'The 4 Points' Review: Exposing the Gritty Underbelly of LA Crime
Beyond the bright lights of Hollywood is a grittier, less fairytale-like part of town that many avoid for good reason. This stretch of the city, which was once considered the gang capital of the world, acts as a playground for those up to no good. Filmmaker Raul Perez examines this seedy underbelly in the independent crime drama The 4 Points. Not only is The 4 Points a passion project for Perez, which he has spent years in various stages of production, but it also marks his narrative feature film debut.
Rival Gang Members Turned Unlikely Partners
Co-written with longtime friend Kevin J. Kelley, Perez draws audiences into the world of high-stakes crime where murder rates are skyrocketing. Two former gang rivals turned LAPD detectives, Shane Murphy (Dustin Harnish) and Dre Allen (Dominique Marsell), know these streets well. After all, they came of age in the city's most violent neighborhood, referred to as The 4 Points. After a startling number of murders catch the attention of the police commissioner, Detectives Murphy and Allen are assigned to a "two-man task force" to investigate the root cause. As the duo digs deeper into the darkness, they quickly get tangled up in a deadly web of secrets, gang violence, and betrayal. Their attempt to save the city from The 4 Points could be the very thing that kills them both.
A Character-Driven Crime Saga Anchored by Strong Performances
The 4 Points doesn't shy away from depicting graphic moments on screen, including violence and drug use. This sensitive subject matter is handled with care by lead actors Dustin Harnish and Dominique Marsell. Unflinching in their portrayal of formerly troubled men who have turned their lives around, they command this indie film. The psychological toll their portrayal evokes is visceral and deeply felt.
While gripping, there are a couple of moments that can take the viewer out of the experience. For instance, the sound mix is off in certain scenes. The quick escalation from soft dialogue to elevated and startling sound effects can cause quite a jumpscare. Visually, however, is where The 4 Points experiments with stylistic choices that pay off. The camera's choreography dances around characters and the decision to go handheld over static shots adds a sense of urgency that perfectly compliments the film.
Takeaway
In addition to its adrenaline-pumping moments, The 4 Points also offers a heartfelt undercurrent that explores themes of redemption and brotherhood. Winner of "Best Indie Feature" at the San Francisco International Film Awards, The 4 Points is now available on VOD.
'The Touch (Dodir)' Review: A Story of Longing and Loving
Croatian directors Marko Visković and Erik Kyle Lončar prove that love is never really lost in their short film The Touch (Dodir). Shot in a single location for a modest $1,000 production budget, the result is a moving portrait of a woman in mourning who is comforted by faint signs from the afterlife. In its 13-minute runtime, the film successfully tackles deep themes of sisterhood, grief, and the resiliency it takes to keep going.
Gone but Not Forgotten
Dolores (Ivana Visković Pavić) is shocked by the sudden passing of her sister Hana (Sanja Pavić). Alone in her apartment, Dolores tries to make sense of the unforeseen tragedy as she awaits her husband's return from an out-of-town business trip. Isolated from her family and friends, Dolores notices strange happenings around her. For instance, the tissues she has been using to wipe away her tears suddenly move. It evokes a feeling Dolores has that she isn't really alone despite no one being around her. Dolores slips into an awakened state where she physically senses her sister. This surreal and blissful moment causes Dolores to revisit her view on life, death, and family.
Melancholy Reflected in Memorable Ways
The film's title treatment acts as a creative foreshadowing of the short story. Two different fonts make up the word "Dodir", with the modern half blending into the more cursive, spiritual-looking half. This acts as a direct interpretation of Hana's spirit crossing over into Dolores' physical realm. Another interesting stylistic choice is the decision to limit excessive dialogue. Most of The Touch (Dodir) is accompanied by a light score rather than heavy verbal cues.
Takeaway
When a loved one passes, it's understandable to fall into a state of grief and sadness. In The Touch (Dodir), Marko Visković and Erik Kyle Lončar show that one can find comfort in a spiritual relationship after loss. And just because one's physical form is no longer present in reality, doesn't always mean that they are gone.
