Review: 'Club Life'
Jerry Ferrara, best known for his role as "Turtle" in HBO's Entourage, is back as another party-loving, girl-chasing dude in the drama Club Life. Ferrara takes the lead as "Johnny D" in this high-energy film; as a limo driver turned club promoter, his desire to make money to support his struggling family relies on his presence in the ever-growing Manhattan club scene. His relationships suffer as he becomes more entrenched in the nightlife, and he is faced with the realization that "club life" isn't all that glamorous, forcing him to make some tough, life-changing decisions.
For fans of The Wolf of Wall Street's Jordan Belfort's climb to the top of the social ladder, Club Life has the same underdog perseverance. Inspired by true events, Johnny D's story starts in New York City, 2008. While driving a client around in his limo, he gets a phone call about his father's sudden stroke. Barely getting by as it is, Johnny is forced to make some major cash and fast. While out at a club with his girlfriend Tanya (Jessica Szohr), he suddenly finds a mentor in club promoter Mark (Danny A. Abeckaser) and begins working side by side with him. And "working" means Johnny D is now responsible for bringing hot girls to the club, which can earn him up to $3,000 a night.
For fans of The Wolf of Wall Street's Jordan Belfort's climb to the top of the social ladder, Club Life has the same underdog perseverance.
From that point, it's easy to see where the film is going, and its conventional plot doesn't make for much of a surprise. For someone who is personally not "all about the club life," the film's tone can be rather laughable at times. Director Fabrizio Conte gives the impression that running a club is on par with competing in the Olympics, and while I don't doubt the realistic stresses of that kind of job, I rolled my eyes when Mark tells Johnny D, with true non-sarcasm, that bringing pretty girls to the club is not just a job, but a cultural movement.
While Conte's directorial debut is thematically hard to digest, it's worth noting that the performances really make the film watchable. Ferrara turns to his former Entourage swagger to give Johnny D the lovable wiseguy personality. As his girlfriend, Szhor's brief appearance in the film stands out and left me wishing she had more screen time. Abeckaser, who also co-wrote the film, plays Mark with the perfect balance of scummy nightclub lord and sweet-talking debonair, making his character my favorite to watch.
If bottle service and dirty dancing are your things, then you will probably enjoy this movie. At the end of the film, the credits roll next to a slideshow of New York City Night Life Legends, reminding the audience once again that this is based on a true story and people like Mark and Johnny D actually exist.
Club Life opens in theaters on May 29th, and on iTunes and VOD May 26th.
https://www.youtube.com/watch?v=eTk6k9BEyrc
Review: 'Sunshine Superman'
Mankind may institute the laws of the land, but gravity is the law of the universe, and those are the only rules Carl Boenish abides by. The father of the BASE jumping movement, Boenish’s story and the extreme-sport culture at large is examined in the euphoric documentary, Sunshine Superman.
This film is so much more than watching people jump off mountains and buildings; director Marah Strauch finds a goldmine when talking to Carl’s family and friends as we discover just who this fearless man was. It will no doubt leave you with chills, and maybe a few tears.
Growing up in Hawthorne, CA (shout out to my hometown), Carl worked as an electrical engineer, amateur filmmaker, and skydiving enthusiast. The film takes us through his early years, his law-breaking shenanigans and meeting the love of his life, Jean, whom he later married. Everyone who knew him all said the same thing, Carl had “Peter Pan” syndrome and he was just a big child at heart who never really grew up.
The little things excited him, and his energy was contagious. His enthusiasm for life, exploration, and nature’s miracles knew no bounds. Perhaps that’s why it was seemingly so effortless for him to dangle 3,000 ft off of El Capitan mountain in Yosemite National Park on a bicycle seat while BASE jumpers lunged off cliffs to ensure the best aerial footage for his ever-growing video library.
This footage proves to be some of the film's most rewarding moments, the candidness of their relationship personifies not just a love story between an man and a woman, but also a man and nature.
The genesis of BASE jumping, which is actually an acronym for Building, Antenna, Span, and Earth, started with Carl in the 1970s. In order to call yourself a BASE jumper, one must have jumped off of each of the fixed objects. His obsession with the sport took him all over the world, and he was finally able to share his experience with someone special when he married Jean.
