WWII Satire 'Jojo Rabbit' is Undeniably Brilliant
If I were to tell you that a story about a young aspiring Nazi whose deepest desire is to fight for Germany on the front lines during WWII could be funny, would you believe me? It's understandable for one to assume that it would be impossible to find humor in this plotline, but leave it to Taika Waititi to portray Hilter as hilarious in the colorfully off-color satire, Jojo Rabbit.
Jojo (Roman Griffin Davis) is, on one hand, a typical ten-year-old boy; he's susceptible to propaganda and peer pressure – specifically that which supports the war. He also does his best to take care of his single mother, Rosie (Scarlett Johansson). But, on the other hand, Jojo is also a lonely empath with an imaginary friend who just so happens to be Adolf Hitler (Taiki Waititi). Jojo's Hitler plays both devil and devil's advocate; whether it's encouraging Jojo to participate in wild acts or teaching him how to "properly" annunciate "Heil Hitler," this imaginary sidekick is obviously not a great influence on young Jojo. When Jojo unexpectedly discovers that his mother has been hiding a Jewish girl (Thomasin McKenzie) in their home, his allegiance to the Nazi party holds strong, and he threatens to turn her in. But Jojo quickly discovers that, despite being brainwashed into believing that all Jews are evil, he is starting to fall in love with the Jewish girl in the attic. Something that both the real and imaginary Hitler disapprove of.
Waititi, who himself grew up a Māori Jew, plays Hitler as a caricature, a larger than life goof with narcissistic tendencies who is mesmerizing to watch on screen. Roman Griffin Davis, in his first-ever film role, should be praised for multiple scene-stealing performances while going head to head with some of today's top comedic talent. Davis' co-stars include Johansson, Sam Rockwell, Rebel Wilson, Alfie Allen, and Stephen Merchant, all distinguishable talents who make the film memorable.
Jojo Rabbit is based on Christine Leunens’ novel Caging Skies, and the script is full of powerful one-liners and sharpshooting dialogue. However, the strongest accomplishment of the narrative is the amount of call back jokes that come full circle for complete satisfaction. The seeds that were planted at the beginning of the story are slowly watered throughout the film, and seeing them bloom in the third act is a reminder of how strategic and methodical the script actually is. Jojo Rabbit is like watching a game of chess, and the final scene is its checkmate.
Aside from the provocative jokes, nestled just beneath the surface, this is a story about tolerance and acceptance. There are plenty of moments that are unexpectedly heartfelt and emotional, it strikes a perfect balance between silliness and solemnity to create a meaty, well-rounded film. It's been said that '"Children are not born with hate, they are trained to hate," and Jojo Rabbit uses an unconventional and unforgettable approach to prove that point. – Morgan Rojas
JOJO RABBIT (2019)
Starring: Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson
Directed by: Taika Waititi
Written by: Taika Waititi
Distributor: Fox Searchlight
Running time: 108 minutes
Playing: Opening 10/18 at ArcLight Hollywood and The Landmark
'Parasite' is an Arthouse Masterpiece
PARASITE (2019)
Starring Song Kang Ho, Lee Sun Kyun, Cho Yeo Jeong, Choi Woo Shik
Directed by Bong Joon Ho
Written by Bong Joon Ho, Han Jin Won
Distributed by NEON. 132 minutes. Opening 10/11 at ArcLight Hollywood and The Landmark.
I didn't know it was humanly possible to hold your breath for two hours, but after seeing Parasite, let me tell you, it is. South Korean director Bong Joon Ho's highly anticipated thriller has been hot on the lips of many cinephiles for most of 2019; the five-minute standing ovation after its world premiere at the Cannes Film Festival concurred that its hype is fully deserved. Thematically darker that Okja and more realistically unnerving than Snowpiercer, Parasite is a fantastically satirical and biting look at the economic divide, ethics vs. morals, and social commentary on privilege that, in my opinion, is the best film of the year.
Living literally below the poverty line in an underground basement apartment, the Kim family – Ki-taek (Song Kang Ho), his wife, Chung-sook (Chang Hyae Jin), their smart (and smart aleck) daughter Ki-jung (Park So Dam), and college-age son, Ki-woo (Choi Woo Shik) – struggle to make ends meet, as evident by their desperation when they're no longer to freeload off of their neighbor's free wifi. The Kims are used to taking the path of least resistance, barely getting by with contract work folding pizza boxes for a local shop. Unexpectedly, a friend presents Ki-woo with an opportunity to work as an interim English tutor for the daughter of the very affluent Park family. Hesitant at first – Ki-woo is unsure if his street smarts will translate into academic smarts – he eventually agrees to meet with the family. Almost immediately, he wins over the affection of the naive Mrs. Park (Cho Yeo Jeong), who welcomes Ki-woo into their high-class world.
