'Moments Like This Never Last' Review: Do You Know Dash Snow?
"What keeps you alive?" Iconoclast and legendary NYC artist Dash Snow struggles to find an answer. What he isn't able to articulate is all too apparent to those who knew and loved the mischievous rebel; his love for creating art, his relationships with his friends, and devotion to the city that raised him, NYC, all contributed to why Snow continued to wake up day after day, until one day, that wasn't enough anymore. As documented in director Cheryl Dunn's memoir, Moments Like This Never Last, audiences are given an intimate look into the personal life of another artist gone too soon.
Dash Snow was born Dashiell Alexander Whitney Snow and had always rejected the inherent privilege that came from being born into a wealthy family. He had nothing against his parents but wanted to find success the old-fashioned way: through hard work and dumb luck. Dash was a true student of the school of hard knocks, living his life doing dumb stuff with his equally grimy friends on the street of New York City, and creating magic in his path.
He had a polaroid camera with him wherever he went and those pictures became Dash's legacy. The energy of 2000s NYC–pre-internet–is captured with such palpable energy and Cheryl Dunn does a stellar job bringing Dash's spirit to life through his photos, home videos, and interviews with his friends and collaborators like Ryan McGinley and Larry Clark (Kids).
Unfortunately, there was a stronger love that overtook his passion for making art and staying sober for his girlfriend, Jade Berreau, and their young daughter, Secret, and that was drugs. There is an unspoken pressure in the art world that to succeed, you must "be crazy, and do a lot of drugs." Heroin didn't become prevalent in Dash's life until after he had some buzz to his name and that's what ended up killing him in an East Village hotel room at the age of 27.
Dash Snow was a charismatic, complicated, and outrageously talented figure who many compared to Basquiat. His signature style of politically charged graffiti and sexually explicit photos (snorting coke off an erect penis being one of his most infamous) cemented him as a legendary fixture in the post-punk revival arts scene.
Moments Like This Never Last pays tribute to the live fast lifestyle that Dash embraced. In a similar fashion, Cheryl Dunn's portrayal is a gritty labor of love that makes us feel like we knew him personally, too. Made in collaboration with VICE studios, the film also features music from LCD Soundsystem, Nick Cave with Grinderman, Cat Power, with an original score by Brian DeGraw.
Distributed by Utopia Media. Opening this Friday at Laemmle Cinemas and on VOD.
'Dreams on Fire' Fantasia Review: An Electric Underground Dance Drama
Waiting on the sidelines of a dimly lit dance floor in an otherwise neon-soaked Tokyo club, a Yume (Bambi Naka) is about to live out her biggest dream and face her biggest fear. By stepping out onto the dance floor, she is quite literally taking her first step towards becoming a professional dancer. But with little formal training and no money to her name, Yume is prepared to give her blood, sweat, and tears to turn this dream into a reality.
Canadian-born, Japan-based filmmaker Philippe McKie's underground dance drama Dreams on Fire is a fascinating character study of a young woman's stalwart ambition to succeed. Mesmerizing choreography and heavy-hitting music from IC3PEAK, S.P.Y, Hospital Records, and Shogun Audio contribute to the film's vibey EDM aesthetic and electrifying narrative.
Before she found herself in that Tokyo nightclub, Yume was an aspiring dancer from a small country village. Convinced that she'll receive no opportunities in her small town, she naively runs away from home and heads to Tokyo where she believes her future awaits her. Yume is a beautiful girl but lacks agency and general life experience, making her an easy target for the vultures of the darker side of the dance world.
Initially, Yume lands a job as a "hostess" which turned out to be nothing more than a female companion for wealthy businessmen. Then, seeing an opportunity to focus on dancing, she accepts a role as a go-go dancer for fetish nights at a seedy nightclub in the city. Unknowingly, Yume starts heading down a slippery slope as the roles become more and more sexual; they are technically dance-related, but not the kind she ultimately wants.