Well before the days of the Go-Pro camera, Carl and Jean strapped large cameras on their heads and documented all of their conquests. This footage proves to be some of the film’s most rewarding moments; the candidness of their relationship personifies not just a love story between a man and a woman, but also between man and nature.
Sunshine Superman is so uniquely powerful because its story is told through both Boenish’s old 16mm archive footage of his jumps, as well as Strauch’s vision for state-of-the-art aerial photography. The naturalness of weaving footage from past to present is effective in giving the story its euphoric vibe. Not that it needs any special effects, but I can’t even imagine what this film would look like in 3D.
It hits you about a quarter through the film that Carl is noticeably absent during interviews. Since this a historical documentary, there are no real spoilers here. In fact, the image above is the Norwegian “Troll Wall” mountain, the location where Carl and Jean jumped off of to claim the Guinness World Record in 1984 for the highest BASE jump, two days before his ultimate death.
As charming as Carl was, his naivetés to human limits was his critical downfall. Claiming the angel wings on his back (AKA his parachute) would always guide him to safety, Carl jumped from a cliff that was just days before deemed “suicidal.” Tests proved that no one could safely jump from that area of the mountain, but Carl liked a challenge, and ultimately that cliff claimed his life. This moment in the film is sobering, and will no doubt leave you with chills.
Jean knows her reaction to his death is weird, and the way she deals with the loss seems odd. But to Jean, a stoic woman who suppresses her feelings as opposed to wearing them on her sleeve, this is only natural. She goes to the spot where Carl took his last jump just a short time before. She jumps, and lands, only to be greeted by a throng of onlookers inspired by her bravery. “It’s what he would have wanted,” she says.
Sunshine Superman is more than just a documentary about the BASE jumping movement or Carl Boenish; it’s a testament to the human spirit and nature’s infinite beauty. Marah Strauch captures here not only arresting visuals, she effortlessly sums up emotions, and extremely inspiring ones at that.
Sunshine Superman opens in LA at The Landmark and in NY at the Sunshine Cinema 5 this Friday with a national rollout May 29th.
https://www.youtube.com/watch?v=3CsJW3_NqJ4
Review: '(Dis)Honesty'
The human mind is a curious and complex thing, and in director Yael Melamede's documentary (Dis)Honesty, she enlists the knowledge of behavioral economist Dan Ariely to uncover the truth behind our lies, and the impact it has on society. Candid interviews from ordinary people whose lives have been ruined by dishonesty are sprinkled throughout the film, and their self-reflection and relatability adds a powerful element to the stories they tell. It's no secret that everyone tells a little white lie now and again, but after watching (Dis)Honesty, you may want to re-think how that little fib can easily lead to a bigger, more consequential lie down the road.
Dan Ariely orchestrates the film from the very beginning. A professor at Duke University, Ariely founded the Center for Advanced Hindsight and with three New York Times bestsellers on the subject, he is the man responsible for conducting hundreds of experiments to understand this human behavior. His journey began tragically when, as a teenager, Ariely suffered severe burns to over half of his body which left him hospital bound for three years. During this time, he noticed all of the irrationalities occurring in daily life and turned his tragedy into his life's mission to understand human behavior, specifically dishonesty.
The take away is that we all have the capacity to build a better and more honest world, and this film can help us get there.
(Dis)Honesty plays like a 90 minute TED Talk, Ariely gives his presentation to a group of curious minds on the subject of lies, as the film intercuts from his speech to the stories from eight different people. Athletes, scholars, stock traders and stay-at-home mothers make up the diverse cast of characters, and while their stories are all very different, they share a commonality in the deeply human experience of guilt, shame, and repentance.
One of the better-known stories comes from media strategist and writer Ryan Holiday. Holiday, pictured above, is responsible for orchestrating the Tucker Max media freak-out back in 2009. For those unfamiliar, Tucker Max started as a blog which famously morphed into the scandalous book, and later movie, I Hope They Serve Beer In Hell. To strum up publicity for the film, Holiday started a guerrilla marketing campaign to self-sabotage his own film, figuring that negative press would drive more people to the seats. He would deface the film's billboards, and then report it to various outlets, sparking interest and eventually starting a wide-spread movement lashing out against Beer In Hell. His story is one of the eight that are both engaging and entertaining. Side note- Holiday now works as the head PR at American Apparel.
