Review: 'The Last Five Years'
"Is there anything Anna Kendrick can't do?" That was an actual note I made during the screening of The Last Five Years, right after Kendrick finished singing her first song "I'm Still Hurting." Wow–not only has this girl proved she has the acting chops to be taken seriously as both a dramatic and comedic actor, but she has also mastered the overly-critical genre of the musical (See: Into The Woods). In The Last Five Years, Kendrick plays Cathy, a struggling actress, who meets and falls in love with budding novelist Jamie, played by Broadway veteran Jeremy Jordan, and sees their proceeding five-year relationship chronicled through the good times and the bad. But while Kendrick is the obvious life-force behind this film, unfortunately even she cannot save the unbalanced and lackluster story.
One of the film's most unique attributes is also its biggest flaw–The Last Five Years is told almost entirely through song and from Cathy and Jamie's own perspectives. Cathy's songs and story begin at the end of her and Jamie's relationship and works backward in time while Jamie's songs start at the beginning of their relationship and move forward. Their stories connect in the middle when Jamie proposes which, yes, gets confusing. Think of it as Rent meets The Disappearance of Eleanor Rigby Him/Her, meets Inception.
Jordan should have played more with Kendrick as opposed to against her– their performance already lacked the depth needed to really care about these characters, but he makes it too easy to choose sides in their relationship and be much more sympathetic towards Cathy's heartbreak than his own.
The structure is very layered and can get confusing at times, and the cinematography doesn't do the film any futher favors. Most of the scenes are shot handheld-style and (intentionally?) shakey, which further highlights the film's unbalance. There are, however, steady, sweeping long takes that I absolutely loved, and wished lasted the entire film. Since The Last Five Years was adapted from a Broadway play, I understand the homage to the original with the long takes and letting the actors have space to play with the camera following, but having a more subdued handheld approach would have better served the film, and given the actors more of an empty pallet to play with.
Speaking of actors, I've already professed my utmost admiration towards Kendrick, who gave life to every single word she sang and whose passionate voice equally matches her talent. Jeremy Jordan, while undoubtedly a talented singer, didn't fit in as well. His overly charismatic attitude and over-the-top gestures make him an easy target to classify as a "stage actor" as opposed to a "film actor." His presence is very large, too overbearing and animated for the silver screen. Jordan, who originated Jack Kelly in the original Broadway production of Newsies (the best musical ever made says this reviewer) should have played with Kendrick more as opposed to against her–their performances already lacked the depth needed to really care about these characters, but he makes it too easy to choose sides in their relationship and be much more sympathetic towards Cathy's heartbreak than his own.
For musical theater buffs, The Last Five Years coming to the big screen may raise questions of execution–just how can a love story told from two different perspectives during two different points in the characters' lives translate on screen? While the Broadway run had the characters break the fourth wall and sing out to the audience, Director Richard LaGravenese, whose previous projects include P.S. I Love You, takes on the ambitious task of adapting this made-for-the-stage musical into a niche, "Un-Hollywood" movie. He succeeds in staying true to the original show, keeping the score true and the story the same, but this seems to be one of those adaptations that didn't quite hit its mark.
Unlike stereotypical films, the ending here is bittersweet. Don't expect to leave the theater smiling, but you can count on trying to recall all of the songs and attempt to sing them on the way home. Because of the nature of the story and the niche genre, I'd predict that The Last Five Years won't have much staying power past its opening weekend, but for those who are either familiar with the play or are fans of musicals, this is right up your alley. Those of you who aren't...well, go into it with an open mind.
https://www.youtube.com/watch?v=1dT0mrKzObw
Review: 'Matt Shepard Is a Friend of Mine'
In 1998, news broke that a young male was found beaten and nearly dead, tied to a fence in rural Wyoming. That person was 21-year-old Matt Shepard, who would later succumb to his fatal injuries, but not without leaving a lasting impression on the world at large. Matt was targeted because he was gay, and his attack is still considered one of the worst hate crimes in American history. The documentary Matt Shepard Is a Friend of Mine is an intimate documentary and look at the life of the person we've come to know only through newspaper headlines, made by Shepard's friend and first-time director, Michele Josue.