No good can come when gullibility meets greed, as Ki-woo's family sees his employment as an opportunity to score for themselves. What follows is a comedic and thrilling unraveling – with Ocean's 11-style forethought and mechanics – that makes every moment feel like a white-knuckle thrill ride. Bong Joon Ho captures societal issues and human crises in pitch black tones, exposing them in a way that is both shocking and thought-provoking. It's a fantastic example of a perfect film, from script to screen and beyond.
"If you make a plan, life never turns out that way," Ki-taek tells Ki-woo during one of the Kim family's lowest points. Brutally honest life advice (that I agree, should be taught to the young), this is also the perfect sentiment to summarize Parasite: expect the unexpected. Original and authentic arthouse films as good as Parasite don't come around often, and we're all lucky we are here to witness its big-screen release.
A Beginner's Guide to: Bong Joon Ho
South Korean director Bong Joon Ho is having quite a successful 2019.
He was awarded the Palme d’Or at the Cannes Film Festival for his latest feature, Parasite, a family drama/thriller that explores the social and economic divide between the rich and the poor. As of posting this article, the film currently sits at 100% on Rotten Tomatoes. Many are calling it the best film of the year and I fully endorse that statement.
The current attention on Bong Joon Ho's artistic vision has come at the perfect time. He is a director not afraid to take risks, and not just for shock value. His stories serve a purpose. Since his first directing credit in 1994 (the short film White Man), Bong Joon Ho has become known for mixing darkly disturbing black humor with political and social consciousness, all rooted in a form of reality; whether it be in this universe or a parallel one. Sometimes it's easier to watch one of Bong Joon Ho's films and believe that the character conflicts and torturous situations are movie make-believe, but it's hard to deny that unjust police interrogations, devastating effects of manmade environmental abuse, and hunger crises aren't happening in real life. All of these things and more are still issues today.
In celebration of one of contemporary cinema's boldest filmmakers, here are three classic Bong Joon Ho films to check out before you watch Parasite, in theaters this Friday.
Snowpiercer
In his first English-speaking feature film, Snowpiercer is a tour-de-force, a uniquely-crafted powerhouse of a movie that, like the fast-paced train it’s named after, charges ever-forward with such uncompromising force and vision that it leaves behind any semblance of what you might expect from a typical action flick.
Based on the 1982 French graphic novel Le Transperceneige, Snowpiercer tells the story of a failed global-warming experiment (performed in the year 2014) that turns the planet into a frozen icebox. We are introduced to the last of the human race, the poorest of which eat gelatin-like “protein blocks” and live under guard by the utilitarian government-state in the back of the train. This train has been making the same cyclical trip for the past seventeen years. Of course, this being the day that the lower class finally has had enough, they set in motion their plan: to charge through each car to make their way to the front of the train and free themselves from their enslavement. Snowpiercer's untraditional, stylized storytelling combines sci-fi expanse and art house intimacy, and will certainly entertain by making your head spin as it rockets past you.
Snowpiercer is available to stream on Netflix or Amazon.
Mother
This 2009 crime drama opens with a breathtaking wide shot of a woman (Hye-ja Kim) in an expansive wheat field. Her frail body starts to move in interpretive dance, a range of emotions running through her body and face. This woman is the titular Mother, and her story is one of perseverance. When her mentally delayed twenty-eight-year-old son, Yoon Do-joon (Won Bin), is framed for the murder of a local schoolgirl, his mother becomes his biggest and at times, only, support. Her quest for justice won't stop until she proves he didn't do it.
Her son's unjust police interrogation and mental abuse echo situations we've seen in the media, with TV shows like "Making a Murderer" and "When They See Us" as prime examples of young men being taken advantage of by authority figures in their most vulnerable moment. Mother's unwavering determination to protect and save her son takes her on a journey throughout the underbelly of South Korea, and she is willing to do whatever it takes to get him back.
Mother is available to stream on iTunes or Amazon.
Okja
Swedish teenager Greta Thunberg commanded the world's attention when she delivered an impassioned speech at the UN Climate Summit on September 23, 2019, speaking about the dire effects of climate change and how its consequences are going to be very terrible, very soon. Thunberg has been praised by many for her wiser-than-her-years prognosis of the future but others, including the President of the United States, continued to downplay and even mock Thunberg's compassionate pleas. The world needs to pay attention to young women with something to say, and Bong Joon Ho knows this. His protagonist in Okja is a preteen named Mija (Seo-hyun Ahn), a headstrong girl who stops at nothing when her best friend – a genetically-modified, government-loaned super piglet named Okja – is taken away from her to face an unknown future.
