'Maine' Review: A Bittersweet Missed Connection on the Appalachian Trail
One of my favorite films from the Tribeca Film Festival was one that I hadn't even planned on seeing.
Luckily, I happened to stumble upon a ticket on the day of the screening and after watching Matthew Brown's bittersweet and affecting drama, I believe I was destined to see Maine on that day. Fleeting love and missed connections are all too familiar situations that happen in everyday life, yet the number of films that successfully tackle these complex and heartbreaking feelings is very few. In Maine, Brown embraces the romance of nature and creates a love story that may be devoid of a stereotypical happy ending, but does not shortchange on emotional satisfaction.
Laia Costa and Thomas Mann play two hikers on a journey, both literally and figuratively, who cross paths while on the Appalachian Trail. When we meet thirty-something Bluebird (Costa) and twenty-something Lake (Mann), their relationship seems like it goes back for years, even though they had only met days prior. Their comfort around each other is evident in their horseplay, light flirtation, and jokiness– the word 'privacy' means nothing to them (public urination isn't taboo– in fact, we learn that an awkward bathroom situation is how they first met). Each of them is saddled with personal baggage– Bluebird as a married woman but insisting on independence and Lake, more reserved of the two, struggling to find his sense of purpose and direction.
The intimacy of the environment and their growing bond comes to a head when, after getting caught up in the moment, Bluebird and Lake kiss. Even though the affection is mutual, Bluebird makes it clear that she cannot continue to put herself in this position with Lake, she is married after all. Understanding but obviously disappointed, Lake does the best he can to get through the next couple of days until Bluebird leaves the trail for home. Under different circumstances, it seems like this relationship could have thrived, but the reality is that not everything that seems meant to be, will be. This makes one question: Can the heart make a mistake? Can loving someone be wrong?
Under different circumstances, it seems like this relationship could have thrived, but the reality is that not everything that seems meant to be, will be.
Maine is an intimate film set in a remote location in the backwoods of Maine (filming on the actual Appalachian Trail was prohibited) with only a handful of cast members, but the intense effect this film had on me was lasting. Laia Costa's performance as a conflicted woman torn between her head and her heart hit all the right emotional notes, while also keeping it light in the film's funnier moments. Bluebird has the personality of a grown-up Moonie from The Florida Project and that is a wonderfully refreshing thing to see on screen. Thomas Mann grounds Costa's energetic performance as the sensitive and emotionally-developed Lake, and watching his heart get broken is one of the hardest things to sit through.
Director Matthew Brown's aesthetic choices, like filming in square 1:66:1 format and keeping the production close to the vest, are all details that make Maine feel so authentic. Jessica Lea Mayfield's 2008 song 'For Today,' off of her "With Blasphemy So Heartfelt" album, is the perfect musical companion to Maine– highlighting the tenderness and vulnerability both Lake and Bluebird experience throughout their journey, both individually and together. Brown's decision to stay on a close-up shot of Bluebird while Lake sings an acoustic rendition of 'For Today' is one of the film's most powerful moments. We see Lake come out of his shell as he embodies the lyrics over the course of the four-minute song while Bluebird can't help but ride an emotional rollercoaster that draws us in. It's moments like these that make this low-key film stand out as a wonderfully unconventional love story.
'Maine' is 85 minutes.
'Songwriter': Watch Ed Sheeran Create His Most Personal Album
Ed Sheeran fans rejoice: the English singer-songwriter is getting candid by inviting viewers to take an intimate look into his artistic process in the documentary, Songwriter.
Directed by his cousin, Murray Cummings, the documentary follows Sheeran throughout the creation of his chart-topping album "÷" (divide) which, after just one week on sale, became the biggest-selling album of 2017. From early jam sessions in his tour van to brainstorming lyrics and chords with friends in Malibu, Songwriter is the ultimate film for Sheeran groupies, music fans, and anyone pursuing a creative passion.
Ed Sheeran is more than just a talented singer – that we know. His songs have found their way on to multiple “Best of” lists and his last record, "x" (multiply), earned him his first No. 1 spot on the Billboard 200. But what sets him apart from others in the industry– besides his shaggy red hair and colorful tattoos– is the authenticity in his music and his poetic way with words. Sheeran is involved in writing all of his own songs, a process that is taxing yet ultimately rewarding and is fascinating to see play out on the big screen.
