holocaust in the same way again. Everyone knows that the Holocaust was one of the greatest tragedies in human history, but most people don't see it through a first-person perspective in Auschwitz. As a guide through hell, Géza Röhrig is emotionally distant, yet thoroughly compelling. The entire film rests on his shoulders, and he pulls his weight magnificently. Major commendations also must go to Tamás Zányi's sound design and Mátyás Erdély's cinematography.<b> </b></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">3. <b>THE BIG SHORT</b> (Dir. Adam McKay) </span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">Adam McKay ingeniously boils the housing market crash down into something digestible, yet ruthlessly intelligent through the story of a group of men who saw the crash coming and bet against the economy. Steve Carrell, Christian Bale, Ryan Gosling, and Brad Pitt's idiosyncratic performances are entertaining and humane, with Carrell's standing out as a human time bomb. <i>The Big Short </i>is funny, until it becomes terrifying. Only a director with McKay's irreverent sense of humor would have been able to pull off a film like this with this much nuance, humor, and grace. And Hank Corwin's unconventional editing deserves an Oscar. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEzxexk-DosPVhs-YDhs2P6ZomaDgNf6otjz21M96n2NPMwQhpdad1MulwH2aAC8AShzEQHLBTqN6VelNN_u7-2pKKTO0JeTd_l_1js94p2yLLA25hPtBhIcRVCWwsfZqV7bvC0793953/s1600/image-232b6144-206e-4ac3-92da-b1c978ce9eee.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEzxexk-DosPVhs-YDhs2P6ZomaDgNf6otjz21M96n2NPMwQhpdad1MulwH2aAC8AShzEQHLBTqN6VelNN_u7-2pKKTO0JeTd_l_1js94p2yLLA25hPtBhIcRVCWwsfZqV7bvC0793953/s400/image-232b6144-206e-4ac3-92da-b1c978ce9eee.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">4. <b>BROOKLYN</b> (Dir. John Crowley) </span></div>
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<span style="font-family: inherit;">This year's biggest heartmelter, <i>Brooklyn </i>is a moving piece about leaving home and finding a new one that I found unexpectedly relatable. Saoirse Ronan's soulful performance is the perfect match to Emory Cohen's energetic, charming performance - their electrifying chemistry elevates the film and makes their romance the year's most involving. Nick Hornby's screenplay is one of the most satisfying of the year (the ending gives me chills and makes me tear up every time I see it). With 2014's <i>Wild </i>and now <i>Brooklyn</i>, he created two of the most surprising, affecting endings in recent memory.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNl6vwlYuiTm0L21B-GdyFxmYzW-YBFx3tJ0s7lzdvVDwH6iy-eUNnOIeJLhOSSutrqQp3xys5XlBNj6oewdhGhSZ0ayxrSbJRKvkmeEMXtAWn9GJT7rsdRsH8Xx8JF3esZJLERQ3dOL_c/s1600/Room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNl6vwlYuiTm0L21B-GdyFxmYzW-YBFx3tJ0s7lzdvVDwH6iy-eUNnOIeJLhOSSutrqQp3xys5XlBNj6oewdhGhSZ0ayxrSbJRKvkmeEMXtAWn9GJT7rsdRsH8Xx8JF3esZJLERQ3dOL_c/s400/Room.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">5. <b>ROOM</b> (Dir. Lenny Abrahamson) </span><br />
<span style="font-family: inherit;">Brie Larson and Jacob Tremblay create a bond between a mother and son so realistic that it feels as if it goes beyond acting. They smashed my heart with a sledgehammer with their warmth, honesty, and raw emotion. Combine that with Lenny Abrahamson's nuanced direction, Danny Cohen's versatile cinematography, and Emma Donoghue's screenplay (adapted from her own novel), and you have an unforgettable filmgoing experience that will make the world that you live in and take for granted seem a bit more extraordinary. </span></div>
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<span style="font-family: inherit;">6. <b>THE MARTIAN</b> (Dir. Ridley Scott) </span><br />
<span style="font-family: inherit;"><i>The Martian </i>exemplifies the best of big-budget filmmaking. It's smart, well-written (Drew Goddard's screenplay is astoundingly detailed and engaging), well-acted (Matt Damon leads the film with charm and charisma), well-edited, and entertaining. Ridley Scott showed that he still has the ability to make us ride the edge of our seat with excitement and make dents in our armrests from gripping them tightly. </span></div>
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<span style="color: #222222; font-family: inherit;">7. <b>MISTRESS AMERICA</b> (Dir. Noah Baumbach) </span><br />
<span style="color: #222222; font-family: inherit;">Noah Baumbach and Greta Gerwig revive the screwball comedy in </span><i style="color: #222222; font-family: inherit;">Mistress America</i><span style="color: #222222;"><span style="font-family: inherit;">, an energetic, insightful film about a college freshman in New York City who learns to be her own person through her enterprising, yet scattered soon-to-be stepsister. Lola Kirke and Greta Gerwig are a winning team, and Baumbach's direction has never been clearer or funnier. The climactic set piece shows impressive vision from Baumbach, as it's complex, well-staged, and is perfectly timed comedically. The final voiceover is also immensely satisfying. There are few films this year that consistently filled me with as much joy as <i>Mistress America</i>.</span></span></div>
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<span style="font-family: inherit;">8. <b>MUSTANG</b> (Dir. Deniz Gamze Ergüven) </span></div>
<span style="color: #222222; font-family: inherit;">Another debut feature on this list, </span><i style="color: #222222; font-family: inherit;">Mustang</i><span style="color: #222222; font-family: inherit;"> is maddening, timely, and features five phenomenal performances by it's young actresses. </span><i style="color: #222222; font-family: inherit;">Mustang</i><span style="color: #222222; font-family: inherit;"> is the work of a director in complete control of her medium with a burning desire to tell a story, and I was glued to the screen from the second it started. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBd_3uiQHmNbXFzWFWFC20MT13x6wdE3VQt1TvAWt_Qe0oZwhb7tTHY3KxQ97lu-1gg4pS0z8cSm9XdGViN4cF49LaIuET7E6e4kK8hpfRkWo3S3jhU7CM9YzSbNGgBPiXH89G-fPMR7E4/s1600/agatha%252Ba.%252Bnitecka-000034160018.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBd_3uiQHmNbXFzWFWFC20MT13x6wdE3VQt1TvAWt_Qe0oZwhb7tTHY3KxQ97lu-1gg4pS0z8cSm9XdGViN4cF49LaIuET7E6e4kK8hpfRkWo3S3jhU7CM9YzSbNGgBPiXH89G-fPMR7E4/s400/agatha%252Ba.%252Bnitecka-000034160018.tif" width="400" /></a></div>
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<span style="font-family: inherit;">9. <b>45 YEARS</b> (Dir. Andrew Haigh) </span><br />
<span style="font-family: inherit;">Andrew Haigh's sensitive <i>45 Years</i> features Charlotte Rampling and Tom Courtenay at their best, giving two searing performances of quiet power. But, the reason why this already-transfixing film made this list is because of its ending, which is devastating and has haunted me since I saw it well over a month ago. It's a devastating capper to a well-measured, mature film that left my jaw on the ground.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFpiLblFMTJ1VnIZt70-kSfB2HNGEr8NF2vjJwLE3wRyOK1BQ-bb3LtyB7UIiDEifj7aXuyBfvTqaWMft8YGVq0LonMXyEXjq35hdBjAoX2SjeBfAHLyDV0I0amLBRhZWmQaFlqYLSYy1/s1600/primary_Spotlight-2015-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwFpiLblFMTJ1VnIZt70-kSfB2HNGEr8NF2vjJwLE3wRyOK1BQ-bb3LtyB7UIiDEifj7aXuyBfvTqaWMft8YGVq0LonMXyEXjq35hdBjAoX2SjeBfAHLyDV0I0amLBRhZWmQaFlqYLSYy1/s400/primary_Spotlight-2015-4.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">10 (tie). </span><b style="font-family: inherit;">SPOTLIGHT</b><span style="font-family: inherit;"> (Dir. Tom McCarthy) </span></div>