Not one to give up, she continues to hustle toward her professional aspirations until a chance encounter sets her on a different trajectory.Hands down, Bambi Naka is the undiscovered highlight of Dreams on Fire. The former lead dancer on Madonna's "Rebel Heart Tour," Bambi makes her feature film debut as a complex, layered character whose talent is equally matched by her ambition. She is mesmerizing to watch, both in dialogue-heavy scenes and scenes that show off her incredible dance floor agility. I really hope to see more of her in films to come.
In addition to the awe-inspiring performance from Naka, the supporting cast is equally as energetic and commanding on-screen. Standouts include model, YouTube make-up influencer, and Harajuku Fashion icon Haruka Kurebayashi; popular idol group Akishibu Project member Rinomaru; adult-film star Okuda Saki; celebrated fetish and circus performer YUSURA; and Mika, Mirin, and Yuriya of the internationally recognized, widely acclaimed go-go dance crew CyberJapan.
Dreams on Fire is a testament to Lady Gaga's favorite quote, "There can be a hundred people in the room, and 99 don't believe in you, but one does." She was roasted on the awards circuit in 2018 for repeating that statement over and over again, but there's no denying that it's good advice. Advice that Yume stuck with and ultimately led to her life-changing big break.
'Love, Life and Goldfish' Fantasia Review: A J-Pop Love Story
Full disclosure: I've never listened to a BTS song all the way through (much to the horror of one of my closest friends). I was shocked to discover that the girl group BLACKPINK has over 40 million Instagram followers. However, despite not being familiar with the K-pop or J-pop genre specifically, I've always been a fan of movie musicals, which is why I was intrigued by Love, Life and Goldfish. Based on the manga series “Sukutte Goran” by Noriko Otani and directed by Yukinori Makabe, this was the perfect introduction to J-pop for a novice like myself.
Our protagonist, Makoto Kashiba (Matsuya Onoe) is a young businessman who has been exiled from his high-profile job at a Tokyo banking firm and relocated to a small town in the middle of nowhere. After making a critical mistake on the job, Makoto is full of self-doubt, apathy, and confidence. Upon arriving at his new place of employment, he meets Yoshino Ikoma (Kanako Momota) a local woman who works at a consumer-friendly goldfish game shop nearby. Her childlike bewilderment and lassie fare attitude are initially off-putting to the logic-based Makoto, but over time he begins to see that her view of the world is nothing to judge and starts to fall in love. But his love for Yoshino doesn't come without its complications, specifically the attention from another man.
Yoshino is far more than just Makoto's manic pixie dream girl, although she does contribute to him finding happiness again. In addition to reviving Makoto's mood by using her beloved goldfish, which she claims bring out the inner child, joy, and happiness, she too suffers from poor self-confidence. Yoshino has ambitions and dreams of her own that Makoto helps her achieve, playing the piano in public being her biggest obstacle to overcome. Their shared sense of fear of failure is what makes their bond so special. In the most complimentary way, they have a "reject finds reject" love story that resonates on a universal level.
Love, Life and Goldfish is a fairly standard romantic comedy much like John Carney's Sing Street (but nothing like Leos Carax's Annette). Short musical ditties (both in English and Japanese) keeps the film flowing nicely and make for a lighthearted time. Staying true to its theatrical roots, there is a brief one-minute and 30-second intermission about halfway through the film and it ends with a big finale song and dance number. The performances are fabulous and flamboyant, the visuals are colorful and magical, and the music itself is contagiously upbeat. Love, Life and Goldfish thrives off of its musical numbers and has officially succeeded in converting me to a J-pop fan.
'Alien on Stage' Fantasia Review: Amateurs Remake a Sci-Fi Classic
Directors Lucy Harvey and Danielle Kummer found a needle in a haystack when they stumbled into a low-budget production of Ridley Scott's Alien at a local theatre in Dorset. The small coastal town in the southwest of England featured handmade costumes to sub-par performances. And yet, there was something so incredibly charming about this production and the genuineness of the people involved that the directors knew this was something that should be seen by the world (and not just the handful of people who made up the theatre troop's small audience).