Super piglets were thought to be the answer to the global hunger crisis, a revolution in the livestock industry. The brainchild of the Mirando meat corporation's CEO Lucy Mirando (Tilda Swinton), the super piglets were to be loaned out to farmers across the world and in 10 years' time, returned to Mirando to be reproduced and ultimately slaughtered. At a time when environmental activism and ecological awareness is at an all-time high, Bong Joon Ho's Okja is a powerful look at the true cost of consumer greed and capitalism.
Okja is available to stream on Netflix.
'Villains' is a Stylish and Savage Battle of the Bad Guys
VILLAINS (2019)
Starring Bill Skarsgård, Maika Monroe, Jeffrey Donovan & Kyra Sedgwick
Directed by Dan Berk & Robert Olsen
Written by Dan Berk & Robert Olsen
Distributed by Alter/Gunpowder & Sky. 89 minutes. Opening 9/20 at Regal LA Live.
The allure of the "bad boy" has long been a cinematic staple, regardless of gender. From Jim Stark in Rebel Without a Cause to Miranda Priestly in The Devil Wears Prada, audiences are equally fascinated and terrified by the suavity and unpredictable behavior of these characters. And when the bad guys are Bill Skarsgård and Maika Monroe, we're practically begging for these small-time crooks to break into our house just so we can be in their presence. In Villains, writer/directors Dan Berk and Robert Olsen pit this charming duo against an equally charming, yet much more disturbed, couple in a dark comedy that's pure savage.
Jules (Monroe) and Mickey (Skarsgård) are the millennial versions of Bonnie and Clyde, robbing gas stations to acquire just enough money to escape to Florida and live out their wildest fantasies: a life without rules and responsibilities. After yet another successful robbery, Mickey and Jules encounter a hiccup when their getaway car runs out of gas, stranding them on the side of a highway. They spot an isolated, and more importantly, a vacant, house nearby and decide to break in and steal their car. What starts off as a simple con job turns into much more when the duo realize the homeowners' fruit is fake, appliances are out of date and find a little girl (Blake Baumgartner) chained up in the basement. Clearly, some discoveries are more shocking than others.
The tension comes to a crescendo when the homeowners, George (Jeffrey Donovan) and Gloria (Kyra Sedgwick), return home. What transpires is a darkly hilarious game of cat and mouse between the equally kooky couples. Sexual electricity mixed with mental instability provides plenty of twists to the high stakes our protagonists find themselves in. The laughs outnumber the scares, and Villains is all the better for it.
Villains feels like a much bigger film than its humble scope of production. It takes place primarily in one location and lists only eight actors in its cast, but the performances are mighty fierce. Maika Monroe (It Follows) and Bill Skarsgård (It) share palpable chemistry and bring the story to life with their exaggerated delivery, a perfect counterbalance to Jeffrey Donovan and Kyra Sedgwick's more even-keeled tone. Music from Courtney Barnett (Pedestrian at Best) and Redding Hunter (Safe Travels) further adds to the film's energy. It's set to screen only at Regal Theaters, for now (assuming a VOD in the near future), so keep this one on your radar if you're looking for a fun way to spend 90 minutes.
https://www.youtube.com/watch?v=x2tGz4wDaQM
Little White Lies' 'The Movie Quiz Book' Will Even Stump Cinephiles
It's my birthday in a couple of days and I just received the most perfect present.
The UK film website Little White Lies, known for its edgy journalism coupled with unique animations and illustrations, has just released the ultimate book to test film nerds' knowledge of cinema past and present.
Coined the "greatest, wittiest movie quiz of all time," The Movie Quiz Book has over 1,600 questions, broken up into 15 color-coordinated chapters, that will put anyone’s love of the movies to the ultimate test.
Over 277 pages long (on nice, thick paper), The Movie Quiz Book will test your knowledge on the growth of the film industry and the accomplishments of female directors throughout the years, as well as the ability to recall music and lyrics, spell actors’ names, recognize famous final lines, and so much more.
Perfect for game nights, birthdays, pre-Oscar parties, and Cinespia picnics!
The Movie Quiz Book is now available to purchase through LaurenceKing.com.
Answer to front page question: Signature Cup
'Monos' Mixes the Beautiful With Barbarism
MONOS (2019)
Starring Moises Arias, Julianne Nicholson, Sofia Buenaventura
Directed by Alejandro Landes
Written by Alejandro Landes and Alexis Dos Santos
Distributed by NEON and Participant Media. 102 minutes. Opening 9/13 at ArcLight Hollywood and The Landmark.
In only his third feature film to date, budding independent filmmaker Alejandro Landes has proven himself a talent for bringing uniquely realized visions to the big screen, filled with a dazzling display of mesmerizing visuals that bring an arresting and honestly observed look at humanity to life. His latest film, Monos, depicts a group of young guerrilla soldiers as they fracture and spiral into chaotic barbarism, evoking the thrills of Lord of the Flies but pushing new cinematic boundaries.