The phrase "it takes a village" is at the core of Sheeran's success, and the film does a fantastic job of showing how much he values and depends on collaboration and input from his creative team, which includes musician Foy Vance, producer Benny Blanco, and his brother Matthew, among other singer-songwriters. Seeing (and hearing) their ideas bouncing around the room gives off a vibe of infectious happiness and an "anything is possible" attitude. Much like the Showtime documentary, Lost Songs: The Basement Tapes Continued, Songwriter is an equally powerful look into the writing and recording process that is neither as glamorous nor as easy as one may think.
Sheeran is involved in writing all of his own songs, a process that is taxing yet ultimately rewarding and is fascinating to see play out on the big screen.
Director Murray Cummings incorporates archival footage from Ed's younger days that show just how far back his passion for music goes. We see him learning how to play multiple instruments, get a glimpse into his family home life, and revisit his high school days. Seeing Sheeran’s determination and grit to get to where he is today will only gain him more respect as an artist.
Songwriter plays also like a private acoustic concert for an hour and a half. Sheeran's talent is undeniable– even when dressed in a green t-shirt, blue plaid pajama pants, and fuzzy moccasins– his soothing and uplifting voice is always on point, a juxtaposition that makes for some (perhaps unintentionally) funny moments.
I personally will never tire of music documentaries, and Songwriter is a beautifully composed and inspiring addition to this genre. Fun fact: at one point Sheeran admits that this is the first time he has ever written a song on camera, an act that typically leaves him feeling self-conscious. Songwriter
'Songwriter' is 84 minutes.
'Grace Jones: Bloodlight And Bami' Review: This Enigmatic, Fierce Feminist Belongs on the Big Screen
In 2015, Grace Jones released a memoir called I'll Never Write My Memoirs.
In it, along with proving that she is not one to be labeled “predictable”, Jones made the divisive claim that Beyonce, Miley Cyrus, Lady Gaga, and other pop stars are guilty of copying her style. This, of course, caused a social media firestorm among the generation that was too young to know 'who this Grace Jones person' was – how dare she insult Queen Bey! In the long-awaited and (apparently) much-needed re-introduction, director Sophie Fiennes gives audiences a rare look at this controversial, multi-hyphenated artist in the documentary-meets-art house film, Grace Jones: Bloodlight And Bami. The result is a product that may make millennials think twice before discrediting Jones as a self-proclaimed “Original”.
Filmed over a ten-year span and throughout various countries, Fiennes has created a quintessential profile piece with Bloodlight And Bami that explores Grace Jones far beyond her controversial statements and tabloid headlines. Through hotel room conversations, intimate family dinners, and private recording studio sessions, audiences see Jones as a mother, a church-goer, and a daughter, among other personal monikers. Most of the film takes place in Jamaica, Jones' birthplace, and audiences are thrust into the center of her family dynamic. Perhaps the most revelatory fact is Jones' admission of an abusive relationship with her step-father, and the lasting effect it had on her. Yet she also credits the man, who she calls Mas P, for inspiring her extremely masculine and 'scary' onstage persona.
Approach this film with an open mind and prepare for it to get blown away by the wildly wonderful Grace Jones.
Watching Grace's creative process from early studio sessions to her live performances of “Slave To The Rhythm” and “Pull Up To The Bumper” are perhaps among the film's most fascinating scenes. Like a true artist, she performs without inhibition (except when she thinks she looks like a lady pimp with call girls as backup dancers) and follows an 'art over money' philosophy that is inspiring to anyone pursuing creative dreams.
Much like Jones herself, Fiennes' filmmaking style is a reflection of her innovation. This type of filmmaking includes using film that looks dated, including glitches and lags, and switches between more intimate, fly-on-the-wall moments to energetic live performances.