The purpose for making the documentary is to share the "real" Matt Shepard with the world who never had the privilege of getting to know him. We come to understand– through archival footage, never-before-seen photos and friends interviews– that Matt was your average kid, the oldest son to Dennis and Judy Shepard in a family of four. The Shepards relocated to Saudi Arabia for Dennis's job where Matt attended The American School in Switzerland and ended up befriending the director, Michele. It's this era of Shepard's life when we as the audience get to learn more about him. Josue reveals that on a school trip to Morocco, Matt was raped by six men in a dark alley and was never the same after that. That incident is shared, among other previously unknown struggles that lead up to the fatal event in 1998.
This is a story to enlighten the audience about the "real" Matt Shepard– but how are we supposed to get to know Matt when the director makes it too much about herself?
First hand accounts from Matt's friends and family describe a very normal kid who was struggling with finding himself, a feeling we can all identify with. One of the better interviews in the film comes from a priest who knew Matt. He talks candidly about the attackers, saying that no matter how much hate there is in our hearts towards the assailants, Aaron McKinney and Russell Henderson, we must remember that they too are children of God and deserve our sympathy. Forgiveness seems to be a difficult concept for Josue to grasp, as she breaks down during the interview and starts crying, questioning how somebody who did such a terrible thing could possibly be "forgiven." The scene is tension filled, and extremely real.
It is evident from the very beginning of the film that this is an extremely personal project for Josue, so much so that she does not detach from the story to focus on the bigger picture. Rather, she injects herself into every interview and scene and is the film's biggest distraction. At times, it is uncomfortable to watch her ask her interviewees a question while she sits across from them and cries. It would have been an emotional moment if it happened once, or maybe twice, but this happens every time. It would have better served the film to cut Josue's screen time down (or completely), especially during the interviews, because as she states in the beginning of the film, this is a story to enlighten the audience about the "real" Matt Shepard– but how are we supposed to get to know Matt when the director makes it too much about herself?
If you can look past those distractions, the film itself runs at a steady pace and keeps our interest. Although the montage of Josue walking near the field where Shepard's body was found seems amateur and redundant, but there was one special moment at the end that brings a tear to the eye, when Matt's dad reads a letter he penned to his deceased son. He talks about his favorite memories with his first-born and his gratefulness that God was watching over him while he lay alone in that Wyoming field. It is a hard scene to get through without getting emotional and feeling extreme sympathy for the Shepards and their friends.
Gay rights is a hot button issue in America that continues to be a struggle for many, and the hope is that by watching this film, one may find more tolerance and acceptance in their hearts. While I completely agree and support this mission and applaud Josue for her efforts, which must have been an extremely cathartic project for her, this film didn't reach its full potential in storytelling or effect. In any case, Matt Shepard will never be forgotten; his story continues to affect people today, even 17 years later.
https://www.youtube.com/watch?v=uZj46ewvR6k
Review: 'Ballet 422'
The ballet world has always fascinated me. Growing up, I took tap dance lessons and every time I would pass the ballet practice room I would get caught up in the movement– how effortless and graceful they all looked, even at a young age. The same fluidity is captured here in director Jody Lee Lipes' documentary, Ballet 422, a backstage look at the pressures and pleasures of dance, specifically focusing on Justin Peck as he works his way through choreographing the New York City Ballet's 442nd original piece.
The New York City Ballet is one of the most prestigious dance companies in the world, and 25-year-old Peck has been given the opportunity to create an original piece in two month's time. He remains calm, cool, and collected throughout the audition process, the rehearsals, wardrobe fittings, tech run-throughs, and finally, opening night. His demeanor grounds the film; he is quiet, but do not mistake his quietness for being aloof. He is intensely focused on the task at hand, and his creative process is fascinating to watch play out on screen.
Anyone who has been a part of a staged production in one way or another will truly appreciate the dedication the film makes to each step along the way, not brushing over the more technical aspects of pre-production just to get to the dancing.