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<span style="font-family: inherit;">Understated and fascinating, Tom McCarthy's <i>Spotlight </i>is a powerful testament to journalism, as it tells the true story of the Boston Globe Spotlight team who uncovered the Catholic sexual abuse scandal in the early 2000s. McCarthy and Josh Singer's screenplay never points fingers, never judges, and smartly shows how institutions and communities allow crimes to be committed. Michael Keaton, Mark Ruffalo, Rachel McAdams, Brian D'Arcy James, Liev Schreiber, John Slattery, Stanley Tucci, and Billy Crudup create the ensemble of the year, all giving equally subtle, complex performances into which they disappear. Tom McCarthy's subdued direction is typically effective, as he never lets his camera get in the way of his actors.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr3nVHZuVLoGx9VsEog-6h-fwPRFSfU8gndvoBMrH3odamOSU1hhvgB5vFG0cf1K_TskkCAEWkTvRgD77SORTzVwWlBPBH3Z5Xci2AiyVFk3PizCjZgROjOx1trQzaRX-TuXCTD9OIZn50/s1600/Phoenix_Schrammfilm4933.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr3nVHZuVLoGx9VsEog-6h-fwPRFSfU8gndvoBMrH3odamOSU1hhvgB5vFG0cf1K_TskkCAEWkTvRgD77SORTzVwWlBPBH3Z5Xci2AiyVFk3PizCjZgROjOx1trQzaRX-TuXCTD9OIZn50/s400/Phoenix_Schrammfilm4933.JPG" width="400" /></a></div>
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<span style="font-family: inherit;">10 (tie). <b>PHOENIX</b> (Dir. Christian Petzold) </span></div>
<span style="color: #222222; font-family: inherit;">Christian Petzold's drama about a concentration camp survivor who gets a new face post-war and attempts to figure out whether her husband sold her out to the Nazis is pure cinema, largely thanks to its gut-punch of an ending and Nina Hoss' performance, which is so extraordinary that words cannot do it justice. Hoss' most impressive scene is one in which she recalls the horrors of the concentration camps. Petzold focuses the camera directly on her face and never cuts away, allowing it to tell the story instead of cutting to a </span><span style="color: #222222;"><span style="font-family: inherit;">flashback. Couple that with the final scene (there's a reason it has been cited by many as one of the most memorable of the year) and with those two scenes alone it will be clear why Hoss gave the performance of the year.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4E-rA65XoFOWwx1pU8CULcizYS-slRIB8GZ2w4GPQpSxtqhCkW0OqXthoTk_4qkw5tJ2GZfES144glOTai5l_HqhCdy8zrzYqNMNBoo1_8vqPqgHl2IrDi1s3N0T6MSc8ZhnITxrccbq/s1600/ca0_0126r_alt_pop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv4E-rA65XoFOWwx1pU8CULcizYS-slRIB8GZ2w4GPQpSxtqhCkW0OqXthoTk_4qkw5tJ2GZfES144glOTai5l_HqhCdy8zrzYqNMNBoo1_8vqPqgHl2IrDi1s3N0T6MSc8ZhnITxrccbq/s400/ca0_0126r_alt_pop.jpg" width="400" /></a></div>
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<span style="font-family: inherit;">10 (tie). <b>CAROL</b> (Dir. Todd Haynes) </span><br />
<span style="font-family: inherit;">Todd Haynes' <i>Carol </i>is the work of a director, cast, and crew at the top of their game. Cate Blanchett and Rooney Mara's chemistry lights up the screen, Ed Lachman's Super 16 cinematography is cold, textured, and revealing, and Haynes' direction guides this film just to the right of melodrama to strike a perfect tone. And the final scene will make your heart swell. This is a work of incredible feeling by one of America's great directors.</span></div>
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<span style="font-family: inherit;">The next three: </span></div>
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<span style="font-family: inherit;"><b>EX MACHINA</b> (Dir. Alex Garland)</span></div>
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<span style="font-family: inherit;"><b>MOMMY</b> (Dir. Xavier Dolan)</span></div>
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<span style="font-family: inherit;"><b>THE HATEFUL EIGHT</b> (Dir. Quentin Tarantino)</span></div>
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<span style="font-family: inherit;">Honorable Mentions in no order:</span></div>
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<span style="font-family: inherit;"><b>SLOW WEST</b> (Dir. John Maclean)</span></div>
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<span style="font-family: inherit;"><b>MERU</b> (Dirs. Jimmy Chin and E. Chai Vasarhelyi)</span></div>
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<span style="font-family: inherit;"><b>IT FOLLOWS</b> (Dir. David Robert Mitchell)</span></div>
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<span style="font-family: inherit;"><b>KUMIKO, THE TREASURE HUNTER</b> (Dir. David Zellner)</span></div>
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<span style="font-family: inherit;"><b>APPROACHING THE ELEPHANT </b>(Dir. Amanda Rose Wilder)</span></div>
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<span style="font-family: inherit;"><b>SPY</b> (Dir. Paul Feig)</span></div>
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<span style="font-family: inherit;"><b>TRAINWRECK</b> (Dir. Judd Apatow)</span></div>
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<span style="font-family: inherit;"><b>WHITE GOD</b> (Dir. Kornél Mundruczó)</span></div>
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<span style="font-family: inherit;"><b>(T)ERROR</b> (Dirs. Lyric R. Cabral and David Felix Sutcliffe )</span></div>
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<span style="font-family: inherit;"><b>DOPE</b> (Dir. Rick Famuyiwa)</span></div>
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<span style="font-family: inherit;"><b>INFINITELY POLAR BEAR</b> (Dir. Maya Forbes)</span></div>
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<span style="font-family: inherit;"><b>TANGERINE</b> (Dir. Sean Baker)</span></div>
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<span style="font-family: inherit;"><b>10,000 KM</b> (Dir. Carlos Marques-Marcet)</span></div>
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<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><b>99 HOMES</b> (Dir. Ramin Bahrani)</span></span></div>
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<span style="background-color: rgba(255, 255, 255, 0);"><span style="font-family: inherit;"><b>BEASTS OF NO NATION</b> (Dir. Cary Joji Fukunaga)</span></span></div>
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<span style="font-family: inherit;"><b>WILD TALES</b> (Dir. Damián Szifron)</span></div>
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Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-33160012756159689302015-12-24T18:08:00.003-08:002015-12-24T18:08:59.180-08:00DADDY'S HOME Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<b><span style="font-family: inherit; font-size: x-small;">Left
to right: Will Ferrell plays Brad Whitaker and Mark Wahlberg plays Dusty Mayron
in Daddy’s Home from Paramount Pictures and Red Granite Pictures<o:p></o:p></span></b></div>
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<span style="font-family: inherit; font-size: x-small;">Photo credit: Paramount Pictures<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: x-small;">©
2015 PARAMOUNT PICTURES. ALL RIGHTS RESERVED.</span></div>
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<span style="font-family: inherit; font-size: x-small;"><br /></span></div>
</td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">DADDY'S HOME</span></b></div>
<div style="text-align: center;">
2015, 96 minutes</div>
<div style="text-align: center;">
Rated <b>PG-13 </b>for thematic elements, crude and suggestive content, and for language</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">By Adam Gordon</span></b></div>
<div style="text-align: center;">
<b><br /></b></div>