For as inclusionary as the film's content tries to be, it seems like if one is not already a Grace Jones superfan or particularly interested in the 80s music scene, Bloodlight And Bami can feel exclusionary. No scene is particularly set up, leaving the audience to find themselves dropped into the middle of a moment without prior context, which can feel confusing and exacerbating during long takes. The take away is to go in without expecting this to be a straightforward documentary, as Bloodlight And Bami is not trying to be the next Amy. Approach this film with an open mind and prepare for it to get blown away by the wildly wonderful Grace Jones.
'Grace Jones: Bloodlight And Bami' is not rated. 115 minutes. Opening this Friday at the NuArt Theatre in Los Angeles with opening night Q&As for the 7:00 pm & 9:45 pm showings with Grace Jones and filmmaker Sophie Fiennes.
vlog no. 004 | Sundance Film Festival 3/3
A behind-the-scenes look at the 2018 Sundance Film Festival. Part 3.
On Camera: Morgan Rojas, Ryan Rojas
Editing by: Morgan Rojas
♫Music By♫
Joakim Karud - Loudness Clarity
Song/Free Download - https://youtu.be/4yFAnw2U_uA
Support Joakim Karud - http://smarturl.it/joakimkarud
vlog no. 003 | Sundance Film Festival 2/3
A behind-the-scenes look at the 2018 Sundance Film Festival. Part 2.
On Camera: Morgan Rojas, Ryan Rojas
Editing by: Morgan Rojas
♫Music By♫
Joakim Karud - No Worries (feat. Dyalla)
Song - https://youtu.be/4E6Erhc0UaY
Dyalla - http://smarturl.it/Dyalla
Joakim Karud - Boost Song - https://youtu.be/cvOvQloDp14
Follow Joakim Karud - http://smarturl.it/joakimkarud
DJ Quads - Circus Song - https://youtu.be/VIoH-sYxoy4
Follow DJ Quads - http://smarturl.it/dj-quads
vlog no. 002 | Sundance Film Festival 1/3
A behind-the-scenes look at the 2018 Sundance Film Festival. Part 1.
On Camera: Morgan Rojas, Ryan Rojas
Editing by: Morgan Rojas
Camera Assistance: Flynn Mitchell
♫Music By♫
Dreams by Joakim Karud https://soundcloud.com/joakimkarud
Creative Commons — Attribution-ShareAlike 3.0 Unported— CC BY-SA 3.0
http://creativecommons.org/licenses/b...
Music promoted by Audio Library https://youtu.be/VF9_dCo6JT4
♫Music By♫
Joakim Karud - Loudness Clarity
Song/Free Download - https://youtu.be/4yFAnw2U_uA
Support Joakim Karud - http://smarturl.it/joakimkarud
'Lean on Pete' is a Stunning Companion Film Full of Heartache and Triumph
Last year, it was Luca Guadagnino's visceral drama Call Me By Your Name that transported audiences to the remote village of Crema, Italy, where we felt the warm summer breeze on our skin, tasted the juices of the perfectly-ripened fruit, and got that all-too-real pit in our stomach that only first love can give.
While the "cinematic" year is just getting started, it seems like Lean on Pete is British-born director Andrew Haigh's answer to last year's aforementioned Best Picture Oscar-nominee. The visual and emotional vibrancy of Lean on Pete, plus the powerful performance from breakout star Charlie Plummer, radiates from the screen and will easily make its way into your heart.
Sixteen-year-old Charley Thompson (Charlie Plummer) and his father Ray (Travis Fimmel) have a dysfunctional relationship, that is apparent early on. They love each other dearly but Ray is not financially stable, and his emotional capacity is constantly being distracted by various women he brings home. Because of his upbringing, his mother left the family when he was young, Charley has always been an independent kid longing for connection. So when he finds a job at a local horse racetrack working alongside Del Montgomery (Steve Buscemi) and jockey Bonnie (Chloë Sevigny), Charley feels complete. Del and Bonnie fill the role of "family," and Charley becomes emotionally attached to one of Del's older horses, named Lean on Pete. However, when Charley learns that Pete is being sent to the slaughter, he feels not only betrayed by the people he considered his chosen family but heartbroken at the thought that his best friend was going to be discarded in such a horrific way. Charley won't let that happen and so, with Pete in one hand and a couple bucks in his pocket, he sets out across the Midwest to escape the harsh reality in hopes of a promising future ahead in the great unknown.