The result is Alien on Stage. A heartwarming story about an eclectic cast of bus drivers and aspiring thespians from a small English town, they are given the opportunity of a lifetime: to perform their humble stage play adaptation of Alien to a 400-seat, sold-out crowd at the Leicester Square Theatre in London for one night only. For context, Dorset is 2 1/2 hours south of London, and their audience count was roughy around 20 people per show.
Watching this ensemble of amateur actors is like watching a Christopher Guest film come to life. There is a consistent flow of cringe-worthy and charismatic moments throughout that make for quietly hilarious and lighthearted entertainment. Led by army veteran turned theatre director Dave Mitchell (with heavy Michael Scott-like qualities), he is tasked to bring Alien to theatrical life.
His kooky cast consists of his wife who plays Ridley, his son who agrees to stage-manage, and a handful of middle-aged bus drivers who got bit by the acting bug later in life. Their combined efforts to make Alien the highest quality production despite monetary restrictions and lack of "formal" acting skills is a sweet reminder that passion outweighs everything else. To see them having fun and finding purpose in their work (despite the questionable feedback) brings a contagious positivity that outlasts the length of the film.
The film's physical execution also lends itself to the overall blatant awkwardness. Despite Alien on Stage looking like it was shot in the mid-90s with outdated technology and questionable fashion choices, the documentary is, in fact, a modern film. This is something I was told repeatedly but had a hard time believing until I confirmed it myself.
Alien on Stage is the definition of "charming." In front of and behind the camera, this is a testament to never giving up on your dreams because you never know when your lucky break will come. And who doesn't want to watch a film about lovable misfits shooting for the moon and landing among the stars? For one night, at least.
First Listen From Hulu's 'Nine Perfect Strangers'
If you're looking for a new show to binge-watch, we have your answer right here: Nine Perfect Strangers. Based on The New York Times bestselling book by Liane Moriarty, the series' initial (and obvious) draw is its stellar cast, which includes Nicole Kidman as a mind/body/soul guru and Melissa McCarthy, Michael Shannon, Luke Evans, Bobby Cannavale, Regina Hall, and Samara Weaving as wellness-seeking city dwellers looking for a break from their hectic lives. Upon closer inspection, however, there is something more to love- a soundtrack composed by Golden Globe and two-time Oscar-nominee Marco Beltrami (Hurt Locker, Free Solo, Scream franchise), and Miles Hankins (Being Serena).
Nine Perfect Strangers takes place at a boutique health-and-wellness resort that promises healing and transformation. Led by the resort's director, Masha (Kidman), she helps guide the nine stressed-out guests toward a better way of living. Masha may seem like a woman on a mission to reinvigorate their tired minds and bodies, but quickly we learn that not everything is as it seems.
The basis of the show is steeped in psychological instability, and the score reflects that uneasiness in its varying melodic and intensely dissonant tone. Cinemacy is thrilled to share an exclusive first listen of the track "Test Pilots."
Nine Perfect Strangers marks Beltrami's fourth musical collaboration with director Jonathan Levine (Long Shot, Warm Bodies, The Night Before), but repetition isn't something he is concerned about, noting, "I love him as a director because his projects always seem to examine the human condition from radically different angles and this inspires innovation in the score."
When talking about what to expect in the series' soundtrack – which releases on Lakeshore Records this Friday – Beltrami says the score "ranges from textural synthesis and at times cacophonous sound design, to overtly tuneful moments. This is reflected through the instrumentation which includes string quartet and piano with an electronic score.”
Hankins went on to say, “We wanted the score to underpin it all with a sense of uncertainty and experimented with layering different musical ideas, recording them to tape, and then altering the speed or pitch of certain elements to varying degrees. At times, the result gives some of the cues a meditative or otherworldly feeling.”
The Hulu Original series directed by Jonathan Levine premieres on August 18 with three episodes. Endeavor Content and Lakeshore Records are releasing the Nine Perfect Strangers—Original Series Soundtrack digitally on August 20.
'Days': A Portrait of Loneliness While Drifting Through a City
Tsai Ming-Liang's Days is like the equivalent of a deep inhale during a morning meditation. It is a slow awakening that, by the end of it, leaves you with an expanded sense of full body awareness and total compassion for yourself and those around you. Quietly arresting with beautifully piercing imagery, Days forgoes something that most of contemporary cinema cannot do without: words.