'The Space Rodent' Review: This Campy Comedy is a Fun Take on the Sci-Fi Genre
Halloween is the perfect gateway holiday for audiences to forget the confines of reality and expect the unexpected. In multi-hyphenate filmmaker Jason D. Morris' screwball sci-fi comedy The Space Rodent, any semblance of normalcy is lightyears away. What Morris conjures throughout the film's 80-minute runtime is a delightfully bonkers take on the alien invasion genre. If you've ever wondered how the Scooby Doo gang would react to mysteries if they were in their 30s, The Space Rodent gives you a pretty good idea.
Alien Trash Pandas From Outer Space
The film takes place in modern-day Cavell, Illinois. It's Halloween night and a group of friends, Mac (Robert Carrera), Dean (David Minard), Amanda (Leah Bernard), and Skyler (Shelby Broadnax), embark on their separate holiday plans. The men plan to stay home and not pass out candy while their partners enjoy the festivities at a party out of town. Mac and Dean are excited to catch up but don't get to enjoy their bro time for long. A teenager dressed as The Crow (Ty Pennington) rudely interrupts them by trick-or-treating. Frustrated that she didn't read the warning sign "Ring the Doorbell and DIE!", Mac and Dean annoyingly begin to educate the teen on how inappropriate it is for someone her age to beg for candy. Just as the teen claps back, a strange Earth-shaking disturbance crash lands on the front lawn.
At the same time, Amanda and Skyler also become derailed by a terrifying alien rodent. Part bear, part rat, this alien creature threatens to destroy everything in its path. Amanda and Skylar rush home to find Mac and Dean fighting off their own otherworldly creature, who they charmingly call an "alien trash panda" and "zombie cat". As chaos unfolds and their life-or-death situation intensifies, the group realizes what they need to do to survive. Like any good guy vs alien trope, they must overcome their differences and work together to defeat the bad guys.
Takeaway
The Space Rodent is a humorously lo-fi genre film with incredible energy. What it lacks in production budget is more than made up for in its on-screen antics. The practical puppets and special effects give the film its culty vibe. Sharp and witty dialogue by Robert Carrera, who serves double duty as both screenwriter and actor, gives way to several laugh-out-loud moments. In a nod to some of The Space Rodent's inspirations, The Goonies, Say Anything, and the Arnold Schwarzenegger sci-fi comedy Junior are all referenced in one way or another. This campy indie comedy is a blast to watch and offers a fun new take on the sci-fi genre.
'Maria' Review: The Songbird Leaves the Cage
Director Pablo Larraín completes his trilogy of tragically glamorous women biopics in Maria, the story of famed opera singer Maria Callas. His first entry came in 2016 with the Natalie Portman-led Jackie, based on First Lady Jacqueline Kennedy, as she fights through grief and trauma post-JKF assassination. In 2021, Larraín crafted a stunning portrait of Princess Diana in Spencer. The film starred Kristen Stewart who gave a riveting performance as the headstrong Lady Di, earning her an Oscar nomination for Best Actress. On the heels of such positivity and accolades for Larraín's previous biopics, it seemed obvious that Maria, starring Angelina Jolie, would be another electrifying entry. However, with only one Oscar nomination for cinematography, it seems the operatic force of Maria has fallen on deaf ears.
Reimagine the Legendary Soprano in Her Final Days
Running just over two hours long, Maria tells the story of the world's greatest opera singer. The film takes place one week before her untimely death and recounts the last days of her life in 1970s Paris. Despite her glamorous public facade, the film uncovers that behind closed doors, Maria's life was anything but pitch perfect. Her unresolved health issues, tumultuous love life, and identity as a singer who now struggles to perform at her previous standards, envelop her in heartache and tragedy. Her goddess-like demeanor and ethereal voice mask a somberness that affects the life of a creative. The pain is never far away, but accessing that pain is exactly what makes Maria's art so poignantly beautiful.