Corporate scandals and political deception are obviously major no-no's, but what about the little lies that aren't seemingly so bad? Like telling a child about the existence of Santa Claus, for example. There is a gray area when it comes to how we view "lie telling," and Ariely does a fantastic job of explaining how people rationalize what is acceptable fibbing. (Dis)Honesty is a personal look at a taboo subject, and should be on the watch list of anyone with any interest in learning about the non-tangible and complex workings of the brain and lying. The takeaway is that we all have the capacity to build a better and more honest world, and this film can help us get there.
(Dis)Honesty opens at the Laemmle Playhouse 7 in Pasadena this Friday.
https://www.youtube.com/watch?v=u-dWRVS-vVg
Review: 'Noble'
There are few people in history that have lived up to their remarkable names; off the top of my head, Dr. Martin Luther King Jr. is the perfect example. A true king of the people, he lead a civil rights movement that changed history forever. Christina Noble (Deirdre O’Kane) has a similar story and legacy. As a child, she was abused, raped, and left for dead. After a lifetime of fighting for her life and a state of well-being, she becomes obsessed with the war in Vietnam and dedicates her life towards focusing on the betterment of the lives of the people there. Noble tells Christina's remarkable journey, which also happens to be an incredible true story.
Christina's story begins in Ireland, 1955. As a young girl, she has the voice of an angel, singing for the community and anyone who will listen. Her Irish accent is fragile but beautiful. After the unexpected death of her mother, her drunken father is forced to care for her and her three siblings. Deeming them too much responsibility, he neglects the children, who are then court-ordered to alternative housing. Christina is given up to an orphanage run by nuns, and she passes the time singing, praying to God, and dreaming of the day she leaves her current surroundings.
She faces hardships while in Vietnam, but ultimately overcomes this struggle proving that nothing in life is easy or deserved, we must create our own path for the future.
However, she learns the hard way that the grass isn't greener outside of the orphanage. A sexual assault at 17-years-old leaves her pregnant, and ultimately powerless when her child is taken from her and adopted out without her knowledge. A workplace romance leads to spousal abuse and further misery. Her deadbeat father re-appears just to steal her money and disappoint her once again. It isn't until a news segment on television about the Vietnam war gives Christina a purpose in her life. She immediately heads to the poverty-stricken country to help in any way she can.
It is in Vietnam where Christina finds her calling, and this inspiring moment will stay with you for the duration of the film. She visits an orphanage full of children affected by Agent Orange, which is truly horrifying. These children are left to die and Christina uses her experience as an abused child to help other young children living in poverty. She faces hardships while in Vietnam, but ultimately overcomes this struggle proving that nothing in life is easy or deserved, we must create our own path for the future. Your destiny is up to you.
As far as biopics go, Noble is one of the better films I've seen. For a relatively unknown name, director Stephen Bradley humanizes Christina in a way that leaves everybody in the theater feeling connected to her. The way in which the film weaves through flashback narrative to linear story is artfully executed and quickly paced, focusing on only the important elements crucial in telling the story. This is not a fluff film, in fact, it is in the same vein as Steven Soderbergh's Erin Brockovich, where love and loss are constant themes, but the overall feeling of triumph and independence prevail.
The film ends with a picture of the real Christina, who is credited as providing protection, education, and healthcare to more than 700,000 children and families. To say that Noble is an inspiring film is an understatement. Extraordinary performances from the cast, especially Deirdre O’Kane, are both heartfelt and piercing. The takeaway from this film is powerful, as we can all learn a lesson from Christina Noble; true happiness comes from helping others.