The story is quite simple, but its emotional impact hits in full force. A middle-aged man (Lee Kang-Sheng) suffers from body pain and finds himself living the life of a drifter in Japan. He meets another man, Non (Anong Houngheuangsy), and they both find consolation in each other for a short while before returning to their separate lives and parting ways.
I now understand why Tsai is considered one of Taiwanese cinema's most celebrated "Second New Wave" directors. He lets the story unfold with steady precision and utmost trust in his cast and crew. This is "slow cinema," the entire film exists without any scripted dialogue, and any conversations overheard are intentionally not subtitled in English. In the best way possible, Days feels less like a film and more like an experience akin to those YouTube ASMR walking tours through various cities.
Every scene is comprised of a one-take shot, all mostly stagnant and steady in a single location but sometimes forward-moving through crowded city streets. Our protagonist drifts through these scenes with a somberness and reservation about him, if only we could crack his apathetic outer shell and get to the root of his suffering.
The feeling of isolation even when surrounded by people evokes a special kind of sadness. It's not so much the "un-belonging" that hurts, at least in that case you're being physically seen and then rejected. It's the invisibleness that is truly painful. To feel unworthy of even being acknowledged can feel like being thrown off of a ship with a boulder tied to your ankle. It can take you to a dark place, fast. But Days doesn't lean into the obvious tropes of depression, which could feel too forced in a film like this. Rather, emphasis is placed on the subtle satisfaction that comes from the protagonist's minimalist lifestyle and simple daily routines.
Days offers a nice change of pace to the typical movie-going experience and comes with the highest recommendation from me.
Distributed by Grasshopper Film. Now playing in select theaters.
John Carroll Kirby Releases Soundtrack to 'Cryptozoo'
The album 'My Garden' singlehandedly got me through quarantine last year. John Carroll Kirby is a pianist, producer, and composer from Los Angeles who creates beautifully meditative tracks, as well as being the go-to collaborator for Solange and Frank Ocean, among others. He can now add film composer to his resume with the release of the Cryptozoo soundtrack, out today via Stones Throw Records.
John Carroll Kirby teams up with writer/director Dash Shaw in the animated feature film Cryptozoo, a counter-culture-minded fantasy-adventure about the existence of imaginary creatures. Featuring the voices of Lake Bell, Zoe Kazan, Michael Cera and Louisa Krause, Cryptozoo also speaks to humans’ varying efforts of safeguarding and domesticating endangered species and understanding the “other” in the hopes of conceiving a utopian world.
In addition to the soundtrack release today – which can be streamed via Bandcamp, Apple, and Spotify – Kirby's also dropped the accompanying music video for the track “Mystic Brine," also created by Dash Shaw. In the video, Kirby is transported into the richly drawn, hallucinatory world of Cryptozoo, giving audiences a sneak peek of what to expect before the film hits theaters and streaming platforms next Friday, August 20.
Of his experience working on the film, Kirby says, “When I was composing the score to Cryptozoo, I imagined what it was like to be among the cryptids. Dash and the team brought that vision to life in this video where I get to make music for my magical new friends!”
The Sexually-Charged Dance Drama 'Ema' Will Hypnotize You
Set in the neon-soaked Chilean city of Valparaíso, Ema is a sexually-charged dance drama about regret, redemption, and reggaeton. It's a film that provokes and will make one question the expectations of the traditional family dynamic. Larraín doesn't shy away from exploring ugly behaviors and self-serving desires that are usually only thought about and rarely acted upon, yet Ema acts on them all.
Ema (Mariana Di Girolamo) is a dancer in an ensemble troupe lead by her partner and famed choreographer Gastón (Gael García Bernal). What we assume was once an intense and passionate relationship is now all but sizzling after a traumatic incident puts the couple at odds with each other and seeking a divorce. After multiple disturbing incidents with their adopted son Polo (Cristián Suárez), a troubled eight-year-old boy with seemingly sociopathic tendencies, Ema and Gastón resort to giving the boy back to foster care, a decision that is met with judgment from others. Their regret isn't immediate but rather culminates over time. Once realized, Ema sets out to get Polo back, willing to do whatever (and whoever) in the process.