Set high atop remote Latin American hills (filled with incredibly photographed sequences), unsupervised Colombian rebel fighters belonging to a terror group known as "The Organization" pass the time the only way they know how to: horsing around, making out with each other and recklessly firing their machine guns (blame this on their immaturity as well as isolation). The young band's sole purpose is to keep watch over their American hostage, Doctora (Julianne Nicholson), who their higher-ups harbor as a bargaining chip in their favor. The "Monos," as they call themselves, receive periodic check-ins from a senior rebel leader, but for the most part, are left alone to fend for and govern themselves. When an unexpected ambush forces the Monos and Doctora down from their hideout in the sky and into the jungle, their desperation ramps up, as childish recklessness quickly turns into primal, physical and psychological warfare.
It's a slow burn of a film that raises more questions than answers (especially in the film's first act), but that doesn't mean there is a shortage of emotional strings that won't pull the viewer into this beautifully captured world. Led by powerhouse performances from the film's younger cast, including a combination of both amateur as well as professional actors (Moises Arias and Julianne Nicholson), the ensemble's on-screen chemistry is as authentic and disturbingly beautiful as the world in which they live. Bringing this all to life is cinematographer Jasper Wolf, whose stunning camerawork gives Monos a surreal fairytale-like aura.
Otherworldly visuals aside, the score and its Oscar-nominated composer is what initially attracted me to this film. Mica Levi, whose genius can be heard in films Jackie and Under the Skin, creates a sort of sound bath-meets-trance composition as opposed to a traditional orchestral score, making for a haunting, erratic, and pitch-perfect experience. While devoid of a more traditional narrative context, instead opting for an organically captured and impressionistically felt story, the payoff in Monos comes tenfold for those who are willing to give themselves over to Landes and his uncompromising vision.
https://www.youtube.com/watch?v=disclpVzoMQ
'Ms. Purple' is a Visually Stunning Sibling Drama
MS. PURPLE (2019)
Starring Tiffany Chu, Teddy Lee, Jake Choi
Directed by Justin Chon
Written by Justin Chon and Chris Dinh
Distributed by Oscilloscope Laboratories. 89 minutes. Opening 9/6 at the Nuart Theatre.
"373 backers pledged $73,634 to help bring this project to life." That's the impressive takeaway from director Justin Chon's Kickstarter page for his third independent feature film, Ms. Purple. Chon, who stunned audiences and critics alike with his sophomore film, Gook, once again brings a heartfelt story of Asian American cultural identity and the basic human desire of belonging to the streets of Los Angeles.
Ms. Purple centers around 23-year-old Kasie (Tiffany Chu) who unexpectedly finds herself the sole caretaker of her bedridden, comatose, dying father. Abandoned by her mother as a child, Kasie has always struggled with isolation and feelings of low self-worth, as depicted in the film's beautifully shot opening montage where she wanders alone and aimlessly down Koreatown streets. To make a living, Kasie depends on the seedy Soop Sok karaoke lounge, a local hotspot in the K-town pay-for-play market, where she works as a "hostess" (among other favors male customers may ask of her). Just as she feels like the world is caving in on her, Kasie's estranged brother Carey (Teddy Lee) agrees to return home and help with their father. Here begins the slow process of bridging the fractured familial gap between sister, brother, and father.
The brother-sister relationship between Carey and Kasie is an enviable one. They have much love for each other, and their dynamic reflects an undeniable sibling bond where things are often silently understood without the need to speak. It's clear throughout the film, that the relationship between Kasie and Carey is very tight-knit, and I couldn't help but reflect at how fortunate I am to have a similarly close relationship with my own brother.
Visually, Ms. Purple is a dreamy concoction of Wong Kar-wai, PT Anderson, and Barry Jenkins' Moonlight all rolled into one. The collection of colors, from sharp neon lights of the karaoke club to the naturalism of the morning sunrise, are exuberant. These pitch-perfect surroundings amplify the powerful performances from the whole cast, especially Tiffany Chu, whose raw emotions are felt bubbling to the surface throughout the entire film.
Ms. Purple is an all-around electrifying visual experience, from the production design to the soundtrack (available on Note For Note Records) and of course, the authentic and confident directorial choices. Justin Chon has made another powerhouse film that feels far bigger than the result of a modest Kickstarter campaign. Support true independent film by catching Ms. Purple this weekend, no doubt you'll leave the theatre inspired by both the film's message and the future of such new, diverse voices in filmmaking.
https://www.youtube.com/watch?v=C4woqZIHg7w
'Jawline' is a #NoFilter Look at Influencer Culture
JAWLINE (2019)
Starring Austyn Tester, Michael Weist
Directed by Liza Mandelup
Distributed by Hulu. 99 minutes. Now streaming on Hulu.
