'Chasing The Present' Review: A Consciousness Revolution
Quick Take: As Chasing The Present shows, when we finally come to the realization that we have all the answers, our problems don't feel so overwhelming.
I've always considered myself to be a self-questioning person. For better or for worse, I've never been satisfied with the status quo and the expectation of what society considers a "successful life." I studied Buddhism in college after years of fascination over the idea of the minimalist lifestyle, including non-attachment and impermanence. And I'll admit, these ideas sometimes led to nights of unsettling future projecting, but as soon as I was able to reel in my thoughts about tomorrow's unknown, I felt a simultaneous sense of control and relief wash over me. All I can do–all anyone can do–is focus on the present. This very moment. Right Now.
Chasing The Present, the new documentary from Mark Waters, feels like a crash course in the basics of spirituality and consciousness. It's easy to put yourself into the shoes of the main subject, James Sebastiano Jr, who travels the world on a journey of self-inquiry to explore the root cause of his lifelong battle with mental health issues. The gurus, healers, and therapists (including Russell Brand) remind James, and in turn, us, that the only way to end suffering is to break free from attachment. The ego has gotten too comfortable running the show, and when the ego is bruised or starved for attention, we tend to act from a selfish place. Over time, this selfishness leads to unhappiness and emptiness that goes against the only thing (besides food & water) that we as human beings have been biologically conditioned to need: connection. A life lived without a pure connection to oneself and the world isn't a very fulfilling life at all; there's a reason why those on their death beds never regret spending time with loved ones while the career milestones and material wealth end up seeming wholly unimportant.
It's easy to distract ourselves from the awful events happening in the world by turning on the latest reality TV dating show or jumping on any number of social media platforms (highly recommend Netflix's The Social Dilemma to dive deeper into this topic), especially right now. But the only way to get through these tough times is to acknowledge that we have the power to tap into our consciousness and see beyond the hatred and despair and heal ourselves. Beyond anxiety, beyond thought, freedom is possible.
Distributed by 1091 Pictures, Chasing the Present is available to rent on iTunes, Vimeo, and more, today.
'Kajillionaire' Review: A Family of Scammers Long For Connection
I couldn't believe that I was going to miss the world premiere screening of Kajillionaire while I was at Sundance earlier this year. I caught the flu the night before and was physically unable to move, bedridden and devastated to miss this once in a lifetime event. After all, Miranda July is one of my favorite filmmakers and I cursed the cruel irony of skipping the only film that I had really wanted to see at the festival. Fast-forward nine months (and a lot of unexpected life changes later), I finally saw Kajillionaire, and honestly, the timing couldn't have been better.
Writer/Director Miranda July is known for her charmingly original stories about relationships and this one is no different. In Kajillionaire, a family of Los Angeles-based con artists Robert (Richard Jenkins), Theresa (Debra Winger), and their daughter, Old Dolio (Evan Rachel Wood), make a life for themselves by scamming and stealing from a society they claim is phony and foolish. During one desperate "Get Rich Quick" scheme, the family befriends Melanie (Gina Rodriguez), a single woman who doesn't hesitate to help them with their next scam. However, the trust between them gets tested after a couple of shady encounters cause Old Dolio to question her allegiance to her family and the life she thought was predetermined for her.
A good film will always have these three qualities: a strong directorial voice, a clear and coherent script, and a solid cast. Kajillionaire has all of these and then some. Miranda July's deeply felt and visionary style is undeniable with its ethereal, yet down to earth charm. July's tender feelings seep onto the screen, creating a universally emotional bond between the filmmaker and her audience. For as unlikable as their characters' actions are, Richard Jenkins and Debra Winger play Robert and Theresa with a sense of compassion that makes us pity them rather than despise them. Gina Rodriguez gives a complex performance as Melanie, peeling away more layers as the film progresses. But hands down, it's Evan Rachel Wood who steals the show as the totally awkward, extremely guarded Old Dolio, a young woman who ultimately just wants to be loved.
At its core, Kajillionaire is a film about lonely people slowly letting down their guard to accept the gift of human connection. Now more than ever, at a time when human connection is met with a risk warning, this arthouse indie comedy feels like a warm, much-needed hug.
Distributed by Focus Features, Kajillionaire opens in theaters this Friday, September 25.