I can best describe Ema as a mix between Gaspar Noé's Love meets Luca Guadagnino's Suspiria, but this film hits very specific psychological notes that make it wholly unique. Strong performances really draw the audience into the world of Ema- most notably the controlling yet sensitive nature of Gael García Bernal's Gastón opposite Ema's fearlessness and defiant personality traits portrayed by Mariana Di Girolamo. Larraín also reteams with recording artist and experimental composer Nicolas Jaar (Neruda) to create another pulsating and equally unsettling score. The ambient electronic nature of Jaar's work gives off an air of sensuality, self-indulgence, and uninhibitedness that lingers long after watching.
A true art-house production, Ema is a hypnotic watch that will get your blood pumping and mind reeling with amazement.
This review originally ran on May 5, 2020 for MUBI's screening premiere.
Distributed by Music Box Films. 'Ema' opens at the Landmark Theaters Nuart this Friday, August 13th.
'Homeroom' Captures College Anxieties Amidst COVID
2020 was a challenging year for all of us but it was especially hard for high school seniors as the expectations of lavish graduation parties, prom dresses, and college-bound dreams were dashed in a matter of days. From director Peter Nicks and produced by Ryan Coogler, Homeroom follows the 2019-2020 class of Oakland High School seniors as they attempt to create systemic change and leave a lasting legacy in their hometown while adjusting to life in a pandemic.
Homeroom feels very much like A24's Boys State in the way it captures intimate and vulnerable moments from impressionable and impassioned teenagers. Sticking to his signature style of vérité filmmaking, Peter Nicks observes a handful of students as they prepare to submit college applications, sit through mundane history lectures, attend various club meetings, and rehearse for the school play.
The documentary begins in the fall of 2019–pre-pandemic–when the biggest topic of conversation is the ethics of policing in schools. Students want to defund the police, citing that implicit bias sparks unnecessary fear, especially in predominately black and brown schools like theirs. Their arguments are articulate and strong, appealing to city council members and school board members alike.
The film takes a turn with the introduction of COVID-19 in early March 2020, picking up a sense of urgency that differs from the more structured first Act. As Homeroom shows, the seniors of today are highly adaptable, goal-oriented, and inspired teenagers. They use their iPhones to create TikTok videos, as well as catch up on the latest from ex-President Trump's first impeachment trial. They're paying attention. They don't fear speaking up to authority figures; instead, they see teachers and faculty as their allies who share a common goal of unifying the school district in harmony.
From the everyday pressures of high school life to the unexpected introduction of COVID-19, Nicks lets the action and drama unfold onscreen without provocation, capturing a year's worth of trauma that is uncomfortable to relive. The murders of George Floyd and Breonna Taylor, "murder hornets", and the racially-charged murder of Bay area teenager Nia Wilson are just some of the devastating events that this class has had to navigate through.
Homeroom proves that the youth have the power, and fostering safe environments for them to grow and learn will be key in creating tomorrow's leaders. On a personal yet somber note, the film is dedicated to Karina Nicks, Peter's 16-year-old daughter who died suddenly in September 2019. As the final installment to Nicks' three-part trilogy of character-driven social issue films, Homeroom is a gratifying and inspiring ending to this chapter on Oakland, CA.
This review originally ran on January 29, 2021 during the Sundance Film Festival.
Distributed by Hulu. 'Homeroom' premieres on Hulu on Thursday, August 12th.
Fantasia Fest 2021: 14 Films We're Looking Forward to Seeing
Today kicks off the beginning of Fantasia Fest 2021, the Montreal-based, multi-week showcase with the reputation for being "the most outstanding and largest genre film festival in North America." The Canadian festival has been on our radar for years and we're excited to bring you along as we (virtually) embark on our inaugural Fantasia journey.