Noble opens in theaters this Friday.
https://www.youtube.com/watch?v=ogoeU_59XEM
'The 100-Year-Old Man Who Climbed Out the Window and Disappeared'
A grey-haired man mourns the death of his beloved cat, as its lifeless body lays stiff in the snow. The man goes back into his house and, in an attempt to lure the fox that killed his pet, sets up a dynamite-strapped hot dog treat. The bait is placed outside. The fox wanders towards the treat. The explosion booms. Cut to: Allan, the grey-haired man, locked up in a nursing home. And so begins Allan's journey as the 100-year-old man who, quite literally, climbed out of the window in his room and disappeared.
Based off of the 2009 book of the same name by Jonas Jonasson, director Felix Herngren brings to the screen this larger than life comedy of Allan Karlsson. Allan (Robert Gustafsson), who, on his 100th birthday decides to escape the old folks' home through the window, starts a new adventure by booking a one-way ticket to a small town with no destination in mind. A diagnosed pyromaniac following the deaths of his mother and father, he is a very independent man whose talent and genuine interest in the field of explosions has lead him down a windy and colorful road.
Not one to be far from trouble, Allan finds himself leaving behind a trail of chaos wherever he goes. After escaping the nursing home, Allan gets himself caught up in a drug ring, murder, and a suitcase carrying $50 million. And that's only the beginning. After accidentally intercepting the suitcase of cash, Allan gets an unfortunate following: the police from the nursing home try to track him down, as well as the intended receptors of the money, and so begins this "geriatric goose chase" that finds hilarity at every turn.
The cartoonish jokes are juxtaposed with dark humor, making for a very unpredictable yet engaging watch.
The humor comes from Allan's Mr. Magoo moments, even with his slow-moving mannerisms, he manages to avoid accidents by mere seconds. Allan's life is quite literally a series of happy accidents. The jobs he has held as a young man, the friends he meets along his journey, and even his health and well-being are completely determined by fate.
100-Year-Old Man is just shy of two hours and is every the bit engaging. Most of the film is in Swedish with English subtitles, but there are moments when a voice from the point of view of Allan narrates over the scene. Where this could easily come across as a cheap or tacky device, the voice-over is a necessary and enjoyable effort.
Almost every other scene is a flashback to Allan's life, giving the audience context to the character and chronicling his series of misfortunate events. The soundtrack is reminiscent of a Wes Anderson film, and the filmmaking style is very similar as well. The cartoonish jokes are juxtaposed with dark humor, making for a very unpredictable yet engaging watch.
Actor Robert Gustafsson lives up to his description as "the funniest man in Sweden" with his portrayal of Allan. Gustafsson plays Allan both as a young and old man– the use of makeup and special effects is also something to take note of as he is almost unrecognizable as the two. His line delivery and relationships with the cast of characters he meets along the way are equally as witty and sentimental.
Even the title alone, The 100-Year-Old Man Who Climbed Out the Window and Disappeared, should give audiences a good idea about what type of film this is.With a talented cast and a script full of geezer hijinks, this film is a very funny, heartwarming, suspenseful, and above all else, an entertaining watch. It left me wanting to read the book as well. In the words of Allan Karlsson, "Life is what it is, and does what it does," and nothing has ever been wiser or more clearly stated from a 100-year-old man.
The 100-Year-Old Man Who Climbed Out the Window and Disappeared opens at Laemmle's Royal Theatre in West L.A., Playhouse 7 in Pasadena, Town Center 5 in Encino and in San Diego, Atlanta and New York City this Friday, followed by a national release.
https://www.youtube.com/watch?v=Q-7VM1QOrI0
Review: 'Iris'
To say that Iris Apfel has fans is an understatement. Iris Apfel has worshipers, and the Albert Maysles-directed documentary Iris proves that honest artistic expression in any form makes for a happy and fulfilled life, and one dazzling watch.
As a 93-year-old fashion icon known worldwide, Apfel exudes a naturalness in the film that makes you feel like you know her. Her body is fragile, her clothes are flamboyant, and her soul is, above all else, happy. Maysles, whose previous films include Grey Gardens and Gimme Shelter, takes audiences into Apfel's life behind the scenes. From her private apartment in New York that she shares with her 100-year-old husband Carl, to her storage warehouse that doubles as a closet, we embark on an 80-minute journey that finds inspiration–and words of wisdom from Iris herself–at every turn.