There are some movies where going in, you know EXACTLY what you are going to get. They do NOT stray very much from formula, other than a few variations on theme or character in order to call the film their own, and they certainly do NOT toy with plot points that would lessen the overall pleasing effects that the audience unwittingly went to the film to begin with to experience. <i>Daddy's Home</i> is one such film that chugs along down the track of familiarity like it was born to take on the slew of serious holiday awards fare, as it calls out to ALL family audiences in the multiplexes looking for just-raunchy-enough entertainment to make everyone (from Grandpa, down to six-year-old Tiffany, and Aunt Delilah as well) happy.<br />
<br />
As a wimpy, overgrown child himself, Will Farrell plays Brad Whitaker, the clueless stepfather striving to be the best stepdad he can to his wife Sara's (Linda Cardellini) two children. When Dusty (Mark Wahlberg), the kids' real father and Sara's ex, shows up to compete for the kids' affection - all hell breaks loose. As expected, you have every low-brow sexual innuendo, fart, and semen joke that could possibly be fit in under a PG-13 banner (including artificial insemination)...but it doesn't really matter. Director Sean Anders never looses sight of who this movie is for or what it's about, nor does his absolutely winning cast. Ferrell and Wahlberg are much like Fey and Poehler (to a far lesser intellectual extent). They are like popcorn and butter, peanut butter and chocolate (you get the idea). And Ms. Cardellini, who seems to pop up all over the place (she's had a marvelous stint on <i>ER</i>, played Velma in the <i>Scooby Doo</i> films, and most recently appeared in <i>Mad Men</i> and <i>New Girl</i>), is the Betty Crocker frosting that ices over this whole unlikely, humble, yet hilarious three-layer holiday treat.<br />
<br />
7/10Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-19043854200084705182015-11-24T15:49:00.001-08:002015-11-24T15:49:16.875-08:00CREED Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfBRD092dsFNafztZQAJ0ncM69E5OulmJ17YNtEWKxQ-wBXVkz1aiEUnuc6d0eCfrUQDYngmSy6bWUBJz5MKFPkDLxbqWjXEfdPwwPOb72zgY4tqPt_dQfsWluMJ8quuJqZLffWzZeoqlA/s1600/Creed-Film-2015-Boxing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfBRD092dsFNafztZQAJ0ncM69E5OulmJ17YNtEWKxQ-wBXVkz1aiEUnuc6d0eCfrUQDYngmSy6bWUBJz5MKFPkDLxbqWjXEfdPwwPOb72zgY4tqPt_dQfsWluMJ8quuJqZLffWzZeoqlA/s400/Creed-Film-2015-Boxing.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Warner Bros. Pictures<br /></td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">CREED </span></b></div>
<div style="text-align: center;">
2015, 132 minutes</div>
<div style="text-align: center;">
Rated <b>PG-13 </b>for violence, language and some sensuality</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">By Adam Gordon</span></b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
One could only be miffed at the concept of actually thinking of recommending what would be the umpteenth sequel/installment to the <i>Rocky</i> series, a series of films that has no doubt had its ups and downs in quality and viewer bearability, but against all odds, I am about to do the unthinkable and HIGHLY recommend <i>Creed</i>. This seventh installment finds the former champion Rocky Balboa serving as a mentor and trainer to Adonis Johnson, the illegitimate son of his former late friend and rival, the great Apollo Creed. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The film is quite formulaic, and thankfully so. It doesn’t try to break new ground – but its familiarity is very well served by its multi-racial story and breakout performance by Michael B. Jordan. Additionally, director Ryan Coogler proves he’s no flash in the pan, continuing his winning streak off <i>Fruitvale Station. </i>Coogler shows he is just as comfortable with a mid-range studio film as he is with a small indie film. It may be close to 40 years since the original underdog <i>Rocky</i> blew into town (39 years to be exact), but Sylvester Stallone never had a finer moment than that 1976 “little film from nowhere” (though he has had a brilliant action/adventure / middling drama career ever since). Stallone’s Rocky is at the core of this film and with it he has given Rocky Balboa new insights and new life as a character. He also has fought his was to a best supporting actor Oscar nomination – it's true, no joke. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>8/10</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-7553590696087954912015-11-06T09:42:00.003-08:002015-11-06T09:44:38.475-08:00An Interview with Mike Rezendes<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjIu85GS56x7auy4oHhmtW7pL8in8btl839J1qRo7-qnsHfXYiRmg9mSQKGNSkP9XlmN25KJ_jML4lUH5GvNSZIEPjz5LiH3iaJZDw0XlRcUwCaRHIwX31T9BKH6AKz6QABqTv1NzJung/s1600/spotlight-S_06902-PhotoCredit-KerryHayes-Distributor-OpenRoadFilms_rgb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjIu85GS56x7auy4oHhmtW7pL8in8btl839J1qRo7-qnsHfXYiRmg9mSQKGNSkP9XlmN25KJ_jML4lUH5GvNSZIEPjz5LiH3iaJZDw0XlRcUwCaRHIwX31T9BKH6AKz6QABqTv1NzJung/s400/spotlight-S_06902-PhotoCredit-KerryHayes-Distributor-OpenRoadFilms_rgb.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>The cast of SPOTLIGHT</b></td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">AN INTERVIEW WITH MIKE REZENDES</span></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;">By Joshua Handler</span></b></div>
<br />
At the Toronto International Film Festival, I conducted an interview with Pulitzer Prize-winning journalist Mike Rezendes of The Boston Globe. Rezendes is portrayed by Mark Ruffalo in Tom McCarthy's (<i>The Station Agent</i>, <i>Win Win</i>) new film, <i>Spotlight</i>, about the Boston Globe Spotlight team who uncovered the Catholic sex abuse scandal in the early 2000s.<br />
<br />
To find out more about Rezendes' work with the Spotlight team, see the film, which is in limited release today but expands across the nation in the coming weeks. It's an extraordinary piece of filmmaking that will be a big Oscar contender come next year. My full review of the film as well as another interview for the film are forthcoming.<br />
<br />
Here is the interview:<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/0hyyqlj4yC4" width="560"></iframe></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-41261251955088832182015-10-24T10:50:00.001-07:002015-10-24T10:50:57.726-07:00SUFFRAGETTE Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXmSeKKVfn438VeV-Y7vnI0rCk6EaZ9ORyPHsHxW9R8WVtGfcHm7t_ACbK2R3E_7KnSU8ORz6cExnSId8-VguVusuTCH5vctuX5_RMgINKMxcKTfvwANP2YsfNAm2XKSvenz8xwllYcYxc/s1600/image.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXmSeKKVfn438VeV-Y7vnI0rCk6EaZ9ORyPHsHxW9R8WVtGfcHm7t_ACbK2R3E_7KnSU8ORz6cExnSId8-VguVusuTCH5vctuX5_RMgINKMxcKTfvwANP2YsfNAm2XKSvenz8xwllYcYxc/s400/image.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Focus Features<br /></td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">SUFFRAGETTE</span></b></div>
<div style="text-align: center;">
2015, 123 minutes</div>
<div style="text-align: center;">
Rated <b>PG-13 </b>for some intense violence, thematic elements, brief strong language and partial nudity</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
<div style="text-align: center;">
<b><br /></b></div>
<i>Suffragette </i>is a film that we <i>should </i>be viewing wondering how people's views towards women could have been so antiquated. But, while <i>Suffragette </i>is set 100 years ago, its story is unfortunately still timely and relevant, especially in light of the gender inequality issues being brought back to light recently.<br />
<br />
<i>Suffragette </i>tells the story of Maud Watts (Carey Mulligan), a mistreated young factory worker and mother who joins the women's suffrage movement in 1910s England.<br />