Mad God
The Deep House
King Knight
Midnight
Pompo: The Cinéphile
Dreams on Fire
The Last Thing Mary Saw
Love, Life and Goldfish
Giving Birth to a Butterfly
Dr. Caligari
Prisoners of the Ghostland
Follow the Light
Strawberry Mansion
Ultrasound
'Whirlybird' Review: Capturing Serenity and Chaos Over the Clouds
In Matt Yoka’s debut feature documentary, Whirlybird, audiences are taken on a visual journey of the City of Angels in the 90s through the lens of journalist Bob Tur and his wife Marika Gerrard, the couple responsible for capturing the iconic ariel video footage of the OJ Simpson pursuit, the Rodney King riots, the Northridge earthquake, and so much more. Infamous for his risky (and often illegal) methods of “getting the shot,” Bob was a relentless reporter, in love with the excitement and thrill of the chase. However, the documentary digs deeper, beyond his success as a journalist, and into Bob’s volatile, explosive, and obsessive behavior that puts not only his relationships but his physical and mental health at risk.
In the world of journalism, Bob Tur is credited for revolutionizing breaking news by changing the way news was captured: via helicopter. Bob and Marika were never far from a crime scene, murder, fire or flood – hanging out of a helicopter, camera in hand and ready to film. However, Bob’s personal life was fraught with torment. Not only was he constantly fighting with his wife, his employees, and the authorities, he was also struggling to accept himself as a trans man, which the documentary only focuses on in the last fifteen or so minutes of the film. The story of Whirlybird is primarily about the revolution of the news industry, not the reinvention of Bob Tur, who now goes by Zoey. Unfortunately, more focus on his personal struggle would have made this film a lot stronger and more memorable.
Bob was the original TMZ. He was a pioneer, and his legacy will never be forgotten. However, through raw and vulnerable interviews, he admits to living a life full of regret. It’s as if he questions if this was all even worth it, a difficult sentiment to hear someone say aloud. The relentlessness of capturing the headline news will affect any man over time, much like it did Bob Tur. For Angelinos especially, Whirlybird – with original music by Ty Segall – is a fascinating retrospective of our city from above as we navigate the fine line between serenity and chaos from among the clouds.
The review originally ran on February 3, 2020 during the Sundance Film Festival
Distributed by Greenwich Entertainment. Playing in select theaters, including Laemmle Glendale, and VOD this Friday.
'Enemies of the State' Review: A Teen Anarchist Takes on America
Matt DeHart may not have the same name recognition as Julian Assange or Chelsea Manning, but his self-proclaimed capability to expose the U.S. government for what they truly are: emotionless, ruthless, international murderers is just as feared as the actions of the aforementioned WikiLeaks founder and US Army vet turned whistleblower. In the new documentary Enemies of the State, viewers are introduced to the DeHart family, a nerdy and frantic family of three, who find themselves at the center of espionage accusations when Matt's ties to Anonymous and the dark web are exposed.
Convinced of Matt's innocence, the DeHart's believe that they're being unfairly targeted by the government in a wild conspiracy theory, which sends them to seek asylum in Canada. Perhaps they're on to something, but their claims weaken when evidence of child pornography on Matt's computer (plus victim statements) directly point to him. But Mr. DeHart, a current pastor, and Mrs. DeHart are in denial; instead of confronting the possibility that their son might be guilty, they come up with varied excuses. Many times throughout the film we are left wondering, are they really that oblivious, blinded by a parent's love? Or is the truth really stranger than fiction?
Nominated for "Best Documentary Feature" at the 2020 Tribeca Film Festival, Enemies of the State was brought to the screen by some heavy-hitters. Directed by Sonia Kennebeck and executive produced by Errol Morris, the film is a hybrid blend of documentary and fiction storytelling from the perspective of unreliable, biased narrators, which makes for an anxious watch. While Matt's parents are in the film playing themselves, Matt is played by actor Joel Widman (the reason for Matt's absence is explained in the film). Interviews with government officials, lawyers, and reporters are all real, including the sound recordings from Matt's court trial, but set to a fabricated recreation of those court scenes.