Dubbed a "Rare Bird of Fashion" and "Geriatric Starlet," Iris is instantly recognizable by any fashion-savvy onlooker today. As the recent cover girl of MAC Cosmetics, she is used to having her picture taken by everyone from bloggers and Bill Cunningham alike, but it wasn't always that way. Growing up in a middle-class Queens neighborhood during the Great Depression, Iris learned the notion hard work at a young age. As a girl working at the department store Loehmann's, Iris recalls a time when the owner, Mrs.Loehmann, called to her. "You're not pretty. You'll never be pretty," she tells Iris bluntly, "You've got something better. You have style." To this day, that remains one of the best compliments she has ever received. "Those who are the most fortunate are interesting rather than pretty as looks fade," says Iris. It is evident throughout the film that she is one of the lucky ones, as her wittiness and looks only get better with age.
Mocking her own old age, she leaves us with this style tip: "If you hang around long enough everything comes back in style." Well Iris, baby, you never left.
Forever 21, Topshop, and H&M are the death of individuality when it comes to the future of the fashion world. Mass production limits the creative mind of the consumer, as many forgo the unique vintage treasures in exchange for mass conformity and accessibility, but not Iris. Her clothing and accessories come from all over the world– every trinket and bauble has a story. Her early job as a fabric manufacturer took her all around the globe, even dressing the interior of the White House. The stories Iris and her husband recall about those times are both hysterical and sentimental, and without even trying the Apfel's give all of us a relationship to strive for.
88-year-old director Albert Maysles, who passed away last month, humanizes Iris in a way that only her close friends and family would have seen. Her guard is down as she talks candidly to Maysles about her health problems, her decision to not have children, and her fears. He captures this vulnerability with a gentleness of a best friend and the eye of an artist.
To read our interview with Iris and the producers of the film, click here.
Behind those iconic bottle-rimmed glasses is a woman who has lived life to the fullest, and serves as an inspiration to everyone who watches the film. Although, for those who could care less about the fashion industry, it may be hard to see past the spectacle and find the deeper meaning in the film. While its target audience is a niche group of people, those who take a chance on Iris will definitely not leave the theater disappointed.
The funny thing is, there is nothing particularly revolutionary or groundbreaking about Iris Apfel. She did not reinvent the wheel. She did, however, prove that confidence and individuality is priceless and we should all embrace and cater to our deepest desires in life. To say that Iris left me inspired is an understatement, not only did I rediscover the clothes in the back of my closet that I had once thought were too "outlandish," but I also gained a new perspective on living life. Iris never cared what others thought about her and that strong feminine attitude, mixed with her spunkiness, is a fantastic role model for both those in and out of the fashion world. Mocking her own old age, she leaves us with this style tip: "If you hang around long enough everything comes back in style." Well Iris, baby, you never left.
Iris opens in Los Angeles Theaters (Cinefamily, Laemmle’s Royal, Laemmle’s Playhouse 7, Westpark 8 Cinemas) Friday, May 1st.
https://www.youtube.com/watch?v=eIG2AoiHszY
Iris Apfel and Producers on 'Iris'
Her iconic look has been seen in the pages of fashion magazines for decades, yet when Iris Apfel appears in person, it still feels otherworldly. By way of wheelchair, 93-year-old Apfel still does not disappoint when it comes to her eclectic appearance. In her signature black coke rimmed glasses, she dons a multi-colored tribal inspired jacket, black chunky bracelets, and beautiful draping necklaces (plural, of course). Sitting next to her at today's press day taking place at the Four Seasons Hotel are the producers of the film Iris, Laura Coxson and Jennifer Ash Rudick. After promoting the film and answering questions all morning, I'm not surprised to hear that she is completely exhausted from the junket. But Iris is a trooper, and for twenty minutes, a few lucky journalists are able to sit down with her and talk about her life, her initial hesitations in agreeing to do the film, and her spirit animal. We begin:
How exciting is it to have a film made about you and your views on life?
Iris Apfel: I guess it's exciting... haha. I'm very grateful and I'm excited that it's being so well received. I'm so happy that it happened that way for Albert. He's gone off to heaven but he did love the film. He loved making it and I loved working with him.