In today's very real and very bizarre social economy, social media "followers" are a source of currency and an "influencer" is a profession. My first introduced to Instagram was in my early twenties, barely post-college and dating a guy who was obsessed with popularity (surprise: the relationship didn't last long). My initial impression of Instagram – an app driven by attention-seeking individuals who crave the envy of others – hasn't changed much in the 7 years since I created my first username, in fact, things have only amplified since then. In director Liza Mandelup's engrossing documentary, Jawline, she explores the extreme highs and lows of internet fame through the eyes of a 16-year-old boy whose only ambition in life is to be "internet famous."
Austyn Tester isn't a household name to most, but to his tens of thousands of online fans, he is a celebrity crush. His room is covered in "I Love Austyn" posters sent to him from teenage girls across the country, giving him hope that a more exciting and prosperous life outside of his hometown in rural Kingsport, Tennessee is very possible. Austyn is a cute kid, there's no denying that. His southern drawl and boyish good looks are the initial hooks, but it is his continual message of positivity and love he shares with his followers that sets him apart from his competition (other teenage boys with newly formed abs and side-swept bangs).
Navigating the online ecosystem IRL proves much more difficult for Austyn than he anticipated. He joins his first Influencer tour which is supposed to be his "made it" moment, but struggles amid issues with low follower growth and confusing contract negotiations as well as the potentially sketchy talent manager, Michael Weist. Jawline doesn't judge Austyn for his wide-eyed ambitions. Mandelup delicately documents his quest for fame without drumming up additional drama for the film's sake, and this patience gives the film its bittersweet authenticity. You root for Austyn throughout the film, it's impossible not to, even though you know full well that his road to stardom is nearly impossible.
Jawline should be required viewing for parents with young children who are growing up in this social media dystopia; may it serve as a cautionary tale for those who crave internet fame, as well as those who obsess over these internet "celebrities." Liza Mandelup set out to make Jawline as a documentary, and it's an eye-opening one, but I'd also classify it as a horror film.
https://www.youtube.com/watch?v=AoVA0-w6VtA
Emotional Distress Turns Evil in the Artful Thriller 'Burn'
BURN (2019)
Starring Josh Hutcherson, Suki Waterhouse, Tilda Cobham-Hervey
Directed by Mike Gan
Written by Mike Gan
Distributed by Momentum Pictures. 88 minutes. Opening 8/23 at Arena Cinelounge Sunset.
This humble yet complexly thrilling feature is quite the impressive directorial debut for USC graduate, Mike Gan. Burn tells the story of one young woman's desire to be seen and the drastic measures she takes to feel in control of her life.
Seemingly taking cues from his film school days, Burn is a one-location, one-time frame film that centers around a small, yet mighty, cast of characters. Set in a gas station in the middle of nowhere, co-workers Melinda (Tilda Cobham-Hervey) and Sheila (Suki Waterhouse) couldn't be more different. Their opposite personalities – Melinda is socially awkward and Sheila is the social butterfly – makes having any sort of relationship difficult. This obvious strain has Melinda daydreaming about a relationship with Officer Liu (Harry Shum Jr.) the cop who stops by for his nightly cup of coffee. This particular night, however, the girls are forced to pull together when a masked gunman (Josh Hutcherson) demands they turn over the cash in their register.
For better or for worse, Melinda wants attention any way she can and feels like this is her moment to get it. Thus, begins her absurd quest to forge a relationship with the gunman. Melinda's gullibility is quirky and charming at the beginning of the film but her obsessive quest for this male's attention – which includes drugging and raping him – turns sour and frustrating toward the film's end.
Slightly reminiscent of Yoga Hosers, sans the Nazi-sympathizing sausages, Burn is a dark look at what the suppression of emotional distress looks like, and what can happen when one is pushed too far. If it leaves you with one message, it's this: don't overlook the unassuming quiet girl, she could be the devil in disguise.
https://www.youtube.com/watch?v=Icb1Y_ZrKpk
'The Amazing Johnathan Documentary' Offers Tricks and Treats
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That is the question director Ben Berman faces after getting to know John Edward Szeles aka The Amazing Johnathan. An American stand-up comedian and legendary magician, Johnathan's story follows in the footsteps of many troubled performers before him: on top of the world one minute, drugs and depression the next. Fascinated by Johnathan's history and rocked by his public health crisis, Ben sets out to document the final days of Johnathan's life. However, things don't go according to plan, and the unraveling of everything Ben thought he knew about the man he considered a friend is captured in the thrilling feature, The Amazing Johnathan Documentary.