<br />
Narratively, <i>Suffragette </i>is fairly generic. It follows familiar story beats and structure. The screenplay, while obviously well-intentioned, doesn't have enough of a potent punch to it, which somewhat undermines the excellent direction. In many ways, <i>Suffragette </i>should have been more narratively similar to <i>Selma</i>, a film that relied much more on the smaller moments of power than the bigger ones. It was a human drama of vivid characters - ordinary people who did extraordinary things in a story filled with violence that hurt to watch. <i>Suffragette</i>'s violence does hurt, but it only hurts because its actresses and director make them hurt. It's not because the characters are so beautifully-written or extraordinary.<br />
<br />
Sarah Gavron's graceful, yet urgent direction makes up for a lot of the film's flaws. The best historical films immerse audiences into the time period that they depict like <i>Selma </i>and even <i>Zero Dark Thirty </i>(though that's much more recent history). Gavron primarily uses gritty, grainy 16mm photography to place her audiences right in the middle of the violent clashes of the women's suffrage movement. Much to her credit, Gavron does not shy away from the police brutality that occurred during this time. There's an intensity to <i>Suffragette </i>that's entirely unexpected and very welcome.<br />
<br />
No matter if people like <i>Suffragette </i>or not, no one will dispute the quality of its performances. Carey Mulligan gives yet another heartfelt, moving performance as Maud. Mulligan possesses one of the most angelic faces in cinema, one that almost immediately provokes a sense of sympathy. She also happens to be one of the few actresses who can rest the weight of her performance on her face. But, like one of the greats like Marion Cotillard or Meryl Streep (who gives a short, memorable performance in this film), Mulligan can also shine in her bigger moments.<br />
<br />
Helena Bonham Carter and Anne-Marie Duff give strong supporting performances. Bonham Carter leaves a lasting impression as Edith Ellyn, a doctor who is one of the movement's leaders. Bonham Carter's performance can be compared to Gavron's direction in that it's graceful where it needs to be but brings the power when it needs to.<br />
<br />
As important as the film's technical and performance-based merits are, they pale in comparison to how important <i>Suffragette </i>is to this day and age. More so recently than in a long while, gender inequality has been brought to the forefront of discussion, making <i>Suffragette </i>disturbingly relevant. This is not a film that should be relevant, just as <i>Selma </i>was a film that shouldn't be relevant. But <i>Suffragette </i>is and will remain so until attitudes towards women change. Let's hope it doesn't take another 100 years for this problem to be eliminated.<br />
<br />
<b>3/4</b>Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-15172665789885123372015-10-10T22:14:00.001-07:002015-10-10T22:14:26.684-07:00NYFF Review: DE PALMA<div style="background-color: white;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8qbcEjKpsKZ4HkHt1ddWcwMs1ocfJY7mwBk4AL65D6xLzaqLtQ3DyAfvQJi8wSiByhOwIuvzug_Hz-x16UtR57gsoSPyOtzw1S702ObbBsEevTNyRZ8VdVHd9RN-AYmOc2w2iqu3fmMO/s1600/depalma-1600x900-c-default-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX8qbcEjKpsKZ4HkHt1ddWcwMs1ocfJY7mwBk4AL65D6xLzaqLtQ3DyAfvQJi8wSiByhOwIuvzug_Hz-x16UtR57gsoSPyOtzw1S702ObbBsEevTNyRZ8VdVHd9RN-AYmOc2w2iqu3fmMO/s400/depalma-1600x900-c-default-2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of A24 Films<br /></td></tr>
</tbody></table>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit; font-size: x-large;"><b>DE PALMA</b></span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit; font-size: large;"><b>NYFF Review</b></span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit;">2015, 107 minutes</span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit;">Not Rated</span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit;"><br /></span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit; font-size: large;"><b>Review by Joshua Handler</b></span></div>
<div style="color: #222222; text-align: center;">
<span style="font-family: inherit;"><b><br /></b></span></div>
<div style="color: #222222;">
<span style="font-family: inherit;">Noah Baumbach is on a roll. With this year's enjoyable <i>While We're Young</i> and the brilliant <i>Mistress America</i>, this would be a great year in anyone's book. But, Baumbach had to one-up himself with one more film that proves that he's mastered another kind of filmmaking craft: documentary. <i>De Palma</i> is essentially the results of Noah Baumbach and co-director Jake Paltrow interviewing famed director Brian De Palma (<i>Carrie</i>, <i>Blow Out</i>, <i>Scarface</i>) about his career. It's simple in concept, but endlessly fascinating. </span></div>
<div style="color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="color: #222222;">
<span style="font-family: inherit;">De Palma is very candid in front of the camera, giving insights into his own films while telling stories about their productions. He isn't afraid to discuss his regrets about many of his films, which deepens the film and our understanding of its subject (while many of his films are considered classics, a fair amount are not, to say the least). </span></div>
<div style="color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div>
<span style="color: #222222; font-family: inherit;">It's very refreshing to see a piece of work as passionate as <i>De Palma</i>. Baumbach has made it no secret that he is a huge cinephile. When watching a Baumbach film, it's fun to see which films he has paid homage to. His past two paid homage to the </span><span style="color: #222222;">French New Wave (</span><i style="color: #222222;">Frances Ha</i><span style="color: #222222;">) and the screwball comedy (</span><i style="color: #222222;">Mistress America</i><span style="color: #222222;">), and the attention to detail in those films is astonishing<i>. </i>So, it comes as no surprise that <i>De Palma </i>is a detailed, comprehensive work, covering every </span><span style="color: #222222;">one of De Palma's films. This may sound tedious, but De Palma is so entertaining to listen to that it never once becomes less than completely compelling.</span></div>
<div>
<span style="color: #222222;"><br /></span></div>
<div>
<span style="color: #222222;">A few years ago, I saw Yves Montmayeur's <i>Michael H. Profession: Director</i>, a comprehensive look at Michael Haneke's career, at the Tribeca Film Festival. While I certainly enjoyed that film, it grew tedious by the end. That film wasn't told by its subject, which is something unique about <i>De Palma</i>. Listening to De Palma is like listening to the greatest Hollywood insider story ever told, except with brutal honesty.</span></div>
<div>
<span style="color: #222222;"><br /></span></div>
<div>
<span style="color: #222222;">Overall, <i>De Palma </i>is one of the best movies about movies I've seen. It made me want to revisit a number of De Palma films and then watch the ones I haven't. This is a passion project that went very right. While it will help to have seen a few of De Palma's films before viewing <i>De Palma</i>, it isn't essential since this could serve as someone's entry point into his fascinating filmography.</span></div>
<div>
<span style="color: #222222;"><br /></span></div>
<div>
<span style="color: #222222;"><b>4/4</b></span></div>