While the story isn't an original idea– Andrew Haigh adapted Lean on Pete from Willy Vlautin's novel of the same name– Haigh makes this story an unforgettable cinematic experience. Heartbreaking and beautiful, we follow Charley as he makes his way through rough terrain, both literally and figuratively as he navigates through the harsh environments and a messy personal life. Charley experiences various tragedies and Pete becomes a sort of emotional support animal for him. It is a heartwarming moment, once realized, that just as Charley saved Pete from an unethical death, Pete saved Charley from total loneliness.
It is a heartwarming moment, once realized, that just as Charley saved Pete from an unethical death, Pete saved Charley from total loneliness.
Coming off of last year's role as the kidnapped J. Paul Getty III in All the Money in the World, Charlie Plummer does an outstanding job holding it all together as the headstrong yet naive and underprivileged teen. The tension bubbles and tears well behind his eyes, but the attitude he adopts as Charley doesn't allow him to let his vulnerability show. It is during certain moments of the film, when this vulnerability peaks through his tough exterior, that we see a child who is aching for stability in any form. The supporting performances from Buscemi and Sevigny are full of depth and evoke a wide range of emotions. The environment is also very much a character in itself as the brutal landscape and places within it provide Charley and Pete with benefits or deterrents. However, Charley seems to always come out the other side having learned from the experience.
Lean on Pete is divided into three distinct parts, perhaps serving as an homage to the book, but at times it can feel like three different movies. The motivation deters slightly throughout each part, but the emotional impact of Charley's end goal remains consistent and strong. It will be hard to get through the film with dry eyes, but its lasting satisfaction and tenderness make it all worth it.
121 minutes. Lean on Pete is rated R for language and brief violence. Opening this Friday at The Landmark and ArcLight Hollywood.
'Gemini' Review: No One is Innocent in the City of Angels
Much like how Nicolas Winding Refn's 2011 drama Drive saw Ryan Gosling explore the seedy underbelly of Los Angeles after dark, Aaron Katz's Gemini follows much of the same cinematic aesthetic.
Lola Kirke and Zoë Kravitz star in this crime thriller where, after a mysterious murder is discovered in a starlet's Hollywood Hills mansion, everyone is a suspect. It may be called the City of Angels, but no one is innocent here.
Jill (Kirke) is so much more than a devoted assistant to celebrity Heather Anderson (Kravitz). She is the breaker of bad news when Heather doesn't want to deal with confrontation, she is a trusted second opinion when Heather asks her what she thinks about her new relationship with a woman, but above everything else, Jill is Heather's best friend. After a night of dealing with obsessive fans and intruding paparazzi, Heather confides in Jill that she never feels safe and is always on edge. She then asks Jill if she can borrow her gun just as a precautionary measure. Hesitant but ultimately concerned for her safety, Jill agrees and gives Heather the gun.
When a murder is discovered in Heather's mansion the next morning, all signs point to Jill. It was her gun, her prints on the casings, and she was the last one to see the victim alive. Or was she? Detective Edward Ahn (John Cho) seems to think Jill isn't telling him everything she knows, but the truth is, even Jill doesn't know how deep and twisted this situation actually is.
'Gemini' is a subtle reminder that no one can withstand that amount of pressure for too long. They are bound to break. Or kill.
Reminiscent of Olivier Assayas' Personal Shopper (starring Kristen Stewart) with subtle hints of another Refn classic The Neon Demon (starring Elle Fanning), Gemini is a dark and dreamy little film. It is a bit slow to get going, although the opening long shot of muted purple upside-down palm trees sets the aesthetic for what's to come, Gemini ultimately suffers from a lack of plausibility and a strong final act. For as realistic and deep-rooted into Los Angeles as we get, like hole in the wall bars and even a cameo from Hotel Normandie in Koreatown, the audience is really made to suspend their disbelief to an unnatural point at the film's climax. To be blunt, the big reveal turns out to be pretty silly.