The stakes are high and the pressure is felt on the stage and on the screen, but the tension is not overbearing for the audience. We're not clenching in our seats, wondering if the dance will get completed on time; rather, we're drawn in to this crazy and unpredictable life of a performer. This subtlety of how director Jody Lee Lipes approaches the creative process captures the strength of both the dancers and the film. It's visually poetic and arresting without force. This is not a "talking heads" type of documentary either, Lipes takes the fly-on-the-wall approach as the quiet observer, which is exactly the right decision for the betterment of the film.
The look of the film has a high fashion/crispness to it- it's worth noting that Lipes is also the cinematographer, whose Director of Photography reel includes Martha Marcy May Marlene and Tiny Furniture. The boldness of the red curtain on stage juxtaposed with the buzzing overhead fluorescent lights in the practice room makes a visually stunning contrast that is equally met with the score of the film, which also happens to be the score of the ballet. The orchestral grandness gives the film an elitist feel, as we watch some of the worlds' most talented ballet dancers take to the stage and finally perform Peck's masterpiece.
Anyone who has been a part of a staged production in one way or another will truly appreciate the dedication the film makes to each step along the way, not brushing over the more technical aspects of pre-production just to get to the dancing. In fact, I actually would have enjoyed even more time spent on the dancers. Like I said, I become entranced very quickly. The audience I was surrounded by during the screening was not full of journalists; rather, they were ballet enthusiasts who were eagerly awaiting the prodigy Justin Peck's big screen debut. After the film was over, everyone left smiling, myself included. At its core, Ballet 422 is a unique and successfully executed documentary that is sure to leave you smiling too.
https://www.youtube.com/watch?v=b9s7wJ-PC70
Review: 'The Search For Michael Rockefeller'
Looking at a picture of Michael Rockefeller, he could easily pass as your average 23-year-old Silver Lake hipster: Tortoise-shell glasses, unkempt hair, and a wanderlust spirit shine through the only remaining photos of him. While his disappearance is still an unsolved mystery, his name remains in the front of our minds, especially in director Fraser C. Heston's, who uncovered a treasure trove of never before seen footage, shot by a man who set out to search for the young Rockefeller back in the sixties. Heston uses this footage and finishes the film that was never made, appropriately titling it, The Search For Michael Rockefeller.
It's one of the country's greatest mysteries- Just what happened to Michael Rockefeller, son of New York Governor Nelson Rockefeller and heir to the J.D. Rockefeller oil empire? During an expedition to New Guinea in 1961, as is last documented, Michael was traveling on a motor boat with a companion and some locals when it suddenly broke down, stalling in the middle of the Ocean. For years, many people have speculated that he had drowned at sea while trying to swim to the shore; others are convinced he was eaten by cannibals. Years later, in 1969, journalist Milt Machlin takes it upon himself to discover what happened to Rockefeller by bringing along a film crew to retrace the steps Michael would have walked. What's left is hours of black & white 16mm film that was never followed through by Machlin, but luckily enough, fell right into the hands of Heston, who creates a chilling and exceptionally mysterious documentary with the material he is given.
The last five of the film prove to be most interesting to me, and the woman next to me who audibly gasped- did we just catch a glimpse of Rockefeller?
The style of the film is obviously dated–authentically dated–but dated nonetheless. I mention this because at times the film runs slowly, archival footage of photos with slow zooms in and out can only hold one's attention for so long. It's understandable that Heston only had so much material to work with, and it's not like he could plan any pick-up shoot days or control any cinematic aspect of the film whatsoever, but my resolution to the dragging would be to cut half of the voice-overs. Voice-over narration dominate the film, and each "character" "interviewed" speaks in a distinct accent that sounds like they took inspiration from Disneyland's The Jungle Cruise ride. A bit cheesy, especially since this is the format throughout the entire film.
Historically, The Search For Michael Rockefeller is a great accomplishment for Heston and a very interesting film for audiences. Unfortunately, though, there is no happy or even satisfying ending; in fact, we leave the theater with more questions than answers. The last five minutes of the film prove to be the most interesting to me, and the critic next to me who audibly gasped– did we just catch a glimpse of Rockefeller? The archival footage from 1969 ends on a shot of an Asmat tribe rowing in long boats– all are dark-skinned and wearing tribal jewelry and cloth pieces for clothing. But then there is this one man, shown only for a few frames, who stands in stark contrast with white complexion Upon closer examination and slow-motion, Heston plants a massive seed in our minds: this could very well be the missing the young Rockefeller. But we don't know or learn for sure, and probably never will.