Obama's White House Photographer Captures What's Different With This Current Presidency, in 'The Way I See It'
Immediately after the film ended, I texted my brother, Ryan. "Just watched The Way I See It for review and wow. Easily one of my favorite films of the year."
It's been claimed that Pete Souza created the best photo archive of a President that's ever been done, and I believe that based solely on the chills I got from watching Dawn Porter's documentary, The Way I See It. The photographer, who is charmingly referred to as The King of Shade on Instagram for his Trump trolling posts, stayed publicly apolitical throughout his entire career as the Official White House Photographer during the Ronald Reagan and Barack Obama presidencies. Like a fly on the wall, he not only documented some of the most influential and powerful moments in American history but humanized the leaders in these roles. Since the Obama era ended, the abuse towards and damage to journalists and the free press by our current President has been completely disheartening. Having reached his breaking point, Pete is finally speaking out against the atrocity of today's leadership through his secret weapon: his photos.
Through his lens, Pete shares intimate moments from Reagan and Obama's terms, the most powerful of which are the small, fleeting moments that have never been seen before. Breathtaking images that are beautiful beyond words portray Obama as more than just the 44th President of the United States, but as your typical dad, husband, and human. The juxtaposition of these personal photos from the Obama era compared to the staged photo-ops of today- since Trump doesn't allow personal photogs access- is a stark reminder that empathy, humility, and communication are the qualities that make a leader honorable.
Perhaps the biggest takeaway is Pete's notion about the role of a leader. Not everyone will agree with your policies, but your behavior should always be respected. This goes without saying that Pete's comments are pointed at one person in particular, but this simple yet common sense reminder applies to everyday situations. A truly remarkable film, The Way I See It is proof that the impact of a still photo can say a lot more than words.
Distributed by Focus Features, 'The Way I See It' is in theaters this Friday, September 18th, and premieres on MSNBC October 9th at 7:00 pm.
'The Argument' is Forced Déjà Vu of Semi-Funny Proportions
Quick Take: I wanted to like this film, I really did, but the biggest hurdle in giving The Argument anything other than a mediocre review is the fact that the characters just aren't likable.
Director Robert Schwartzman's latest indie film is an offbeat comedy about pride and poor communication, but unfortunately, The Argument plays more like a slightly uncomfortable improv show. I wanted to like this film, I really did, but the biggest hurdle in giving The Argument anything other than a mediocre review is the fact that the characters just aren't likable. And when we're stuck with these characters in one room for the duration of a film, they have to be likable.
The Argument is a humble production that tells the story of how Jack (Dan Fogler) and his girlfriend, Lisa (Emma Bell) get into a petty argument during a night in with some friends. Jack and Lisa have different recollections of who is in the wrong, and because they can't just be adults and settle a disagreement like grown-ups, they insist that they replay the night over, and over, and over again with their friends in hopes that they will suddenly realize who was right. Thank goodness someone in the group literally has a photographic memory and could just tell us who was "right," but that is never utilized for reasons unknown.
There are some standout performances, notably from Danny Pudi and Maggie Q, but the rest of the cast plays characters that are too emotionally unintelligent to be believable or likable. Which is a shame, because the potential is there. The Argument may not be his best, but if you're in the mood for a Schwartzman lighthearted comedy, may I recommend his directorial debut Dreamland.
Distributed by Gravitas Ventures, The Argument is now available to rent on VOD.
Miu Miu and MUBI Present Mati Diop's Latest "Women’s Tales" Film, 'In My Room'
The curated streaming service MUBI and Italian high-fashion brand Miu Miu have partnered to make In My Room available to stream worldwide, shortly after its world premiere at the Venice Film Festival. In My Room, created and directed by Mati Diop (Atlantics) during confinement, is the twentieth short film in the ongoing Women’s Tales series.
“When Miu Miu proposed to me to make a film for Women’s Tales during confinement, in the midst of a health and social crisis, I thought it was a very delicate exercise but also a challenge that confronted me with essential questions about my practice as a filmmaker," said Diop. “What story can I tell now, with minimal means, alone in my studio, that resonates with what the world is going through while being intimate?”
Since 2011, Women’s Tales is an ongoing series of short films commissioned by Miu Miu and directed by today’s most distinctive female filmmakers, who invent beautiful, strange worlds inhabited by women’s idiosyncratic imaginations. With a brief to look both critically and lovingly at femininity in the 21st century, these short films embrace the many complexities and contradictions that make up women’s experiences today. The full Women’s Tales collection, which also includes work from Agnés Varda, Chloë Sevigny, Haifaa Al-Mansour, Ava DuVernay, and Lynne Ramsay, is available in the MUBI LIBRARY.