Johnathan is best described as a man with nothing to lose, a disruptor in the entertainment industry akin to Mickey Rourke or Angelyne. We are first introduced to The Amazing Johnathan at his lavish home in Henderson, NV. He has recently been diagnosed with terminal heart disease and given one year to live, (ironically, wearing a "Legends Never Die" t-shirt). The first quarter of the film feels like a traditional documentary as Ben and his crew and Johnathan and his wife, Anastasia Synn, discuss his drug habit (cocaine, speed, meth) and get ready to hit the road for his final comedy and magic tour. However, things take a turn when Ben discovers that Johnathan has allowed another documentary crew to film him as well. Two documentary crews making a documentary about the same subject understandably frustrates Ben, but he does his best to stay true to their original story. With the surprise behind him, Ben carries on production... that is, until he finds out there is a third crew coming. As well as a fourth.
https://www.youtube.com/watch?v=zSRoKfecdXE&ab_channel=MadmanFilms
The Amazing Johnathan Documentary is one of the most fascinating portraits of the human condition and the power of manipulation. It puts not only Ben but every viewer into a situation where losing sight of what's right vs. wrong, truth vs. illusion is tested. This "straightforward" documentary eventually spirals into gonzo journalism when an unconventional proposition to smoke meth together on camera is made. Crazy? Absolutely, but given everything Ben and his team have been though, at this point in the film, he considers it. That's the power, or at least the illusion of power, that The Amazing Johnathan has over Ben. It's an unsettling circumstance that has Ben questioning the validity of Johnathan's condition; is he really dying? Or is this just an Andy Kaufman-esque prank? The Amazing Johnathan Documentary is an unforgettable portrait of a truly tortured artist and guarantees that you'll never look at a magician in the same way again.
'The Peanut Butter Falcon' is a BFF Drama That Defies Convention
THE PEANUT BUTTER FALCON (2019)
Starring Shia LaBeouf, Dakota Johnson, Zack Gottsagen
Directed by Tyler Nilson, Michael Schwartz
Written by Tyler Nilson, Michael Schwartz
Distributed by Roadside Attractions. 93 minutes. Opening this Friday at The Landmark.
Summertime calls for adventures, as seen in Tyler Nilson and Michael Schwartz's film The Peanut Butter Falcon. Described as a modern-day Mark Twain story, The Peanut Butter Falcon – from the producers of Little Miss Sunshine – is a charming tale of two bandits on the run and the lessons they learn about self-discovery and acceptance along the way. This unconventional buddy comedy stars the always excellent Shia LaBeouf and breakout Zack Gottsagen, a 34-year-old actor with down syndrome. The film may be predictable, but it's Gottsagen's inspiring performance as a determined and self-sufficient young man that makes it worth a watch.
Zak (Zack Gottsagen) is the youthful spirit that livens up the retirement community he calls home. Not much detail is given as to why his birth parents couldn't provide adequate care for him, but he is adored by the staff and residents nonetheless. The soft-spoken nursing home employee Eleanor (Dakota Johnson) pays special attention to Zak, giving him tough love when he needs it while also encouraging his passion for wrestling. One night, with help from his roommate Carl (Bruce Dern), Zak escapes the nursing home in an attempt to attend the professional wrestling school of his idol, The Salt Water Redneck (Thomas Haden Church). Traveling alone with just the clothes on his back, Zak is determined to live out his dreams and meet his hero.
Zak's disappearance from the nursing home sends Eleanor on a wild goose chase as she attempts to find him despite his lack of phone, money, or any sense of direction. Meanwhile, early on in his journey, Zak meets and eventually befriends Tyler (Shia LaBeouf), the sharp-tongued fisherman who is also on the run from his past. Together, the young men navigate the elements, growing and learning from each other as the days pass.
I write this next statement in full sincerity: The Peanut Butter Falcon plays very much like an after-school special on the importance of friendship. It's essentially the quote "Friends are the family you choose" brought to life. The screenplay is very plug and play, the characters literally explain the plot through their dialogue. This may come off as pretty cheesy and unoriginal for hardcore cinephiles, but there's no denying that the message is sweet. The Peanut Butter Falcon offers the perfect sentiment for children and young adults, especially as many are entering a new school year in the upcoming weeks.
While the film itself is sweet, it is Gottsagen's boundary-pushing performance and inclusivity that makes it truly special.
https://www.youtube.com/watch?v=UNl9RqjLCwc
Hell-Bent Heroine Seeks Revenge in 'The Nightingale'
THE NIGHTINGALE (2019)
Starring Aisling Franciosi, Sam Claflin, Baykali Ganambarr
Directed by Jennifer Kent
Written by Jennifer Kent
Distributed by IFC Films. 136 minutes. Opening this Friday at ArcLight Hollywood.