All that to say, Gemini is a sensational visual and audible experience. Aaron Katz captures a pulsating and stylized version of Los Angeles that is not typically seen in feature films. Lola Kirke and Zoë Kravitz are both engaging to watch on screen, and their chemistry as friends is undeniable. Composer Keegan DeWitt is quickly becoming a Cinemacy favorite, having scored indie gems like Newness and The Long Dumb Road. He adopts a moody and synthetic tone for Gemini (perhaps taking inspiration from Kavinsky and Lovefoxxx's Nightcall) that, not surprisingly, is a perfect companion to the film.
No matter one's profession, social media following, or number of friends, one thing is universal– we all need protection, stability, and a sense of safety in order to get through life. Getting a glimpse at the chaos of celebrity life and how normalized the invasion of privacy has become, Gemini is a subtle reminder that no one can withstand that amount of pressure for too long. They are bound to break. Or kill.
'Allure' Review: Disturbing and Distasteful View of Abuse Culture
The power-balance in relationships is very much in the spotlight as of late, exposing the physical, mental, and emotional abuse that has been too often hidden from public knowledge.
One of the more vocal proponents of the #MeToo and Time's Up movements is actor and activist Evan Rachel Wood. Wood was most recently seen in February giving an impassioned speech to Congress about her own past as a sexual assault victim and has since become a symbol of feminism and an inspiration for social justice. So, imagine my surprise, to see her propelling the type of disgusting and inappropriate behavior she has personally fought so passionately against in Allure.
The film opens in a dingy motel room where a blindfolded man lays passively on the bed while a woman has aggressive sex with him. Clearly a pay-for-play situation, the woman grows frustrated at his lack of "ability" and tells him to leave. Laura (Evan Rachel Wood) saves her sex work escapades for nighttime as she spends her days working for her father’s company cleaning houses. It is at one of these houses where she meets, and quickly forms an unnatural relationship with, her client's 16-year-old daughter, Eva (Julia Sarah Stone). Like many teenagers, Eva's relationship with her mother has become strained after she refuses to move in with her mom's new boyfriend. Laura, sensing the girl's vulnerability, convinces Eva to run away with her. Eva agrees, and so begins the unraveling of uncomfortable viewing that is Allure.
The worst part is that the film never condemns this behavior, which I found absurd! Especially in this time of such predator accountability.
Laura is essentially a child abductor, rapist, and a master manipulator (while her age is never specified, she is at least 21- old enough to buy alcohol, own or rent a home, and live alone). Laura keeps Eva hostage in her home and convinces her that they are soul mates. She makes Eva drink alcohol (reminder- she is 16) and entices her to smoke pot. She massages Eva's shoulders, whispering "just relax", and "share a bed with me, you'll be more comfortable." They do end up sharing a bed and end up having sex.
The worst part is that the film never condemns this behavior, which I found absurd! Especially in this time of such predator accountability. At the end of the film, Laura gets to make peace with herself which is somehow supposed to make up for her perpetually disturbing behavior. And while the film gives Laura a happy ending, one which she clearly doesn't deserve, the real victim, Eva, never makes peace with her mother, nor finds justice after being held hostage.
Allure is the directorial debut for Carlos and Jason Sanchez, two brothers whose work has previously been seen in music videos and Canadian advertisements. What is missing here is any kind of female perspective behind the lens. Allure explores the dark side of human behavior, but instead of holding the offender accountable, it plays more like a superficial lesbian film made by men for men. I don't know who I am more disappointed by– the Sanchez brothers for writing/directing this off-kilter film, or Evan Rachel Wood for taking any part in it.
105 minutes. 'Allure' is unrated. Opening this Friday at Arena Cinema and on VOD.
Revisiting 'The Theory of Everything' in Memoriam of Stephen Hawking and Jóhann Jóhannsson
This review originally ran on November 6, 2014
This week, we remember the late Stephen Hawking as well as the late Oscar-winning composer Jóhann Jóhannsson by running our initial review for the 2014 biopic, The Theory of Everything.
We will forever remember these two profoundly influential, brilliant, and inspiring men. Rest in peace.