The twenty Women’s Tales coming to MUBI are:
Shako Mako, by Hailey Gates (English language. Italian subtitles)
The Wedding Singer’s Daughter, by Haifaa Al-Mansour (Arabic language. English and Italian subtitles)
Hello Apartment, by Dakota Fanning (English language. Italian subtitles)
(The [End) of History Illusion], by Celia Rowlson-Hall (English language. Italian subtitles)
Carmen, by Chloë Sevigny (English language. Italian subtitles)
That One Day, by Crystal Moselle (English language. Italian subtitles)
Seed, by Naomi Kawase (Japanese language. English and Italian subtitles)
Les 3 Boutons, by Agnès Varda (French language. English subtitles)
Nightwalk, by Małgorzata Szumowska (No dialogue)
De Djess, by Alice Rohrwacher (No dialogue)
Somebody, by Miranda July (English language. Italian subtitles)
Spark and Light, by So Yong Kim (English language. Italian subtitles)
Le Donne della Vucciria, by Hiam Abbass (No dialogue)
The Door, by Ava DuVernay (No dialogue)
It’s Getting Late, by Massy Tadjedin (English language)
The Woman Dress, by Giada Colagrande (No dialogue)
Muta, by Lucrecia Martel (No dialogue)
The Powder Room, by Zoe Cassavetes (No dialogue)
Brigitte, by Lynne Ramsay (English language. Italian subtitles)
In My Room, by Mati Diop (French language. Subtitles: English, French, German, Italian, Japanese, Korean, Chinese, Portuguese (Brazilian), Spanish, Turkish)
Other Music Helped Cultivate Bands Like Vampire Weekend and Animal Collective–Before Being Forced to Close Their Doors
Quick Take: Whether you were lucky enough to sort through their highly specialized music selection or just a fan of early 00s bands like The National or TV on the Radio (who credit this prolific NYC record shop with widening their music knowledge)–Other Music is a must-see so that their story lives on.
Benicio Del Toro called his visits to the store a religious experience. Jason Schwartzman was constantly inspired by its hyper-knowledgeable staff. It's also where Ezra Koenig of Vampire Weekend "literally discovered new genres of music" because of how everything was uniquely and specifically categorized. Any music buff will tell you that Other Music in NYC was nirvana (pun intended).
The self-titled documentary from co-directors Puloma Basu and Rob Hatch-Miller follows the last 6 weeks of this iconic and legendary indie record shop before they were forced to close their doors for good in June 2016. Increasing rent prices in Manhattan's East Village made it impossible to stay afloat and the trend towards streaming was a battle that shop owners Josh Madell and Chris Vanderloo knew they couldn't win. It's such a shame that culturally significant safe havens like Other Music aren't invincible, and their loss hits hard. Interviews with devoted customers and artists like Matt Berninger of The National, Tunde Adebimpe of TV on the Radio, and Regina Spektor all speak from the heart about how Other Music influenced their careers and lives for the better.
Other Music was the quintessential place for people in NYC who appreciated music to spend hours racking the shelves for otherworldly discoveries, rare gems, and human connection. They hosted in-store performances from No Age, St. Vincent, Conor Oberst, and Neutral Milk Hotel to name a few, which the film shows with great nostalgia. If you're a fan of any of the bands I've mentioned, including Animal Collective, Interpol, Yeah Yeah Yeahs, William Basinski, Sharon Van Etten, and The Rapture, you'll find so much joy in watching this film. Physically, Other Music is no more but its spirit lives on. After a canceled theatrical run due to COVID, the filmmakers partnered with record stores and theaters for a Virtual Cinema run.
Distributed by Factory 25, Other Music is available on Amazon Prime, iTunes, Google Play, etc. today.
Eugene Kotlyarenko: "There can only be two relationships: Off-social media and On-social media"
Already known as a filmmaker in which audiences should expect the unexpected, Spree follows suit in its boundary-pushing style. This is one film you're likely never to forget. In our exclusive interview, Kotlyarenko talks about his relationship with social media, working with actor Joe Keery, and how he would describe the film in emojis. Spree is now in select theaters, drive-ins, on digital and on-demand.