You Can Only Suspend Your Disbelief For So Long
Maria Callas offers something of a comeback for Angelina Jolie, whose last role was playing Thena in 2021's Eternals. Maria is a role that Jolie seems born to play. From her striking beauty to her American-Greek accent, Jolie seems to effortlessly transform into the complex headspace of the tortured singer. She brings out a sensitivity and humanness that makes us feel like we understand the inner workings of Callas' mind. However, the appeal of Jolie playing the titular prima donna is also the film's biggest distraction.
It's quite contradictory. The scenes when Maria Callas is in dialogue with journalist Mandrax (Kodi Smit-McPhee), her house staff Bruna (Alba Rohrwacher) and Ferruccio (Pierfrancesco Favino), and her secret lover Aristotle Onassis (Haluk Bilginer), is when the film feels strongest. It only takes Jolie mimicking Callas' extraordinary operatic singing for reality to kick in and pop any suspension of disbelief. Despite her best efforts, these moments look like obvious miming. It's very apparent that Jolie isn't singing and while this isn't a knock on her performance as a whole, these moments come off as overstriving and caricaturistic.
Takeaway
Maria blends the workings of a traditional biopic with surreal hallucinations and flashbacks, giving the film a unique narrative structure. Fans of classical music will find that Maria stays true to preserving the magic of the art form by showcasing it in such an aspirational and grandiose manner. Every song on the film's soundtrack is devastatingly beautiful, and I've had it on repeat ever since watching the film. Maria may not have earned a standing ovation as far as the Academy's voting body is concerned, but there is no denying that director Pablo Larraín is a master storyteller. And to Angelina Jolie, who brought Maria Callas to life by exposing her genius and singular talent to younger audiences, I say Bravo!
'Every Little Thing' Review: Answering Nature's Call, One Hummingbird at a Time
Sally Aitken's uplifting documentary Every Little Thing perfectly captures a feeling of hopefulness the world needs right now. Proving that small acts of kindness can make a big difference, the filmmaker turns her lens on Terry Masear, a hummingbird rehabilitator who dedicates her life to preserving the most vulnerable and smallest bird species. Having made its premiere at the 2024 Sundance Film Festival, Every Little Thing flies into the Laemmle's Monica Film Center this weekend with a national expansion to follow.
Observing Nature's Gentle Warriors
From the moment we meet Los Angeles resident Terry Masear, it's clear that she is living out her life's destiny. Terry is somewhat of a local legend in the birder community, known for the hummingbird rescue she runs out of her home. An empathetic and knowledgeable one-woman show, Terry is an expert at pinpointing the physical and emotional ailments of these small animals. Speaking directly to the camera with a tiny creature in her hand, Terry effortlessly showcases both her maternal instincts and intellectual prowess.
Throughout the film's hour-and-a-half runtime, Terry takes in and cares for a handful of birds she charmingly names "Larry Bird", "Cactus", and "Jimmy". Filmmaker Sally Aitken highlights the beauty and fragility of these animals by quietly observing Terry's compassion and empathy. However, like most nature documentaries, Every Little Thing doesn't shy away from showing the harsh realities of Mother Nature. Some moments are difficult to get through with dry eyes, yet every death is acknowledged with dignity and respect.
The Hummingbird's Biggest Fan
Terry's Hummingbird Rescue has been operational for over 20 years, making her the longest-practicing hummingbird rehabilitation expert in the country. Every Little Thing is based on Terry’s best-selling book, Fastest Things on Wings. The documentary mirrors the book by intimately showing the triumphs and heartbreaks of rehabilitating orphaned and injured hummingbirds. Terry’s impact has directly led to the increased health of the hummingbird population as well as enhanced their breeding and nesting practices.
Takeaway
If any movie can restore faith in humanity, it is Every Little Thing. This charming indie film acts as a beacon of light and goodwill. It offers space for genuine reflection and serves as a reminder that no act of kindness is too small.