Michael Rockefeller has clearly been a passion of Heston's, and this film is shining proof of that. While interesting for fans of historical documentaries, the average movie-goer may find the execution tired and, shall I say it, boring. I personally found it a little bit of both, but those last five minutes really made the film worth it for me. If this sounds interesting, The Search For Michael Rockefeller will be available to stream on Netflix starting February 1st.
http://vimeo.com/100940064
Review: 'The Duke of Burgundy'
You should never judge a book by its cover, or in this case, a film by its title. From the sound of it, The Duke of Burgundy initially comes across like a stiff, historical bore, with perhaps a hint of mystery based off of its unusual and artistic poster. It doesn't take long (in this case, just about five minutes) to come to the realization that this film is extremely provocative with nothing stiff about it, as we witness a relationship between two women engaging in private role-playing fantasies in this darkly sexual and artfully erotic film.
The film starts out with Cynthia (Sidse Babett Knudsen), a seemingly aristocratic woman, in her home surrounded by furniture made of dark wood, piles of worn books, and preserved butterflies. She is soon joined by Evelyn (Chiara D'Anna), a slightly younger woman whose role seems to be as one of Cynthia's assistant/maid/gardener/and sexual companion. Yes, this isn't a typical employer–employee relationship; rather, we are to discover this is a delicate and desired mistress–servant relationship. The sexual tension is quick to build, so we assume this isn't the ladies' first encounter, but we are left to wonder if this is a twisted, abusive relationship, or a giant role playing facade?
Over the course of the film, they incorporate lingerie, face-sitting, and bondage into their role-play, and the more physical it gets, the more we see Cynthia struggling with her relationship with Evelyn.
The existence of butterflies is a giant thread that runs throughout the film (the "Duke of Burgundy" quite literally being the name of a type of butterfly), the importance being that it is both ladies' passions and areas of study. The beautiful creatures are displayed by the hundreds in Cynthia's house- hung on thin pins in glass shadow boxes (one of Eveyln's "chores" is to dust the delicate collection). An obvious, but true, correlation is the similarity between Cynthia and these butterflies; Both are strong, independent and beautiful, yet extremely fragile. Despite her tough outward demeanor as a sado-masochistic leader, Cynthia shows weakness and uncertainty in her eyes as their relationship gets more intense. Over the course of the film, they incorporate lingerie, face-sitting, and bondage into their role-play, and the more physical it gets, the more we see Cynthia struggling with her relationship with Evelyn. She is not happy, but her unhappiness unfazes Evelyn, who seemingly gets off even more by Cynthia's nonchalance, ultimately leading to an emotional and physical breaking point.
Writer and director Peter Strickland certainly had a vision for The Duke of Burgundy, his keen eye towards building tension and holding suspense is successfully put to use here. Cinematically, the colors and texture of each scene act as a supporting character. It gives off a fantastically haunting vibe that mirror the characters on screen. The music, performed by Cat's Eyes, sounds like a daydream of multi-instrumental, atmospheric pop similar to my favorite rock outfit, Beach House. All of the above give this film a stylized look that Andy Warhol would have been a fan of.
What makes The Duke of Burgundy so great is that the entire movie is a slow reveal; no piece of information is given away too quickly. We learn more about Cynthia and Evelyn as the film develops, making it extremely engaging and which keeps us excitedly guessing as to what will happen next. It is an erotic mystery drama, a genre that I believe Strickland created himself, and which he executes well. With the upcoming release of 50 Shades of Grey, audiences are becoming more open to the idea of seeing such a taboo subject on screen, but unlike 50 Shades, this outrageous S&M material is about two women disguised as proper and sophisticated lepidopterists whose groundbreaking and exploratory relationship makes for an unconventional piece of genre-bending film.