The aesthetic of Enemies of the State feels as sterile as the maximum-security prison cell Matt was kept in, stripped bare and unforgiving. It's a twisty story that I found myself rewinding a couple of times throughout my watch both out of fascination and confusion, the delivery here not being as strong or punchy as its cinematic counterparts like The Imposter or The Thin Blue Line. However, Enemies of the State is thrilling enough to satisfy that true crime craving.
Distributed by IFC Films. Opening in select Laemmle Theaters and on VOD on Friday, July 30.
'Mandibles' Review: A Buzzy Buddy Comedy
Surreal, campy B movies have always been synonymous with French provocateur Quentin Dupieux. His weirdness is an art form in and of itself; killer car tires and self-sabatoging directors seem like outrageously insane plots that no producer or studio would ever think to finance but on the screen it somehow works. Same is true in his latest film Mandibles, a buzzy buddy comedy about a giant fly. That's it. That's the plot.
Low-achieving but well-meaning best friends Jean-Gab (David Marsais) and Manu (Grégoire Ludig) are the French equivalent of Dumb and Dumber's Harry and Lloyd. They manage to get themselves into truly remarkable and idiotic situations, but their oblivious and laissez faire attitude never gives them cause for concern. That is, until they stumble across something that they believe has the potential to change their lives forever: a giant fly.
Jean-Gab takes to the fly immediately, giving her the name Dominique and imaging a future where he can train her well enough to start making money off of her party tricks (or bank robberies, the latter seeming more unlikely but he isn't deterred). Manu on the other hand hesitantly goes along with Jean-Gab's plan until an unforeseen situation forces the duo to adapt.
When the guys get caught up in a case of mistaken identity and find themselves staying at a vacation home with a group of strangers, Jean-Gab's protective paternal instincts kick in. He doesn't want anyone to know about Dominique, especially the inquisitive and slightly "off" houseguest Agnès (Adèle Exarchopoulos), but Agnès knows something is up, and she's determined to figure out what it is.
Mandibles is low-hanging fruit for comedy fans; the film's light-hearted nature doesn't strive to be anything other than zany and oddball kooky but at times, this chaotic jumble also rubbed me the wrong way. Personally, I find it grating when characters constantly yell and one of Agnès' character traits is her inability to control her speaking level, so those moments were a bit hard to sit though.
Going into any Quentin Dupieux film, you're probably not expecting thought-provoking, Oscar-qualifying work. That's the joy in his movies, they're original, completely fun, and entirely wacky. Mandibles is truly something you have to see to believe.
Distributed by Magnet Releasing. In theaters Friday, July 23.
'Roadrunner: A Film About Anthony Bourdain' Review: To Savor An Icon
It still feels surreal to talk about Anthony Bourdain in the past tense. Anthony Bourdain was charismatic. He was revolutionary. And he definitely was gone too soon. When Bourdain passed away three years ago at the age of 61, the conversation around mental health struggles wasn't nearly as normalized as it is today. It was still prevalent, just conversationally taboo. But as director Morgan Neville explores in the documentary Roadrunner: A Film About Anthony Bourdain, the larger than life TV personality wasn't necessarily keeping quiet about the horrible disease that was depression and suicidal thoughts: he was crying out for help on camera. We just weren't watching closely enough.
Morgan Neville (20 Feet From Stardom, Won't You Be My Neighbor?) harmoniously captures the pleasures and pains of Bourdain colorful life, and is careful not to ruminate too long on his demons. Told through Bourdain's own voiceover narration (a very meta move), Roadrunner is an engrossing look at how he went from "dishwasher, to cook, to chef, to fuck-up" (his words). After the overnight success of his book Kitchen Confidential entered the cultural zeitgeist, Bourdain took his talents to TV. It's here where he became a household name, traveling the world in search of great food and bridging the gap between countries in his hit shows No Reservations and Parts Unknown.
In poignant narration, Bourdain admits that he had the greatest job in the world, but it was one he could never escape from. This affected his mental health, family life, and relationships with colleagues and friends. For as widely loved as he was, Bourdain was lonely. Despite his success and acclaim, he openly admits that he questioned everything constantly and had often thought about harming himself.