Five years after bringing The Babadook to the big screen and shape-shifting the contemporary horror genre, director Jennifer Kent is back with her second heart-pumping feature film.
The Nightingale made its North American premiere on day two of the Sundance Film Festival and opened to a divisive reception from audiences. With no shortage of shock and awe, Kent makes a departure from The Babadook's award-winning "supernatural psychological thriller" with her depiction of horrifying historical fact that will be showered in either accolades or disgust by audiences. And while it is a tough watch for its onscreen violence and over two-hour runtime, The Nightingale is ultimately essential viewing.
Written and directed by Kent, an Australian, she delves deep into her own country's history and transports audiences into the thick Tasmanian wilderness during a time when slavery was commonplace and where the rights of women and indigenous black people were nonexistent. The year is 1825 and our protagonist, Clare (Aisling Franciosi), a young Irish former felon, has just witnessed her husband (Michael Sheasby) and newborn baby die in cold blood at the hands of her superior, Lieutenant Hawkins (Sam Claflin). With her mind set on the British officer and his gang to justice, Clare enlists Billy (Baykali Ganambarr), an Aboriginal guide who agrees to help her navigate through the violence-filled Australian forests.
The highs and lows in Clare and Billy's relationship expose their shared troubled past and uncertain future. Race relations that were once heightened begin to thaw once the trust builds as their fragile bond is tested multiple times during their journey.
For as beautiful and wondrous as the landscape is, there is a haunting and viscous quality that mirrors our protagonist, Clare. Her femininity doesn't mask her violent nature, but in fact, perpetuates her desire for revenge as a mother who lost a child. Kent juxtaposes this luscious greenery and fairytale-like surroundings with an abundance of blood splatters, deathly cries, and surreal night terrors.
Clare's rage and subsequent quest for revenge are at the heart of The Nightingale, and its multi-layered look at female empowerment and toxic masculinity are themes that continue to hold steadfast in today's culture. Despite the geographical distance and nearly 200-year age gap, The Nightingale has a similar feeling to The Handmaids Tale. If modern audiences aren't made aware of how awful life was (or can get), we're not able to see the warning signs of a potential repeat in the future. The story of Australia's colonization of its native people in the 1820s may prove to be an international forewarning that is tough to swallow, but necessary to digest.
This review originally ran on February 1, 2019, during the Sundance Film Festival
https://www.youtube.com/watch?v=YuP8g_GQIgI
'Them That Follow' is an Artful Look at a Religious Cult
THEM THAT FOLLOW (2019)
Starring Kaitlyn Dever, Walton Goggins, Olivia Colman
Directed by Britt Poulton, Dan Madison Savage
Written by Britt Poulton, Dan Madison Savage
Distributed by The Orchard. 98 minutes. Opening this Friday at The Landmark.
Before she was the melodramatic Queen of England in Yorgos Lanthimos' period comedy The Favourite, Olivia Colman was the matriarch of a much smaller community that hid in the backwoods of the Appalachian wilderness in order to live out their unconventional religious practices involving exorcisms and snake handling. From directing duo Britt Poulton and Dan Madison Savage, Them That Follow is a haunting look at the dangers of blind faith and poisonous snakes.
With doe eyes and natural beauty shining through her tattered, yet conservative, clothing, Mara's (Alice Englert) staunch religious beliefs have been instilled in her from an early age. As the only daughter of the town's preacher, Lemuel (Walton Goggins), Mara's moral compass aligns with his, partly because that's all she knows, and also because she feels like she has no other choice. It's no surprise then, that Mara agrees to marry a man of her father's choosing, local townie and fellow congregation-goer Garret (Lewis Pullman). But she is torn knowing deep down that her heart belongs to Augie (Thomas Mann), a local boy who is skeptical of her Pentecostal religion and the small-minded Appalachian community.
Augie's mother, Hope (Olivia Colman), wants Mara far away from her son but those demands fall on deaf ears after Mara learns she is pregnant with Augie's baby. Hope is concerned for the future of her son, convincing him to go to church with her and repent for his sins. Augie, who wants to keep the peace within his immediate family while proving to Mara that he is the man she should be marrying, agrees to undergo a dangerous Pentecostal act- holding up a poisonous snake to ask God for mercy. But when things go awry, Mara is forced to question her religion as she feels Augie pulling her in a direction that is opposite of her father.
Original music composition by Garth Stevenson, with his signature experimental cinematic style, creates additional eeriness to the already mysterious Pentecostal community. The natural world in Them That Follow meets supernatural incidents and cinematographer Brett Jutkiewicz captures this specific aesthetic by focusing on the dark, earthy color tones of both the costumes and the setting.