</div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-39321907412229375512015-10-07T10:48:00.002-07:002015-10-07T10:48:43.374-07:00NYFF Review: SON OF SAUL<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV6eFx1Q_Q15Vvk4jgXIrGd4Iwrop-GzVBeZAH4K1GTepwApVCoTsZieWDg-pEwUimLUbTtfoWDJCBkIOeVbU2bgxTyv5oOYEZR1l19RM7Mwo7kMBjqbduTN1fFJMCaps0YPHcHTkz9LFc/s1600/1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV6eFx1Q_Q15Vvk4jgXIrGd4Iwrop-GzVBeZAH4K1GTepwApVCoTsZieWDg-pEwUimLUbTtfoWDJCBkIOeVbU2bgxTyv5oOYEZR1l19RM7Mwo7kMBjqbduTN1fFJMCaps0YPHcHTkz9LFc/s400/1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">
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<span style="font-family: inherit; font-size: x-small;"><b><span style="background-color: white;">Géza Röhrig</span><span class="apple-converted-space"><span style="background: white; color: #252525;"> as
Saul</span></span><o:p></o:p></b></span></div>
<div class="MsoNormal">
<span style="font-family: inherit; font-size: x-small;">Photo by
Laszlo Nemes, Courtesy of Sony Pictures Classics</span></div>
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<span style="font-family: inherit; font-size: x-small;"><br /></span></div>
</td></tr>
</tbody></table>
<div style="text-align: center;">
<b><span style="font-size: x-large;">SON OF SAUL</span></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;">NYFF Review</span></b></div>
<div style="text-align: center;">
2015, 107 minutes</div>
<div style="text-align: center;">
Rated <b>R</b> for disturbing violent content and some graphic nudity</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-size: large;">By Joshua Handler</span></b></div>
<div style="text-align: center;">
<b><br /></b></div>
Holocaust films are inherently horrifying. However, most of them show a big-picture or impersonal view of the atrocity told through the story of someone extraordinary (<i>Schindler's List</i>, <i>The Pianist, </i>etc). While films like the aforementioned ones are by most people's standards excellent films, they aren't experiences to watch. László Nemes' <i>Son of Saul </i>is a visceral experience. Shot in a claustrophobic 4:3 aspect ratio, <i>Saul</i> is tells the story of a member of a sonderkommando (a group of Jewish prisoners who worked in the gas chambers), Saul (Géza Röhrig), who finds the body of a young boy in a gas chamber who resembles his son, and his struggle to give him a proper burial. <div>
<br /></div>
<div>
Nemes and cinematographer Mátyás Erdély shoot the entire film from Saul's point of view, relying heavily on Tamás Zányi's complex sound design to fill in what isn't shown onscreen. Everything we see and hear is what Saul sees and hears, making this film the most immersive film ever made about the Holocaust. Nemes takes his audience through the concentration camp, a literal hell on Earth, and avoids sentimentality at all costs, finding small moments of humanity to provide momentary reprieve from the camp's horrors.</div>
<div>
<br /></div>
<div>
<i>Son of Saul </i>is not a film that evokes tears. Instead, Nemes uses this film to evoke a deep feeling of numbing horror. Because <i>Saul</i> is unrelentingly brutal, the viewer, like Saul, becomes numb to the horrors depicted onscreen. It's a uniquely unnerving feeling to look at a pile of naked bodies and look at it as if it's normal. </div>
<div>
<br /></div>
<div>
As Saul, Géza Röhrig gives a performance for the ages, leading the audience through this hellish journey with subtlety and nuance. Röhrig's work in <i>Son of Saul </i>is one of the most impressive acting showcases of the year, as Nemes relies on him to tell Saul's story, past and present, through his face. He walks around with a disturbingly blank expression on his face, numb to the horrors around him. Everyone around Saul goes through their lives with one goal, survival. Saul is the only prisoner with a tangible mission, and this ultimately allows him to keep his humanity in the face of inhumanity. And, the final frame of Röhrig's performance is one that will haunt me for a very long time.</div>
<div>
<br /></div>
<div>
Overall, <i>Son of Saul </i>is an innovative masterpiece of cinema. It's one of only a few films this year to truly move the medium forward and try something completely different. Frequently experiments like this one fail, but <i>Saul</i> is a massive success. And it's all the more impressive when you realize that this is a debut feature. <i>Son of Saul </i>is likely the closest any of us will come to experiencing life in a concentration camp. While many viewers will leave the theater feeling physically ill as I did, we all need to remember to be thankful that we can return to our normal lives once the film is over; Saul and those who he represents, couldn't.</div>
<div>
<br /></div>
<div>
<b>4/4</b></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-86380792459607413122015-10-04T22:28:00.000-07:002015-10-04T23:13:11.921-07:00NYFF Review: STEVE JOBS<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw6yTUWY0rqxRt0z3svPfVygEts6lt8kt7NXYwlJFt5U7H3oAwqO3ILFJPLh6Wi-fcrMouZhu0YQrFCD-dpq17VUdpTD3_4d1fJCtwxyp8kg_7tiMc4X8nu8uCvF5P1wmz9_e2JxcfSug8/s1600/SteveJobs-NYFF53-1600x900.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw6yTUWY0rqxRt0z3svPfVygEts6lt8kt7NXYwlJFt5U7H3oAwqO3ILFJPLh6Wi-fcrMouZhu0YQrFCD-dpq17VUdpTD3_4d1fJCtwxyp8kg_7tiMc4X8nu8uCvF5P1wmz9_e2JxcfSug8/s400/SteveJobs-NYFF53-1600x900.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Michael Fassbender in STEVE JOBS</b><br />
Courtesy of Universal Pictures</td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: x-large;"><b>STEVE JOBS</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: large;"><b>NYFF Review</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">2015, 122 </span></span><span style="color: #222222;">minutes</span></div>
<div style="text-align: center;">
<span style="color: #222222;">Rated <b>R</b> for language</span></div>
<div style="text-align: center;">
<span style="color: #222222;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #222222; font-size: large;"><b>By Joshua Handler</b></span></div>
<div style="text-align: center;">
<span style="color: #222222;"><b><br /></b></span></div>
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">Thrusting the audience into the middle of mayhem during Steve Jobs' unfortunate launch of the Macintosh, Danny Boyle and screenwriter Aaron Sorkin open up a window into the world of Steve Jobs. <i>Steve Jobs</i> moves like a machine. With Michael Fassbender leading the way, daring us to keep up with him, the movie is never less than completely compelling. </span></span><br />
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;">Sitting through the 122 minutes of <i>Steve Jobs</i> feels like an unusually fast hour. Fassbender and Boyle give us a look into the head of Jobs, but like Jobs did with those close to him, they keep us at a slight distance, always daring their audience to want to see more. </span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;">In not a single scene do we see any of Jobs' famous product launch speeches. We see the moments immediately before. The myth of Jobs is dismantled quickly. The man shown onscreen is a person. He is an extraordinary person, but a person nonetheless. Sorkin, Fassbender, and Boyle smartly create a balanced portrait of the very flawed man that was Steve Jobs, and the way in which Sorkin concludes the film provides a moving cap to an emotionally cold film. </span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;">As informative as big-picture biopics can be, they frequently feel like "greatest hits" versions of their subjects' lives, never focusing on one scene for long enough to allow the audience to truly understand the subject. <i>Steve Jobs</i> is far more effective than standard biopics because it is a film built upon isolated scenes where Jobs' every move is filmed (each scene is depicted in real time). People can never understand another person from reading a Wikipedia biography of their life. It's when one person spends time with another person that they understand them. While <i>Steve Jobs</i> is only three scenes, it feels as if it comes far closer to understanding who this man was than any other film that would tell his life story. </span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="background-color: white;">