'Stockton to Table Rock' Review: Harnessing Strength During Difficult Times
Watching a movie can be a very therapeutic experience. Seeing a character you relate to can help you feel less alone and process situations from a new perspective. In the indie feature Stockton to Table Rock, filmmaker Elliot Norton bravely shares his wife's story of survival amidst childhood abuse and lingering trauma. The result is an authentic-driven narrative that will touch hearts and signal to anyone struggling that they are not alone. Relief is possible.
Based on Reality, a Story of Hope
Stockton to Table Rock, inspired by and starring Zoë Kelly, tells the story of Rori (Kelly), a high school senior who reaches a breaking point in her tumultuous relationship with her mother, Shelly (Jessica Ires Morris). Rori is a spunky and sharp teenager who typically thrives at school, taking initiative and projecting confidence. However, feelings of self-doubt and insecurity arise when she returns home and is around her self-centered and alcoholic mother. Using flashbacks to portray her complicated past, Rori is exhausted by living this double life. Her scholastic safe haven is interrupted when she encounters a teacher's assistant who reminds her of her mother. The woman has a short temper and is borderline verbally abusive, triggering Rori to relive difficult moments from her childhood, including gaslighting, abuse, and manipulation.
As a single parent, Shelly depends on Rori for daily tasks and household upkeep. As a result, Rori must bear more responsibilities than most children from two-parent households. This codependency between mother and child finally comes to a head when Shelly suffers a medical emergency and Rori is forced to act as her caretaker. Seeing Shelly as a dependent instead of an abuser is a strange contradiction for Rori to make sense of. Now that Rori is older and has agency over her life, she is finally able to decide if the current relationship she has with her mother is one worth maintaining.
Takeaway
In Stockton to Table Rock, filmmaker Elliot Norton and Zoë Kelly share a story of resilience and strength. Through tremendous vulnerability, Kelly shows that it's never too late to make amends with those you've wronged. Your inner child can heal at any age so long as one's intentions are pure. The character of Rori serves as a symbol of hope, of not letting the past define one's future. Set to a richly layered score by composer Jesse Blake Rundle and strong performances by Kelly and Jessica Ires Morris, Stockton to Table Rock is both an inspiring and aspirational watch.
'The Last Showgirl' Review: A Star is Born
Pamela Anderson makes a stunning return to the screen in Gia Coppola's inspiring indie darling The Last Showgirl. Set in Las Vegas, Anderson plays an aging showgirl faced with the harsh reality of life after the final curtain call. Hailed as one of the year's best performances, Anderson has received much-deserved recognition for her role as the glamorous dancer, including nominations from SAG and the Golden Globes. Gia Coppola lives up to her familial name in this sentimental yet strong portrait of a woman whose resilience shines brighter than any stage lights ever could. The Last Showgirl is a must-see.
The Final Curtain
Las Vegas's "Le Razzle Dazzle" is the last of its kind. A burlesque show that has been a mainstay on the strip for over 30 years, it's one of the city's most cherished and infamous entertainment options. However, it's legacy and aura pail in comparison to the newer shows that have begun popping up all around town. The show's downward trajectory is when we meet Shelly (Anderson), a middle-aged dancer and industry veteran. Shelly takes her role in "Le Razzle Dazzle" seriously–both on and off the stage–as she is widely considered a mother figure to the younger dancers Jodie (Kiernan Shipka) and Mary-Anne (Brenda Song). However, tension continues to grow between the dancers and the show's empathetic producer, Eddie (Dave Bautista), who finds himself in the middle of an increasingly somber situation.
One evening, during a get-together at Shelly's house attended by Eddie, Jodie, Mary-Anne, and Shelly's best friend and former dancer/current casino cocktail waitress Annette (Jamie Lee Curtis), Eddie reveals that "Le Razzle Dazzle" will be closing its door imminently. He explains that new casino owners are rebranding the entertainment slate and will be retiring the show in two weeks. In its place will be a "dirty circus", and producers are already casting for roles. Shelly stares at Eddie blankly, expressionless as the emotion drains from her face. Reality sets in that in two weeks, she will be an unemployed middle-aged dancer looking for work in an industry that prioritizes youth.