Them That Follow was quickly bought by Sony Pictures after its world premiere at Sundance, resulting in Poulton and Savage successfully adding another disturbing religious film to the growing cult canon. Fans of other occult musings, like Wild Wild Country, Leah Remini: Scientology and the Aftermath, and practically half of what's streaming on Netflix, will no doubt find this film entertaining, but its slow-pacing and heavy focus on Mara's internal struggles over external ones give Them That Follow an intentionally artful approach to a subject which may somewhat bore more mainstream consumers. There is action here, but the viewer must be patient and give in to the film's long-winded suspense in order to reap that reward.
This review originally ran on February 6, 2019, during the Sundance Film Festival
'Once Upon a Time in Hollywood' is a Glamorous Revision to the '60s Gruesome End
Once Upon a Time in... Hollywood (2019)
Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie
Directed by Quentin Tarantino
Written by Quentin Tarantino
Distributed by Sony Pictures. 161 minutes. Opening this Friday in theaters everywhere.
When watching a Quentin Tarantino film, here's what you can expect to see play out in 35mm. You'll find satire mixed with dark humor, excessive violence, a large ensemble cast of who's who, and a killer soundtrack, to name a few. His ninth (and possibly final?) film, Once Upon a Time in... Hollywood, is classic Tarantino in the best way possible. There are just enough surprises to make this 3-hour cinematic experience stand out among his infamous repertoire.
Once Upon a Time in... Hollywood is a love letter to the Los Angeles of 1969. The hippie movement was infiltrating into the status quo, movie stars still carried an air of mystery, and the Playboy mansion hosted the most banging pool parties. The times may be calling for peace and love but Rick Dalton (Leonardo DiCaprio), a washed-up TV western star in a midlife crisis, feels that his best years are behind him. His former stuntman-turned-personal assistant, Cliff Booth (Brad Pitt), echos a similar sentiment although he expresses it in more controlled outbursts.
The duo's woes are only one of the film's multiple parallel storylines. There's Sharon Tate's (Margo Robbie) blossoming film career and relationship with Roman Polanski (Rafal Zawierucha), the rise of Charles Manson's (Damon Herriman) "family," and other one-offs. Similar to Pulp Fiction some ways, fans of Tarantino's will appreciate his diversion from the traditional linear storyline for a more inventive and unique approach.
It's undeniable that this cast is something extraordinary. The dynamic between DiCaprio and Pitt is one of the most organic relationships I've seen in a long time. They achieve a certain soul-brother vibe that I can only imagine occurs once in a great while. Giving praise to the rest of the brilliant cast would take too long, but some standouts include Margaret Qualley as Manson-flower child Pussycat, Austin Butler as "the devil himself" Tex, Al Pacino as the stereotypically greasy Hollywood agent, pitbull Sayuri as Brandy the dog, and rising star Julia Butters, who plays an overly mature child actor starring alongside Rick Dalton. A near-perfect ensemble (although I couldn't buy Lena Dunham as a Manson follower), many players here have overlapped in previous films. The most obvious being DiCaprio's reunion with Robbie (The Wolf of Wall Street), although their shared screen time here, unfortunately, lasts only a few minutes.
Perhaps it's Tarantino's own nostalgia seeping into the script; having grown up in Los Angeles, the film feels very sentimental and nostalgic of a time and place that holds a special place in his heart. The local hotspots, like Musso + Frank, El Coyote, Frolic Room, and even a loose reference to the theater that he now owns, The New Beverly, all feel like personal touches that Angelinos will fall in love with.
There have been a lot of rumors swirling around Tarantino's ninth film. Some claim it's his last, others claim it's sexist, but one thing is certain: when the film premiered at Cannes Film Festival earlier this year, it received a seven-minute standing ovation. Selfishly, I hope that Once Upon a Time in... Hollywood is not Tarantino's last film, but if it is, he has gone out on top.
https://youtu.be/P3DmN7F1H-s
Views – and Tattoos – Change, in Neo-Nazi Drama 'Skin'
Skin (2019)
Starring Jamie Bell, Danielle Macdonald, Daniel Henshall
Directed by Guy Nattiv
Written by Guy Nattiv
Distributed by A24 & DirecTV. 120 minutes. Opening this Friday at Laemmle Royal.
In director Guy Nattiv's biographical drama Skin, Jamie Bell plays a Nazi whose heart grows three sizes after meeting a reformed Nazi sympathizer, played by Danielle Macdonald. A single mother of three young girls whose past life continues to haunt her, Julie (MacDonald) attempts to show Bryon (Bell) the error of his ways as they find themselves in various abhorrent and heartbreaking situations. Skin premiered at the Tribeca Film Festival and was picked up by A24 in partnership with DirecTV.
https://youtu.be/6DVA7jdrlEM