<span style="color: #222222; font-family: inherit;">Michael Fassbender rules over <i>Steve Jobs</i> with a subtly shifting </span><span style="color: #222222;">performance</span><span style="color: #222222;"><span style="font-family: inherit;"> that showcases his commanding movie star side as well as his human one. It's a performance that is never less than completely convincing, as Fassbender disappears into the man that is Steve Jobs. </span>With this performance, he<span style="font-family: inherit;"> creates what is possibly the most impressive of his career.</span></span></div>
<div style="background-color: white;">
<span style="color: #222222; font-family: inherit;"><br /></span></div>
<div style="background-color: white;">
<span style="color: #222222; font-family: inherit;">Kate </span><span style="color: #222222;">Winslet leads a strong supporting cast as Joanna Hoffman, Jobs' best friend and head of marketing. She's the calming presence in Jobs' life, balancing him out and giving him a human perspective on everything. Seth Rogen is also memorable as Steve Wozniak, Jobs' former best friend and co-founder of Apple.</span></div>
<div style="background-color: white;">
<span style="color: #222222;"><br /></span></div>
<div style="background-color: white;">
<span style="color: #222222;">Overall, <i>Steve Jobs </i>is the result of a group of immensely talented artists at the top of their games. Danny Boyle has orchestrated an electrifying, moving, and unusual portrait of one of the most brilliant minds in human history. Only a screenwriter like Aaron Sorkin could make some form of sense out of a life like Jobs' and create a beautifully-structured three-act film out of it. In many ways, <i>Steve Jobs </i>is similar to Sorkin's other film, <i>The Social Network</i>, but it distinguishes itself admirably. I wanted to see <i>Steve Jobs </i>again the minute it ended.</span></div>
<div style="background-color: white;">
<span style="color: #222222;"><br /></span></div>
<div style="background-color: white;">
<span style="color: #222222;"><b>4/4</b></span></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-51160586807398069702015-10-01T16:05:00.001-07:002015-10-01T16:05:05.765-07:00NYFF Report #2<div class="MsoNormal" style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><b>DE PALMA</b><br />Courtesy of A24 Films<br /></td></tr>
</tbody></table>
</div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">NYFF REPORT #2<o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">By Joshua Handler</span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During my second day at NYFF, I caught the afternoon
screening of Nanni Moretti’s latest, <i style="mso-bidi-font-style: normal;">Mia
Madre</i>, about a film director (Margherita Buy) who must cope with her
mother’s failing health as she’s directing a new film starring a pompous
American actor (John Turturro). A complex, funny, and sad film, <i style="mso-bidi-font-style: normal;">Mia Madre </i>is never boring, as it has
enough material and explores enough topics for a miniseries.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I then went to screen Ridley Scott’s <i style="mso-bidi-font-style: normal;">The Martian </i>(which I will review in time for release tomorrow). In short,
the film was a cinematic high note for the year that is one of Scott’s strongest films in years.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Tuesday, I screened Guy Maddin and Evan Johnson’s <i style="mso-bidi-font-style: normal;">The Forbidden Room</i>. There’s no way I
could explain what the film was “about”, what it meant, or what I just saw,
however, I will say that I didn't care about any of that, as it was a highly entertaining, audacious film that intrigued me and kept me invested for the vast majority of its running time.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yesterday, I screened Noah Baumbach and Jake Paltrow’s <i style="mso-bidi-font-style: normal;">De Palma</i>, a documentary in which famed
director Brian De Palma (<i>Scarface</i>, <i>Carrie</i>, <i>Blow Out</i>) discusses his entire career. In execution, it’s a very
simple film, but as a film about filmmaking, it’s unbeatable and shows that
Baumbach is as good a documentarian as he is a narrative filmmaker.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Apitchatpong Weerasethakul’s <i style="mso-bidi-font-style: normal;">Cemetery of Splendor</i> followed. That film certainly has and will
have an audience, but that audience is not me. It’s simply not my cup of tea.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stay tuned for another report and a few reviews.</div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-82819820680422222012015-09-27T15:37:00.000-07:002015-09-27T15:37:02.446-07:00NYFF Daily Report #1<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZhDg4NbTxIsvKE77xIKM8jadB7jO_rGI8EM26fKj1RnAQ7l15cr2B_wbC71Fcr1qhvFnrerdYalB6FGHGBU34gfFpteG0pymzl3ZAXskG-QZ5TK9pzbpL9i4XF5FciChbuHO_J1ciFnRm/s1600/TheWalk_full1-1600x900-c-default.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZhDg4NbTxIsvKE77xIKM8jadB7jO_rGI8EM26fKj1RnAQ7l15cr2B_wbC71Fcr1qhvFnrerdYalB6FGHGBU34gfFpteG0pymzl3ZAXskG-QZ5TK9pzbpL9i4XF5FciChbuHO_J1ciFnRm/s400/TheWalk_full1-1600x900-c-default.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Sony Pictures<br /></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">NYFF DAILY REPORT #1</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">By Joshua Handler</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal">
I’ve been covering NYFF for three years now. Every year
brings a new, carefully-curated selection of the best of world cinema condensed into 16 days. Yesterday was my first day at the festival,
though the films I saw weren’t the first NYFF festival films I screened (I
saw <i style="mso-bidi-font-style: normal;">Brooklyn</i> and <i style="mso-bidi-font-style: normal;">Maggie’s Plan </i>in Toronto, along with a few others over the summer).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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Yesterday began with Yorgos Lanthimos’ bizarre,
disturbing, melancholic, yet hilarious and moving Cannes Jury Prize-winner, <i style="mso-bidi-font-style: normal;">The Lobster</i>, which featured one of Colin
Farrell’s finest performances, along with a strong supporting turn by Rachel
Weisz. It’s a film I loved every second of.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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That evening, after a break, I attended the opening
night screening of Robert Zemeckis’ <i style="mso-bidi-font-style: normal;">The
Walk</i>, which while not the greatest film I’ve seen recently, was one of the
most remarkable technical achivements of the year. The use of 3D is stunning,
particularly in the latter half of the film. Zemeckis uses the 3D to deepen the
image (though he does occasionally have fun by using the 3D to throw objects at
the audience), which immersed me in the film and made it stand out from other films. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The final event of the night was the opening night party, my
favorite film event of the year. As usual, the event was held at Tavern on the
Green in Central Park, which on a crisp fall day is the perfect venue. There’s