How did this project start? What was your first reaction to this movie?
Iris Apfel: I said no. Jennifer [Rudick] started the whole thing.
Laura Coxson: I had been at Maysles and Jennifer sent us an email and we set up a meeting and that's when the spark started. I don't know if Iris was completely on board, I could tell there was a palpable energy between the two of them, there was a feeling of camaraderie just from that initial meeting.
Jennifer Ash Rudick: I think like most people, Iris was hesitant thinking, 'What story do I have to tell?' People seem to know her from her pictures, and Iris is just so exceptional and normal at the same time, just like all of us. Albert [Maysles, director who passed away in February 2015] wants to humanize everyone and I think it was just so clear to everybody that Al would be the perfect person to humanize Iris because she is a public figure, yet she's very private. I think she could trust Al. It's hard to do an honest portrait that isn't a pat or puff piece, and no one walks the line like Al.
Laura Coxson: I think after meeting Albert you'd be hard-pressed to say 'No" to him. There was immediate empathy and I can't tell you how many people I met with him on different projects. He really has... had an energy that was hard to deny.
(Albert Maysles and Iris Apfel, Courtesy of L.A. Times)
What about working with these lovely ladies [Coxson and Rudick]?
Iris Apfel: Well that goes without saying.
What inspired me was your self-confidence. Have you always had that confidence?
Iris Apfel: I guess I've always had it, but now it's more so.
Iris, you've been described as a "Rare bird of fashion," what would you say is your spirit animal?
Laura Coxson: I would say the tiger in the Met show, there's an outfit that Iris designed– it's a hand-woven fabric– and it's beautiful. There's a tiger in the shot of this woman wearing this coat but that tiger, every time I see the film, it reminds me of Iris.
Iris Apfel: I think maybe some shaggy old dog.
Laughter
Jennifer Ash Rudick: I wouldn't say a unicorn, but that's all I can think of. Iris loves fantasy, but she is really grounded in reality too.
Iris Apfel: I've always had a problem because my middle has been stretched, my head's in the clouds and my feet are on the ground. That's how I've always been. I'm very practical. I love fantasy and all that, but I'm very pragmatic.
What is your motivation to continue to push yourself?
Iris Apfel: I just like to experience different things and if a project comes along that I think I can learn something from, I'll do it.
(Iris Apfel for MAC, Courtesy of l'étoile Magazine)
I have to ask, what is your skin regime to keep looking so beautiful?
Iris Apfel: Beautiful? Oh God, I looked in the mirror today and I screamed.
Laughter
Then the makeup lady had the gall to come with a magnifying mirror. I don't do anything, it's terrible. I should, but I don't. People send me all of these products and I did an collection for MAC and they sent me everything you can think of, but they're still in the boxes. I don't have time for that. I just wash my face. I use Cetaphil from the drugstore. I only wear makeup when I'm going on camera. I shine too much without it so they slap some on.
What advice do you have for young girls who want to be like you?
Iris Apfel: I think they have to learn on their own. Learn what they can tolerate and what they can handle, and not just follow what people tell them to do. You can't do your own thing unless you have a thing to do, so they have to develop and learn something. Be yourself is the most important thing, don't live in somebody else's image.
How was the filming process?
Iris Apfel: I was completely bound by these people over here [Points to producers].
Laura Coxson: It was a sporadic schedule, not to be the boring person at the table, but figuring out the right shoots that made sense with our budget were not easy. Albert's whole style is to film things as their happening, so sometimes if we couldn't get something that was happening, like the Met show that already happened, maybe we get Iris talking about it and also Harold [Koda, Curator in charge of The Costume Institute at The Metropolitan Museum of Art] talking about it.
Jennifer Ash Rudick: Iris was very kind and let us in on her schedule, and as time went on there were more intimate shoots in her apartment and of course that is the more, at least to me anyway, the more interesting parts. As the subject she didn't really know where things were going, so she'd ask, 'Why do you want to come to my house and watch me make soup?' or something. She put a lot of faith in the process.
(Carl and Iris Apfel in their condo in Palm Beach, Florida, Courtesy of Palm Beach Daily News)
Was your husband Carl always on board to be in the film?