Many people can take social media too seriously with overly curated and artificial profiles, especially in LA. In Kurt's case, it's the only source of validation he craves. What is your relationship with social media and influencer culture like?
There can only be two relationships: Off-social media and On-social media. I’m still on, which makes me a participant in the sort of attention economy the film is indicting. Not that I’m doing anything horrific like Kurt, but maybe like Jessie, I’m complicit in the system, while trying to think of myself as “different” from everyone else.
Joe Keery nails the role of the struggling pseudo-influencer, which is hilarious because he has over 7 million Instagram followers "IRL." What was your dynamic with Keery like on-set, how did you two collaborate and help him come into this deranged character?
Joe is the sweetest and most creative person. We began collaborating months before the shoot - watching reference videos and making some Kurt reviews and tutorials of our own. He brings an enormous level of respect, enthusiasm, and diligence to set and once we start shooting he’s able to modify beats and improv in a really inspiring way. Many of the lines he made up, ended up in the movie.
This film is such a visual whirlwind, what did your mood board look like while writing the script, and in the general pre-production process?
I don’t really believe in mood boards or visual references because I don’t want anyone, including me, to get bogged down in how stuff used to look or some cool thing someone else did. I’m trying to encourage everyone on the crew to help me come up with a new language to make films and be formally adventurous. That being said, I did provide the cast and crew with a Google Drive of 10 movies I found to be influential and said “let’s try to capture this spirit.” A few in that drive were Taxi Tehran, The King of Comedy, Dossier 51, Henry: Portrait of a Serial Killer. For the bigger set pieces like the freeway chase and the junkyard, we did make storyboards because I knew there was very specific coverage we would need to make that work in terms of blocking and choreography and camera manipulation.
What do you hope people take away after watching Spree? And what impact do you as a filmmaker hope to leave on the independent film community?
I hope the first thing you experience is just excitement, laughter, tension, and joy while watching it. I know the subject matter can be intense and reflective of horrific stuff, but usually, when I step away from a movie that has a great energy to me I sort of soak that in, regardless of the themes. Then when you step away from it, I’d like people to reflect on their relationships to their phone, their virtual identities, and their thirst for social media validation.
As a filmmaker, I hope we are all inspired to expand the relatively narrow language of cinematic storytelling up until now. And to keep in mind that if we are being experimental with form, it doesn’t mean we have to alienate viewers from a story well told. I would also say that 10 years ago, I made a movie entirely by screen-capturing Skype and Gchat video conversations I was having with friends, who didn’t know I was acting and then edited it together over the course of two weeks. It technically cost me $0, beyond my frugal survival... So if you don’t have the resources to stage high-speed chases or get access to established actors or even have high-end equipment, don’t let that stop you from telling stories with the resources that you do have all around you.
And finally, what emoji(s) would you use to describe Spree?
'Tesla' is Not the Biopic That You’d Expect It To Be
Quick Take: A mostly whimsical retelling of the life of Nikola Tesla through humor, electronic music, and Ethan Hawke singing karaoke.
Based on the film's logline, Tesla may sound like a standard historical biopic about the engineer, scientist, and inventor credited with devising the first practical application of alternating current (AC) to generate and distribute light and power. And while yes, I'll admit that does sound rather dry, Tesla is anything but a bore. Writer/director Michael Almereyda (Marjorie Prime) takes full creative control and presents a whimsical, vibrant retelling of the life and accomplishments of Nikola Tesla through humor, electronic music, and breaking the 4th wall with Ethan Hawke singing karaoke to the Tears for Fears song “Everybody Wants to Rule the World.”
Hawke shines (pun intended) as Nikola Tesla, the iconic inventor whose big ideas and projections for the future left him entangled with fellow inventor Thomas Edison (Kyle MacLachlan). The film follows their shaky partnership and Tesla's eventual success, as well as his complicated relationship with Anne (Eve Hewson), daughter of financial titan J.P. Morgan (Donnie Keshawarz).
Rollerskating scenes and self-aware one-liners are sprinkled throughout factual narration and serious moments, a clear indication that Almereyda did not want Tesla (which premiered at the 2020 Sundance Film Festival) to be perceived as a typical biopic. The freewheeling and neon-soaked nature of the film is the main draw, and it plays much like an extended episode of Comedy Central's ‘Drunk History.’ However, there are scenes that seem disassociated with this otherwise unique style which throws off the balance of the film. Had the surreal moments carried consistently throughout, there's no doubt that Tesla would have made big sparks on its release day.