nothing to me that compares to this party because the entire New York film
industry comes out (filmmakers, distributors, publicists, journalists, etc.), and having all of my colleagues and friends under one roof for a few hours late into the night is always a thrill. A
friend of mine calls the event “film prom.” </div>
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<o:p></o:p></div>
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Today brings Nanni Moretti's <i>Mia Madre </i>and Ridley Scott's <i>The Martian</i>. <o:p></o:p></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-42198257492750149682015-09-26T09:22:00.000-07:002015-09-26T09:22:59.224-07:00What to See at NYFF53<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnr_HmVO2b4_nVmVLDSuEE92he5tmKmRjopAVUdsFj1hV8Pok7tk6nPSK_gNlJfc6NjYXkTzsSI-JbFPhZdvZWEcN1KoCBP-7554Ie8th6TFgsA1yoZ282zXAmP52jscGGg6b9g122mQkl/s1600/unnamed-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnr_HmVO2b4_nVmVLDSuEE92he5tmKmRjopAVUdsFj1hV8Pok7tk6nPSK_gNlJfc6NjYXkTzsSI-JbFPhZdvZWEcN1KoCBP-7554Ie8th6TFgsA1yoZ282zXAmP52jscGGg6b9g122mQkl/s400/unnamed-4.jpg" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">WHAT TO SEE AT NYFF53</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">By Joshua Handler</span></b></div>
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<b><br /></b></div>
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This year’s New York Film Festival brings a wealth of gems
(as usual), so the following are a couple of films that I have screened and highly
recommend (due to a busy schedule, I was unable to screen as much as I usually do pre-fest):<o:p></o:p></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_oY6hOEp-BqCafO47ZZFM7uAxGSMI3S3jCqMhBwpGZvZbt5-MtsiCR_yg8BdZp3jzWYCmHtYHDQD2QE2Ag5DaUBMg3iBpVlOT4bUSVEjNAImzRkmzrlwMWr0dIr_aHhfdGvGCcwM8-Yu/s1600/Brooklyn1-1600x900-c-default.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh_oY6hOEp-BqCafO47ZZFM7uAxGSMI3S3jCqMhBwpGZvZbt5-MtsiCR_yg8BdZp3jzWYCmHtYHDQD2QE2Ag5DaUBMg3iBpVlOT4bUSVEjNAImzRkmzrlwMWr0dIr_aHhfdGvGCcwM8-Yu/s320/Brooklyn1-1600x900-c-default.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Fox Searchlight</td></tr>
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<o:p><b>BROOKLYN (Dir. John Crowley) – </b>A rich, deeply moving 1950s-set drama, John Crowley’s <i>Brooklyn</i> has been a sensation ever since premiering at Sundance in January. Starring a soulful, haunting Saorise Ronan as an Irish girl torn between her two homes, Ireland and America, and featuring superb performances by the excellent ensemble (Julie Walters and Etan Cohen stand out), <i>Brooklyn </i>is a film that I found very relevant to my life that also left me emotionally fulfilled and satisfied. Expect a slew of Oscar nominations. Fox Searchlight will release the film on November 6.</o:p></div>
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<o:p><br /></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcyvx6AQ_3j7odYgnJYwn7_1UI2_NlVqfAfkcGir6h_DzCFVZgcfbV7agboSnSRJLLI7QnCNGRqUaJuhC2HluxJhBxFSwKRK85ZKhjAWyrAOfUTYCM1abh615JAb7o5oNOMxKnCGyyk2Of/s1600/maggiesplan-1600x900-c-default.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcyvx6AQ_3j7odYgnJYwn7_1UI2_NlVqfAfkcGir6h_DzCFVZgcfbV7agboSnSRJLLI7QnCNGRqUaJuhC2HluxJhBxFSwKRK85ZKhjAWyrAOfUTYCM1abh615JAb7o5oNOMxKnCGyyk2Of/s320/maggiesplan-1600x900-c-default.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Courtesy of Sony Pictures Classics</td></tr>
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<b style="mso-bidi-font-weight: normal;">MAGGIE’S PLAN (Dir.
Rebecca Miller) – </b>Greta Gerwig leads Rebecca Miller’s latest comedy about a
New Yorker, Maggie (Gerwig), who wants to get pregnant through a sperm donor. She also falls for a professor (Ethan Hawke) who is married to a brilliant, yet
unstable woman (Julianne Moore). The screenplay is quick-witted, heartfelt, and
full of great one-liners, and the performances are universally excellent. The
standout, though, is Julianne Moore using a supposedly Dutch accent in a role
that allows her to steal every scene. Sony Pictures Classics will release the film.<o:p></o:p></div>
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Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-45647296967187366952015-09-18T14:51:00.002-07:002015-09-18T14:51:30.645-07:00PAWN SACRIFICE Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJ8SVrAAPIlc-en-gVv3nOnJ6KyuV8afIbd9M1qvaXXqmKDgG5lZ9gto273murALqvxcVAnZu6cED-0TvTcD30ED-NnivwsFAVO7Qvq9vCzHpEO1E3G8cMca-mo0pOdnCdezSzWfM458w/s1600/DF_01730_R.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpJ8SVrAAPIlc-en-gVv3nOnJ6KyuV8afIbd9M1qvaXXqmKDgG5lZ9gto273murALqvxcVAnZu6cED-0TvTcD30ED-NnivwsFAVO7Qvq9vCzHpEO1E3G8cMca-mo0pOdnCdezSzWfM458w/s400/DF_01730_R.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit; font-size: small;"><b>Tobey Maguire stars as Bobby Fischer in Edward Zwick's PAWN SACRIFICE, a</b></span><br />
<span style="font-family: inherit; font-size: small;"><b>Bleecker Street release.</b></span><br />
<span style="font-family: inherit; font-size: small;"> Credit: Takashi Seida</span><br />
<span style="font-family: inherit; font-size: small;"><br /></span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: x-large;">PAWN SACRIFICE</span></b></div>
<div class="MsoNormal" style="text-align: center;">
2015, 114 minutes</div>
<div class="MsoNormal" style="text-align: center;">
Rated <b>PG-13 </b>for brief strong language, some sexual content and historical smoking</div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: center;">
<b><span style="font-size: large;">Review by Joshua Handler</span></b></div>
<div class="MsoNormal" style="text-align: center;">
<b><br /></b></div>
<div class="MsoNormal">
Edward Zwick’s <i style="mso-bidi-font-style: normal;">Pawn
Sacrifice</i> is, narratively, a standard biopic, but rises above other biopics
due to its immaculate craft and the quality of the performances. The film tells
the story of genius chess grandmaster Bobby Fischer, his declining mental health, and
his rivalry with Boris Spassky of Russia during the Cold War. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As Fischer, Tobey Maguire gives the performance of his
career, creating a character that’s alternately despicable, intriguing, pitiful,
impressive, and sad. Maguire is a recognizable actor who frequently portrays ordinary or weak men who either turn into someone extraordinary (<i style="mso-bidi-font-style: normal;">The Cider House Rules</i>, <i style="mso-bidi-font-style: normal;">Spider-Man</i>) or are out of place in
extraordinary circumstances (<i style="mso-bidi-font-style: normal;">Pleasantville</i>,
<i style="mso-bidi-font-style: normal;">The Great Gatsby</i>). In <i style="mso-bidi-font-style: normal;">Sacrifice</i>, he is a weak man with a
powerful mind. Maguire is forceful and unpleasant, yet heartbreaking. Peter Sarsgaard and Michael Stuhlbarg also give strong supporting performances.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Many will criticize the film
for being so narratively conventional, yet while there isn’t much structurally that
sets the film apart, it doesn’t matter since it flows nicely and immersed me
into the world of Bobby Fischer. Many biopics are like “greatest hits” versions
of their subjects’ lives instead of explorations of the subjects’ personalities
and souls. But, writer Steven Knight delves deeply into the inner of world of
Bobby Fischer, allowing us to understand him, even if we can't always sympathize with him.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Knight’s solid script combined with Zwick’s confident,
well-judged direction make this an exhilarating ride. Everyone involved with