Pamela Anderson's Star Power Has Never Been Brighter
Pamela Anderson and Jamie Lee Curtis both give unmatched performances. It should come as no surprise to hear that Curtis vanishes into the role of Annette, whose cigarette-saturated clothing you can smell through the screen. One scene in particular, a dance montage to Bonnie Tyler's "Total Eclipse of the Heart", perfectly encapsulates her emotional state in a stunning, dialogue-free way.
Pamela Anderson gives a remarkably memorable performance, commanding the screen with a quiet but sturdy grace. It's hard not to think of Shelly as Britney Spears of an alternate timeline, her passion for performing being both a blessing and a curse for her personal life. Shelly is naive and optimistic, despite being unlucky in love and having a fraught relationship with her daughter, Hannah (Billie Lourd). For years, Shelly was a big fish in a small pond, and this made her feel safe. "Le Razzle Dazzle's" closure is no doubt a disruption to her life but perhaps this is what she needed to finally push her outside of her comfort zone and live bigger.
Takeaway
The Last Showgirl plays like a spiritual sister to The Substance while also existing in the same universe as The Iron Claw and The Wrestler. It serves as a fascinating character study of not just Shelly's, but also Annette's, threatened livelihood due to the "out with the old, in with the new" mentality. Filmmaker Gia Coppola offers a poignant opportunity to reflect on what constitutes a "successful" life. Is it wealth, status, or just doing what you love? Ending with the original song “Beautiful That Way” by Miley Cyrus, The Last Showgirl is an indie gem worthy of a standing ovation.
'Step Back, Doors Closing' Review: A Lovely Millennial Meet-Cute
The energy of budding young love, set against the bustling city of Washington, DC, lends itself to an electrifying romantic adventure in writer-director Carter Ward's feature film debut, Step Back, Doors Closing. Grounded by charmingly authentic performances from its lead actors, Step Back, Doors Closing is a refreshing and inspiring film. Fans of Celine Song's Past Lives and Nora Ephron's You've Got Mail will appreciate this indie film's spiritual connection to the magic of human relationships.
A Love Story with a Time Limit
Julisa (Carmen Berkeley) is not having the best start to her trip to DC. Her flight from Los Angeles is uncomfortable, and her phone gets water-damaged and stops working, rendering her completely lost. As she attempts to make it to her friend's apartment without an address, Julisa begins chatting with Ryan (Reilly Walters). Julisa and Ryan's chemistry is undeniable from the start, clicking as if they were friends reuniting after years apart. Ryan, sensing Julisa's anxiousness about her situation, offers support until she makes contact with her friend and can continue on her planned journey. But until then, Ryan and Julisa make the best of a strange situation together.
Ryan, a DC native, is happy to show Julisa around the city. As they get to know each other better, they realize they have a mutual friend in common. This finding puts Julisa's mind at ease and reinforces the adage that it really is a small world. The more time they spend together, the more their innocent flirtations turn into tangible feelings. However, they both know that their time is finite. They live on opposite coasts, for starters. Ryan also shares that he recently got out of a four-year relationship. Despite the timing not being perfect, Ryan and Julisa dive in head first and explore this unexpected connection.
Strikes the Balance of Heartfelt and Humorous
In addition to being a reflection of modern-day meet-cutes, Step Back, Doors Closing is a love letter to being young and taking risks. Carter Ward infuses the perfect balance of heartfelt and humorous moments in the script, and doesn't shy away from bigger philosophical questions like free will vs. predetermination. Lead actors Carmen Berkeley and Reilly Walters do a phenomenal job driving this film with their onscreen chemistry and layered performances. What is also impressive is the use of practical locations secured, including an airport interior and nearby National Monuments.
Takeaway
“This is a story about being 24, learning to smell the roses, and falling in love,” says Ward. This sentiment is echoed throughout the film in a lovely way. Nominated for the Grand Jury Award at Dances With Films, Step Back, Doors Closing is a film to be felt as well as seen.