His addictive personality eventually moved from his work life to his love life in the form of an Italian actress and early Harvey Weinstein #MeToo accuser Asia Argento, and this is when those closest to the TV personality noticed a shift in his demeanor. Interviews with the production crew, his ex-wife, and friends say Bourdain's complete obsession with her contributed to his downfall, although we should be careful not to blame Argento herself for his death. After all, he was the one who made the devastating decision to end his own life, no matter how heartbroken she made him feel.
Morgan Neville is the perfect person to capture this complicated figure, flaws and all. Anthony Bourdain lived with an irreplaceable spark and charisma that made him feel like a close, personal friend and that's what makes this documentary so hard-hitting and culturally important. In one of the film's earlier scenes, Bourdain talks openly about dying. In his signature style of cheeky humor, he tells a colleague that thinking about his death is "therapeutic." Retroactively, though, it's clear that he was only half-joking. Roadrunner offers a glimpse into the inner thoughts of Bourdain himself and while it has a somber through line, there is optimism and peace sprinkled throughout.
And man, does it feel good to see him on the TV screen again.
Distributed by Focus Features. Opening this Friday at The Landmark in West LA, Laemmle Monica, Laemmle Pasadena Playhouse 7, Laemmle NoHo 7, AMC Century City, AMC Sunset 5, AMC Universal Citywalk, AMC Burbank 16, Alamo Drafthouse Downtown, and Regal LA Live, among others.
'Summertime' Review: Visual Poetry Lights up Los Angeles
When Amanda Gorman took the stage in January at the 2021 Presidential Inauguration, two things happened. One, she sparked a meteoric rise of her own accord, landing nationwide notoriety, book deals, and an IMG modeling contract. She also–maybe more importantly–normalized and encouraged younger generations to explore spoken word poetry for themselves, proving that age is not a factor when it comes to self-expression.
In his latest film, director Carlos López Estrada (Blindspotting, Raya and the Last Dragon) shows how the streets of Los Angeles are filled with inspirational youth who are ready to speak their truth in the spoken-word musical, Summertime. Like an indie version of In the Heights for millennials (complete with mixed races and various skin tones!), Summertime is a feel-good film full of literal visual poetry and promising artists of tomorrow.
The story of how Summertime came to be is just as impressive as the film itself. Together with López Estrada and Executive Producer Kelly Marie Tran, twenty seven youth poets workshopped their material over the course of one Summer in Los Angeles. The result is this feature film, a loose narrative structure comprised of intersecting stories from the poets themselves, all of whom make their feature film debut as co-writers and stars.
Depending on the scene (and therefore the dialogue), Summertime is a mix of emotional, comedic, and nostalgic instances that reflect the authenticity of the poets. One scene humorously calls out the prices at trendy Los Angeles eateries, and how a piece of avocado toast costs the same as basic livelihood necessities for lower income communities. Another scene shows an empowered queer woman giving a fierce monologue as she stands up for another same sex couple on a metro bus. Perhaps the most heart-wrenching scene comes in the form of a formally insecure woman finally standing up for herself to a manipulative ex-boyfriend.
I believe the success of Summertime comes from untraditional factors. The overall narrative and acting is fairly good, not outstanding, but what makes this film unforgettable is the outpouring of pure visual poetry (which outweighs any nitpicky criticism). Dave Harris, Mila Cuda, Olympia Miccio, Tyris Winter, Amaya Blankenship, Bene't Benton, Hanna Harris, Marco Bizio, Raul Herrera, Bryce Banks, Marquesha Babers, Walter Finnie Jr., Anna Osuna, Zach Perlmutter, Jason Alvarez, Austin Antoine, Maia Mayor, Madyson Park, Xochitl Morales, Paolina Acuña-González, Marcus James, Gordon IP, Cyrus Roberts, Pathum Madigapola, Nia Lewis, Daniel McKinley, Khamal Iwuanyanwu, and Lukas Lane: job well done. Thank you for sharing your stories with us.
Distributed by Good Deed Entertainment. Now playing in select theaters in Los Angeles and New York. Expanding nationwide Friday, July 16.