The Duke of Burgundy opens at Landmark’s Nuart Theatre in West LA and IFC Center in New York on Friday.
https://www.youtube.com/watch?v=P-xIMBnclyA
Review: 'Appropriate Behavior'
Desiree Akhavan is a name to remember. In the breakthrough queer cinema movie Appropriate Behavior, Akhavan plays Shirin, a socially awkward, bi-sexual, twenty-something, haplessly wandering through life as she deals with a broken heart. After being forced to move out of the one-bedroom Brooklyn apartment she shared with her girlfriend Maxine (Rebecca Henderson), Shirin makes it her mission to get over her former flame, while simultaneously plotting revenge through encounters she thinks will make her ex jealous. When that fails, because ultimately, all revenge plots do, Shirin is left in her own head in this deadpan comedy, and her existential crisis is fully realized for our enjoyment.
The lead actress is also the director and screenwriter, and while balancing three of the film's most demanding roles may seem certainly taxing, Akhavan sure does a good job of making it look easy. Cinematically, Appropriate Behavior is not a demanding watch, and on the same coin, the script reads like witty banter Akhavan might have with her friends, making this film seem like the perfect territory to showcase her talents.
I say that only in the highest of regard, Akhavan is making a name for herself on her own by creating content that appeals to the cool kids and the outsiders, the freaks and the geeks, all wrapped up in this contemporary film Appropriate Behavior, just as [Lena] Dunham has done in the past...
Shirin's behavior throughout the film is anything but appropriate, giving this title a play on words and an instant laugh. There are many awkward family situations she finds herself in, especially since she has yet to come out to her parents, claiming that the apartment and bed she and Maxine shared was a new "European" trend to save money. Further discomfortingly funny behavior is seen when Shirin is invited over for a three-way by a man she meets at a bar. While not really into guys, she does her best to give him random pecks on the chest, but with his girlfriend, she can't help herself from being too passionate. Things get awkward when the man finally catches on to the situation, making this one of the film's more cringeworthy, but memorable, scenes.
Everyone (e.g.: Vulture) is saying that Akhavan is the Persian equivalent of Lena Dunham (It was announced that Desiree will be joining season 4 of Girls with a reoccurring role). I would have to agree, and I say that only in the highest of regard, Akhavan is making a name for herself on her own by creating content that appeals to the cool kids and the outsiders, the freaks and the geeks, all wrapped up in this contemporary film Appropriate Behavior, just as Dunham has done in the past (with her feature Tiny Furniture, and now Girls). The large tattoo that covers her arm a lá Lena (which I would hope is just a coincidence) is the typical trademark of a New York hipster, which Shirin definitely is. Her fast-talking nature, her self-critical demeanor, and her all around quirkiness plays a bit familiar on-screen, but there is no denying that she can capture the audience's attention and keep it.
As a filmmaker, Akhavan understands the genre and culture of today's DIY society and plays to that audience. This quirky, lesbian comedy isn't just a nod to LGBT, there is also a lot of talk about being Persian. Sometimes, too much. Sprinkled throughout the cunning dialogue between her ex, her bubbly and flamboyant best friend Crystal (Halley Feiffer) and even her semi-employer, full-time stoner friend Ken (Scott Adsit), the "I'm so different, I'm Persian" card is played one too many times. The first time, it's genuinely funny, but the sixth time, not as much. But overall, this film is not only a great achievement for Akhavan, it is a thoroughly entertaining and genuinely funny film that is just the beginning of great things for her career, as a writer, director, and actor.
https://www.youtube.com/watch?v=NdfcKGKNa04
Review: 'Pump'
I've never been happier to stop at the gas station recently. Gas for under $3 a gallon? These prices make planning a spontaneous road trip that much more tangible. I never really stopped to think about how or why gas prices change, and after watching the documentary Pump, I have a better, although not entirely clear, understanding. One thing was made clear to me, we have a right to choose how we fuel our cars and that right is not being acknowledged by the government or big oil companies, which means the responsibility for change lays solely on us.
Jason Bateman, typically known for his comedic roles, takes a serious approach as he lends his voice as the narrator of the film. His presence is a highly appreciated one that makes the narrative easier to comprehend and breakdown. Pump is not an easy film to digest, and definitely not one that you can watch while multitasking. Statistics, numbers, and political jargon make up most of the film and although it is interesting, it is difficult to keep the viewer's attention throughout its non-aggressive 88-minute runtime.