Distributed by IFC Films, Tesla is available to rent on VOD this Friday.
Gen Z and Wanna Be Influencers, 'Spree' Was Made For You
Some people believe that your social media "status" directly correlates to your worth as a human being. Clearly, this is ridiculous, but in a city like Los Angeles, where numbers and followers mean everything, some people will do whatever it takes to raise their profile. Director Eugene Kotlyarenko pokes fun at influencer culture in the dark comedy Spree, a story about how one man's desire for fame turns deadly.
A Fame-Obsessed Rideshare Driver Takes Reality TV Stars on a Deranged Joyride
On 4/12/19, Kurt Kunkle (Joe Keery) aka @KurtsWorld96 finally went viral. In a desperate attempt to raise his followers and, in turn, self-esteem, Kurt concocts a plan which he brands #TheLesson. His goal? Kill as many people as possible, all while live-streaming during his shift as a rideshare driver. Kurt subscribes to the belief that "If it bleeds, it leads," and throughout the night, unsuspecting passengers fall victim to Kurt's antics; the more gruesome the kill, the more his viewer count increases. It's sick and twisted, and frighteningly, doesn't seem so far-fetched in today's wacky world.
However, his plan takes a turn when he crosses paths with stand-up comedian Jessie (Sasheer Zamata). Shot and edited in a similar format to 2018's Searching, where the story is told through technology only, Spree is a visual whirlwind of desperation. For 90 minutes, we watch Kurt (in an incredible performance from Joe Keery) unravel into a demented loose cannon.
Takeaway
What The Rental did for Airbnb, Spree does for Lyft (semi-spoiler alert: You may think twice about drinking that backseat bottled water). In addition to being a somewhat cautionary tale about trusting the convenience of technology, Spree is mostly a character study on the effect of social media on the mentally unstable. Whereas 2017's dark comedy Ingrid Goes West is an uncomfortable look at stalker behavior and mental illness, Spree is all of that amplified by 100%. You're in for a wild ride, dare you take it...
Wondering What Trauma Healing Performed by Jodorowsky Looks Like? 'Psychomagic, A Healing Art' Reveals
Quick Take: I want to believe but Jodorowsky's method of healing deep-rooted trauma through provocative performance art therapy brings out my inner skeptic.
91-year-old Alejandro Jodorowsky–surrealist filmmaker and "Father of the Midnight Movie"–is here to prove that you can heal deep-rooted trauma through performative art therapy. Let's get one thing clear, Jodorowsky is definitely not your typical therapist. On the surface, his method can look a bit questionable, like painting self-portraits with menstruation blood and smashing pumpkins that represent problematic people with sledgehammers. If you think this sounds a bit "Burning Man woohoo," well you're not wrong, but for those who are willing to trust Jodorowsky's intentions as a healer and surrender to the process, his provocative challenges can change your life.
In the fascinating documentary Psychomagic, A Healing Art, also directed by Jodorowsky, he puts patients through a myriad of different simulations by stoking the subconscious to unlock their deepest thoughts and achieve enlightenment. This process we witness was created by Jodorowsky and inspired by his life-long study of philosophy, psychology, ethnology, and world religions. Patients confront traumas head-on by re-enacting them quite literally, from burials to re-births (and lots of nudity in between). The documentary is also intercut with scenes from some of his most famous films, which further demonstrates Psychomagic’s principles.
If you believe in the transformative power of the mind and the unconscious, Psychomagic, A Healing Art will be a fascinating watch. Plus it's cheaper than a therapy session.
Distributed by ABKCO Films, Psychomagic, A Healing Art is available on VOD this Friday.
'She Dies Tomorrow' Pretty Much Nails the Anxiety You'd Feel When Facing Your Impending Doom
Quick Take: This high-concept art house thriller imagines a reality where there is no escaping tomorrow's impending death.
Amy Seimetz has death on her mind. In the writer/director's second feature film, a young woman is–without a doubt–convinced that she is dying tomorrow. There is no context to assume why she believes this, it's an easy guess that Amy (Kate Lyn Sheil), who struggles with alcohol dependency, is suicidal and severely depressed. However, as She Dies Tomorrow progresses, we realize that Amy's self-imposed death sentence isn't of her own volition, rather a mysterious power has overcome her. And the worst part is, the self-fulfilling premonition is contagious and passes to everyone she comes into contact with.