this film seems to have faith in Zwick’s clear vision and turns in high-caliber work. Steven Rosenblum’s editing is particularly sharp and keeps <i style="mso-bidi-font-style: normal;">Pawn </i>moving at a clip for just about all
of its nearly two-hour running time.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Also of note is Bradford Young’s typically rich
cinematography. Young is one of the most exciting cinematographers working
today, having shot some of the most visually striking films in recent memory
such as <i style="mso-bidi-font-style: normal;">Ain’t Them Bodies Saints</i>, <i style="mso-bidi-font-style: normal;">Selma</i>, <i style="mso-bidi-font-style: normal;">A Most Violent Year</i>, and <i style="mso-bidi-font-style: normal;">Vara:
A Blessing</i>, and his rich, eye-popping work on <i>Pawn </i>gives the film a polished quality that makes viewing it an unusually pleasurable experience.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Overall, <i style="mso-bidi-font-style: normal;">Pawn Sacrifice
</i>is a very good piece of filmmaking that left me completely satisfied. It's a dramatic thriller that actually thrills and should please most audiences. So often nowadays I
see films that are technically accomplished that fail to satisfy on most levels. <i style="mso-bidi-font-style: normal;">Pawn Sacrifice </i>satisfies by
telling a complete, engaging story with melancholic undertones that builds to a
simultaneously triumphant and tragic conclusion.<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"><b>4/4</b></span></div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0tag:blogger.com,1999:blog-7306636920157702578.post-44298004440699957012015-08-13T10:22:00.002-07:002015-08-13T10:22:36.058-07:00NYFF Main Slate Analysis<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JyV1J1A7mMI-T3u_T7wjpkhIGoubdUDy0MmmfRr6HNZgJwR9RmIiwbLffren_s9gikXM2hKrZCTccU2wdtOG5tHCN5K09UXnGExVL23VVmBQWVd5nAVTxNn4TBKzFotQ1-pTzhv9mr15/s1600/mygoldendays-800x450.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6JyV1J1A7mMI-T3u_T7wjpkhIGoubdUDy0MmmfRr6HNZgJwR9RmIiwbLffren_s9gikXM2hKrZCTccU2wdtOG5tHCN5K09UXnGExVL23VVmBQWVd5nAVTxNn4TBKzFotQ1-pTzhv9mr15/s400/mygoldendays-800x450.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>MY GOLDEN DAYS </b><br />Photo Courtesy of Magnolia Pictures</td></tr>
</tbody></table>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: x-large;"><b>NYFF Main Slate Analysis</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit; font-size: large;"><b>By Joshua Handler</b></span></span></div>
<div style="text-align: center;">
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;"><br /></span></span></div>
<span style="background-color: white; color: #222222;"><span style="font-family: inherit;">The 53rd New York Film Festival is almost upon us and the main slate is as exciting as ever. With 26 films in the main slate, the programming committee has chosen a diverse group of films from this year's festivals, along with a three huge world premieres. While Robert Zemeckis' <i>The Walk</i> and Don Cheadle's <i>Miles Ahead</i> had previously been announced as world premieres, today's announcement brought the world premiere of Steven Spielberg's <i>Bridge of Spies</i>. This announcement isn't surprising though given that the film opens on October 16 and Spielberg launched his Oscar juggernaut <i>Lincoln</i> at NYFF in 2012. Danny Boyle's <i>Steve Jobs</i> will be the festival's centerpiece, but that will not be the world premiere (the official world premiere has yet to be announced). </span></span><br />
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;"><br /></span></div>
<div style="background-color: white; color: #222222;">
<span style="font-family: inherit;">As is typical of NYFF, the lineup is full of Cannes hits such as Hou Hsiao-hsien's <i>The Assassin</i> (Best Director-winner), Yorgos Lanthimos' <i>The Lobster</i> (Jury Prize-winner), Stéphane Brizé's <i>The Measure of a Man</i> (Best Actor-winner), Todd Haynes' <i>Carol </i>(Best Actress-winner), and a multitude of other Cannes hits.</span></div>
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<span style="color: #222222; font-family: inherit;">Taking after a trend set by last year's NYFF, the selection committee programmed two films from Sundance, John Crowley's awards-contender, <i>Brooklyn</i>, and Michael Almereyda's <i>Experimenter</i>, the most surprising inclusion on the main slate. </span><span style="color: #222222; font-family: inherit;">The film hasn't generated much buzz and hasn't had much festival play, so it's interesting to see it appear at NYFF. </span></div>
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<span style="color: #222222; font-family: inherit;">Also surprising is the lack of films from Sony Pictures Classics. While they recently bought </span><i style="color: #222222; font-family: inherit;">Miles Ahead</i><span style="color: #222222; font-family: inherit;">, none of their Cannes acquisitions such as László Nemes' </span><i style="color: #222222; font-family: inherit;">Son of Saul</i><span style="color: #222222; font-family: inherit;"> or Hirokazu Koreeda's </span><i style="color: #222222; font-family: inherit;">Our Little Sister</i><span style="color: #222222; font-family: inherit;"> are in NYFF. That being said, I wouldn't be surprised if their Sundance acquisition, Louise Osmond's </span><i style="color: #222222; font-family: inherit;">Dark Horse</i><span style="color: #222222; font-family: inherit;">, appears in the documentary sidebar (it also </span><span style="color: #222222;">wouldn't</span><span style="color: #222222; font-family: inherit;"> be surprising if Kent Jones' <i>Hitchcock/Truffaut</i>, Frederick Wiseman's <i>In Jackson Heights</i>, Sydney Pollack's <i>Amazing Grace</i>, and Noah Baumbach and Jake Paltrow's <i>De Palma</i> show up there as well). </span></div>
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<span style="font-family: inherit;">Distributor-wise, Kino Lorber has a massive showing with Miguel Gomes' three-part <i>Arabian Nights</i>, Stéphane Brizé's <i>The Measure of a Man</i>, Guy Maddin and Evan Johnson's <i>The Forbidden Room</i>, and Jia Zhangke's <i>Mountains May Depart</i>. Magnolia also has a nice showing with Michael Almereyda's <i>Experimenter</i> and Arnaud Desplechin's <i>My Golden Days</i>.<i> </i>Fox Searchlight and The Weinstein Company have one film each, <i>Brooklyn</i> and <i>Carol</i>, respectively.</span></div>
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<span style="color: #222222; font-family: inherit;">Quite a few films </span><span style="color: #222222;">don't</span><span style="color: #222222; font-family: inherit;"> have distribution, though, such as Michael Moore's <i>Where To Invade Next</i>, Rebecca Miller's <i>Maggie's Plan</i>, Michel Gondry's <i>Microbe & Gasoline</i>, and Laura Israel's <i>Don't Blink: Robert Frank </i>(another NYFF world premiere).</span></div>
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As usual, the New York Film Festival promises to be an enriching festival that is becoming increasingly important in fall festival/awards season. Over the past few years, studios have begun world-premiering their awards contenders at NYFF such as <i>Life of Pi</i>, <i>Flight</i>, <i>Lincoln</i>, <i>Captain Phillips</i>, <i>Her</i>, <i>Gone Girl</i>, <i>Citizenfour</i>, and <i>Inherent Vice</i>. All of the aforementioned films were nominated for or won major Oscars. This bodes well for <i>The Walk</i>, <i>Steve Jobs</i>, <i>Bridge of Spies</i>, and <i>Miles Ahead</i>. </div>
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The New York Film Festival runs September 25-October 11. </div>
Roboapocalypsehttp://www.blogger.com/profile/03689426598514507936noreply@blogger.com0