The message Pump presents, once you get past the numbers game, is simple: American made replacement fuels will equal more jobs, a healthier environment, and a stimulated, growing economy.
The unpredictable cost of fuel, coupled with the damaging effects to our environment and our dependency to over-seas oil rigs is a scary future that we find ourselves looking at today. We are forced into limited choices at the pump, which only creates a stronger foreign dependency and a wealthier fuel monopoly. The message Pump presents, once you get past the numbers game, is simple: American-made replacement fuels will equal more jobs, a healthier environment, and a stimulated, growing economy.
Addiction of any kind is hard to break, and our addiction to foreign oil is no different. Pump takes us on an educated journey through the early days of cars, starting with the transformation of electrical trolleys in 1887 to oil-guzzling buses in the 1960s. We come away with a better understanding of Rockefeller, Tesla, and other influential people who have since changed the oil game. Interviews with top oil executives, journalists, and authors round out this piece of social commentary.
The bottom line is, we can't rely on the government to make the necessary changes for a better quality of life- at least according to Pump. There is no hiding the fact that directors Joshua and Rebecca Harrell Tickell feel very strongly about our right to choose how we fuel our cars, yet the weight of their message doesn't fully hit home- it gets lost among countless facts, numbers and percentages that results in more confusion than clarification. The power of choice is important, and it is this privilege that makes us Americans, but unfortunately, the social impact of this film will be much less than what was hoped for.
Pump is available on iTunes today.
https://www.youtube.com/watch?v=btgHUu45H_4
Review: 'Beautiful Noise'
Those who are going to Coachella this year, listen up: before you grab your flower crowns and face paint, make sure you check out the documentary Beautiful Noise. It's obvious this film was made by a guy who loves music, especially the early underground music scene. Director Eric Green's knowledge of the "shoegaze" genre, the lovely sound of blended and layered guitars mixed with unique vocals, is an inspiring audible journey for music fans, but if you're looking for any sort of storyline, you won't find one here.
The film is devoid of any narrative; rather, it is divided into chapter-like segments with each band getting almost a solid ten minutes of the spotlight intermixed with interviews from other legendary musicians. This trance-like sound first hit the scene with the English band the Cocteau Twins, whose shimmering guitar melodies coupled with singer Elizabeth Fraser's unique voice was dubbed the next big thing in rock & roll.
Billy Corgan of The Smashing Pumpkins, The Cure's Robert Smith and Wayne Coyne of The Flaming Lips all give insightful interviews about their first impressions of these bands, and there's no denying that the musical inspiration here is endless
The Jesus and Mary Chain, bushy haired boys back in 1984, are also profiled. Decked out in grungy plaid button-ups, leather jackets, and Ray-Bans, their hit Just Like Honey plays as the members are interviewed in present day, as they reminisce about the band's early days of figuring out just how they were going to fit- or rather, intentionally not fit- into society's idea of "rock music."
After an hour of highlighting different bands, from My Bloody Valentine to modern acts like M83 and Wild Nothing, the film focuses solely on interviews, which are a bit underwhelming after listening to practically an hour of straight music. This sub-genre has been described as ethereally beautiful and harmonic with a hard time fitting into a specific genre and based without definition. The same can be said about this documentary. While its focus on the bands are intense, Beautiful Noise ultimately lacks any sort of story and plays like an extended old school 90s MTV program.
Billy Corgan of The Smashing Pumpkins, The Cure's Robert Smith and Wayne Coyne of The Flaming Lips all give insightful interviews about their first impressions of these bands, and there's no denying that the musical inspiration here is endless. The effortless, romantic sounds leave the viewer immersed in a synth-like dream, which is welcomed 100%. The music is so impactful, that even Robert Smith admits to playing the Cocteau Twins record alone as he was getting dressed on his wedding day.
Just like the music itself, Beautiful Noise is clearly a DIY passion project. While not the sharpest looking documentary, Green gets his message across with intimate interviews. The artwork for the film is amateur looking, which unfortunately may throw some people off upon first glance at the poster- but past its seemingly naive disposition, Beautiful Noise is a rough and tumble film that truly deserves to be seen.
https://www.youtube.com/watch?v=pFy84s2wchk