From Amy (Sheil) to her friend Jane (Jane Adams) to Jane's brother (Chris Messina) and sister-in-law (Katie Aselton), the paranoia and then ultimate acceptance of death rapidly spreads. Despite its heavy subject matter, She Dies Tomorrow is a dark comedy in every sense of the word. The absurdist humor is rampant, much like the Greek weird wave films of Yorgos Lanthimos. The film also feels like a nod to the psychological thrill of David Robert Mitchell's 2014 It Follows, as both films rely heavily on the imaginary superhuman power that torments the protagonists.
Seimetz is a fan of the long take, which works extremely well in adding suspense to the story. The naturalness of the long takes plus the restrained performances from the cast make the supernatural moments even more unexpected and shocking, leading us to question how far-fetched is this, really? By the film's end, we're left with a head-scratcher: We all have to die at some point. Why not tomorrow?
Distributed by NEON, She Dies Tomorrow is available on VOD this Friday.
In 'Rebuilding Paradise', Ron Howard Remembers California's Deadliest Wildfire
Quick Take: While not an easy watch for the times we're in, the film's message of resilience and strength after tragedy is incredibly timely.
On November 8, 2018, the once prominent gold-mining town of Paradise, California was overtaken by uncontrollable fire, heavy smoke, and the chaos of a community leaving everything behind. The Golden State is no stranger to the occasional forest fire in the summer months, but the Camp Fire was different. It was much, much worse.
Ron Howard's documentary Rebuilding Paradise shows the fateful day when a malfunction from a Pacific Gas & Electric electrical transmission ripped through this humble community, torching 95% of the town, killing 85 people, and leaving 50,000 residents displaced. The first twenty minutes are really difficult to sit through with dry eyes. Horrifying footage from survivors fleeing the fire, people saying goodbye to their houses, hospital patients being wheeled out on stretchers during the evacuation, and intimate 911 calls are hard to stomach. The film takes on a bit more of an optimistic tone post-fire, with determined residents banding together to get through their shared devastation in hopes of returning to Paradise again.
Ron Howard's masterful direction re-enforces the fact that nothing humanizes us more than a tragedy. His interviews with survivors are heart-wrenching and empathetic. Watching them, we are reminded that disasters don't discriminate. The film's release in 2020 is, perhaps, not ideal, as we're still in the middle of the global pandemic. However, the silver lining we can take away is the steadfast resilience and strength from Paradise residents, which is proof that we can overcome anything when we look out for each other.
Distributed by National Geographic, Rebuilding Paradise is available this Friday via Laemmle Virtual Cinema.
Patrick Kirst’s Score For 'The Kissing Booth 2' Might Just Make You Fall In Love
Ever since it was dubbed Netflix's most rewatched movie of 2018, The Kissing Booth has become something of a cultural phenomenon. Fans couldn't get enough of Elle (Joey King) and Noah's (Jacob Elordi) incredible chemistry and fun-loving relationship onscreen (and off). Since its release, King went on to star in–and receive an Emmy nomination for–Hulu's The Act, and Jacob Elordi skyrocketed to fame on HBO's Euphoria. In true Hollywood fashion, it's no surprise that the teen rom-com has returned for a sequel, The Kissing Booth 2.
Back in the director's chair is Vince Marcello, who assembled his original cast and crew, including composer Patrick Kirst. Fans will be thrilled to hear the nostalgic sound from the first film and we're excited to premiere the soundtrack "Reunion," which plays like a modern-day John Hughes rom-com drenched in romantic optimism.
Kirst explains, "Following Elle’s, Noah’s, and Lee's journey led to further developing their themes from the first installment. I wanted to embody director Vince Marcello’s concept of recapturing a nostalgic, sun-kissed vision of late 1970/80s vintage Los Angeles. We, therefore, decided to give the score vintage retro charm through strings, 80s synths, beach drums, and guitars. The score embodies the soul of the movie: a fun, heartfelt, youthful, and sincere story about love, coming of age, and true friendships."
As well as a film composer, Kirst also teaches a Screen Scoring course at USC's Thornton School of Music. He says, "Mentoring the next generation of musicians is a wonderful challenge. I am trying to teach my students values in music, not just in film music." Fun fact: Kirst first met The Kissing Booth director Vince Marcello when they were both film students at USC. It's apparent in his music that Kirst pours his heart into his scores, and that passion is felt through and through in his latest.