Iris Apfel: He's a ham at heart so yeah.
Laughter
Laura Coxson: There really was a kinship between Carl and Albert. When we had the opportunity to be filming with him, even just from a sightline level, they'd both be sitting near each other talking. There's a lot of great footage of that.
Do you follow trends?
Iris Apfel: I don't give a damn about any trends, it's pointless. Trends come and go and I don't think they matter. If a trend suits you it's good, otherwise who needs it. Forget about it. Keep what looks good on you and what you're happy wearing. I can't stand these columns, "The Ten Things You Must Have." Why?
What is Iris going to be doing next?
Iris Apfel: I book coming out, I have to get to work on that. A bag line. I'm so tired, I can't remember.
Iris is in select theaters Friday, May 1st.
Review: 'Girl on the Edge'
Girl on the Edge is based on a true story about a teenage girl's encounter with a traumatic event, and learning to accept herself for who she is while struggling to escape her demons. Hannah Green (Taylor Spreitler) is 15-years-old and already counts alcohol, marijuana, and social media as addictions. After a wild night out finds her in bed with 18-year-old Tommy (Shane Miller), Hannah is shocked to learn that what she believed was a shared act of love was a one-sided manipulation for sex and is further devastated when nude pictures of her are posted online. Hannah quickly sinks into a depression, one her dad (Gil Bellows) and stepmother (Amy Price-Francis) think can be cured at a holistic rehabilitation center called "Maheo" that treats troubled teens. Director Jay Silverman's drama has all of the makings of a dark story, but with the overuse of melodramatic vignettes and formulaic script, Girl on the Edge may only resonate with younger generations.
Once at the treatment center, Hannah takes on the role of the rebel. She breaks the rules, has an attitude, and avoids compassion from her counselors Hank (Peter Coyote), Esther (Elizabeth Peña), and Ariel (Amy Davidson). The one thing that catches her attention, albeit not immediately, is a horse named Besty. Esther explains that horses are like mirrors, they feed off of behavior and personality, and the progress she makes during treatment at Maheo will be reflected in her relationship with the horse. There are many a montage that show Hannah learning to deal with the responsibility of taking care of a horse, and as expected, she eventually concludes her time at treatment with a newly-adjusted attitude towards herself and the ones she loves.
The edgy, mysterious and dark thread that weaves throughout Blue Valentine has been replaced with a short, shiny beige thread here.
The problem with this story is the pacing, as Hannah's troubles evolve extremely quickly– within 20 minutes of the film we are already on the way to rehab. Hannah's life spirals so quickly, we are pulled along without stopping to develop or understand who Hannah really is. It's a very rushed first act that, if allowed more time to organically evolve, would have been more effective to an audience who is supposed to sympathize with her situation.
The story is extremely formulaic and its outcome is predictable within the first few minutes of watching, so no surprises here. What is surprising, however, is that Girl on the Edge has the same screenwriter as Blue Valentine. Joey Curtis threw me for a loop with this film since it is so different from his work on Valentine that upon realizing the connection, I would have never thought these two films were related in any way. The edgy, mysterious and dark thread that weaves throughout Blue Valentine has been replaced with a short, shiny beige thread here. I say shiny because this is a story of hope, and overall the cast succeeds in opening up a dialogue after the film about the importance of self-worth and mental health. Taylor Spreitler definitely has a naturalness about her that makes her presence onscreen very appealing. The late Elizabeth Peña as Esther gives a warm but firm performance.
Overall, the film is missing a certain fluidity. A rushed first act combined with an over-abundance of folksy-backed, angst-filled montages throw the balance of the film off. The structure seems geared toward a younger generation with a shorter attention span. However, being based on a true story, it was a nice addition at the end of the film to show the real Hannah running alongside her horse. While she didn't say anything, her movements and the way she carried herself was that of a strong, confident and happy girl. I'm sure all of us can relate in one way or another to Hannah and her struggles with self-acceptance, and hopefully films like Girl on the Edge will make it easier for those who need help to reach out and seek it.
Girl on the Edge screened April 27.
https://www.youtube.com/watch?v=gb18HJ4sol4