Listen to "Reunion" in The Kissing Booth 2, out today on Netflix.
Dave Franco's Directorial Debut 'The Rental' Will Make You Rethink Booking Your Next Airbnb
Quick Take: Dave Franco's psychological thriller is a paranoid traveler's nightmare, prepare for your heart rate to skyrocket.
Dave Franco wants you to rethink your summer vacation plans. Or at least, prepare you for the worst: your rental is not as safe as you think it is. In his impressive directorial debut, The Rental, Franco and his co-writer Joe Swanberg have not so subtly planted the seed that privacy is not guaranteed. Using classic horror tropes to tell a modern story, this unsettling thriller is a paranoid traveler's nightmare and perhaps a much needed cautionary tale that we should all be double-checking our next Airbnb for cameras and wire-taps.
What was supposed to be a celebratory weekend getaway to the Oregon coast turns into the trip from hell when two couples make a sinister discovery in their house rental. A couple of red flags appear when married couple Charlie (Dan Stevens) and Michelle (Alison Brie), Charlie's brother Josh (Jeremey Allen White), and Josh's girlfriend Mina (Sheila Vand) first arrive at the house but things just seem odd rather than illegal. Charlie and Mina also have a business relationship that, not surprisingly, has led to some sexual tension and predictable mishaps. Their one-time indiscretion risks getting exposed when Mina discovers a camera in the house, threatening their secret and ruining the lives of their partner's and themselves. Unfortunately for them, this discovery is just the tip of the iceberg, as the "oh shit" moments grow bigger, more invasive, and even deadly.
A fantastic ensemble cast and a clever script gave me the chills, although I initially felt unsatisfied with some of the film's ambiguity. It seemed like an easy way out of an otherwise well-executed and sticky plot. But as the credits rolled, something clicked. Ambiguity and anonymity are just as much of a threat -if not more so- than an "obvious" villain. Feeling on-edge without the ability to grasp hold of something tangible is an awful feeling, as seen in the mental unraveling of the protagonists. The psychological effects from The Rental will fall outlast the instant gratification of shock and awe horror films, making Franco's first foray into the director's chair a success.
Distributed by IFC Films, The Rental is available on VOD and over 250 drive-ins and theaters. For more information, click here.
'The Painted Bird' is Unbearable to Watch. That's Why It's Essential That You Do.
Quick Take: The Painted Bird is an evocative, painfully stunning cinematic achievement that celebrates the perseverance of the human spirit (if you're brave enough to watch it).
The only thing I knew prior to watching The Painted Bird was its infamous receptions from both the 2019 Venice and Toronto Film Festivals. At TIFF, The Hollywood Reporter claimed 40 people left the 522-seat theater during its nearly 3-hour runtime. I'm here to tell you that, after having watched the controversial historic drama based on Jerzy Kosiński's brutal novel, the film lives up to its shocking reputation.
Set in a desolate part of Nazi-occupied Eastern Europe during WWII, The Painted Bird follows a young Jewish boy (Petr Kotlár) as he singularly navigates through horrible circumstances in order to find safety with his family. After the death of his elderly caretaker, who was safeguarding him from the hideousness of the War, the boy is left to fend for himself as he bounces around from person to person, almost all of whom take advantage of his youth, body, naivete, and heritage. As one can imagine, the more the story unfolds, the harder it is to stomach, especially when you think about the fact that this narrative isn't that farfetched from the reality of those times.
Masterful in its composition and performances yet nearly unbearable to watch, The Painted Bird sees a possum set on fire, human eyeballs scooped out with a spoon, and sodomy with a wine bottle, and that's all just within the first hour. Director Václav Marhoul places heavy emphasis on the atrocity and brutality towards this young boy to show a mentality that despite how feeble and vulnerable one is, if he is "different," he is "worthless." Shooting on 35mm black and white film at a 1:2.35 aspect ratio offers a richly emotive format that brings out the film's strongest qualities: the performances. The slimness of dialogue is more than made up for in the close-ups and layered performances from newcomer Petr Kotlár and veteran actors Stellan Skarsgaard, Harvey Keitel, and Udo Kier. The Painted Bird is an evocative, painfully stunning cinematic achievement that celebrates the perseverance of the human spirit.
Distributed by IFC Films, The Painted Bird is available on VOD this Friday, July 17th.