I am usually drawn to biopic films for a number of reasons. I appreciate any actor’s attempt to become another real-life figure. I especially admire their willingness to be overly-critiqued for taking on that part when the literal person to draw reference against can be so easily accessed and therefore allow us to easily pick out those flaws in the performance. And what could be more daunting of a task than portraying one of the most brilliant men to have ever lived, as Eddie Redmayne does in the Stephen Hawking biopic, The Theory of Everything? Much to my surprise – and delight – the powerhouse performances, beautiful camerawork, and emotional score make this film nearly critique-less.
The Theory of Everything tells the true story of how Hawing met and fell in love with his first wife. The film begins with young Stephen, (Eddie Redmayne) who meets young Jane (Felicity Jones) at a University gathering. Wide-eyed and naive, the two quickly fall in love. Jane, being an artistic and religious girl, and Stephen, being the nerdy astrophysicist and atheist, exemplify how “opposites attract,” and realize that their future will know no bounds. But when 21-year-old Stephen is suddenly hit with a diagnosis of the motor neuron disease ALS (or, Lou Gehrig’s disease) and a two-year life expectancy, the couple doubles down on their commitment to each other and are soon married, with children on the way. All the while, Hawking continues to work towards his life’s grander purpose: to discover an equation to explain the creation of the universe as understood by time’s mathematical properties. His motivation to determine the relationship between space and time keeps him distracted from his debilitating disorder, but it’s easy to see that it is Jane’s love and support that truly keeps him alive.
'The Theory of Everything' isn’t a giant history lesson meant to educate audiences about the work of Stephen Hawking. Rather, it is a purely heartfelt look into the romanticism of his life.
I was awestruck at the execution and total mastery of Eddie Redmayne’s performance as Hawking, who portrays the mathematician throughout his entire life in his ever-weakening condition (Redmayne would go on to win the Academy Award for Best Actor). Redmayne captures this challenging period in time with real bravado: he finds the humor in the grim, the joy in the sadness, and the brilliance in the silence. Not to be outdone is Felicity Jones, who grounds the film with her selflessness and agitated, yet calm demeanor. Jane is a woman to be admired, and Felicity plays her with poignant sensitivities and warmth.
Director James Marsh, whose previous films include the documentary Man on Wire, focuses on the lovely, yet complex, relationship between Stephen and Jane. Marsh humanizes the man we have all come to know as a somewhat mythical figure in history and paints him in a new, more vulnerable and unseen light (and had the blessing from the real Hawking). The accompanying score by composer Jóhann Jóhannsson is the threaded heartbeat of the film, cinematic enough to transport us to another place and time but not so apparent that it takes away from the film itself.
The Theory of Everything isn’t a giant history lesson meant to educate audiences about the work of Stephen Hawking. Rather, it is a purely heartfelt look into the romanticism of his life. The film is emotional enough on its own, but given the recent passing of both Hawking and Jóhannsson, it plays with an even heavier tone. If you haven't seen The Theory of Everything yet, now is the perfect time to do so.
Talking to the Creative Minds Behind 'The Florida Project' at the Indie Spirit Awards [WATCH]
It's no secret that 'The Florida Project' was Cinemacy's favorite movie of 2017 (Ryan, Nelson, Jasper, and I all had it as our #1 film on our "Best Of" lists), and so it was an honor to be able to chat with the creative minds behind the film at the 33rd annual Film Independent Spirit Awards.
We had the opportunity to chat with co-writer Chris Bergoch and producers Kevin Chinoy and Francesca Silvestri, where we talked about special features in the DVD and how rising star Brooklynn Prince got into character during that final scene.
'Get Out' Wins Best Feature Film at the 33rd Annual Film Independent Spirit Awards [WATCH]
As if right on cue, the sun broke through the foreboding rain clouds just as the red carpet opened at the 33rd annual Film Independent Spirit Awards.
Located steps away from the Santa Monica Pier, the event takes place just one day before Hollywood’s biggest night – the Academy Awards. But unlike the pressure of the Oscars, the vibe of the Spirit Awards is much more relaxed due to its purpose-driven mission: to celebrate independently produced and artist-driven films made outside of the rigid and often political big studio system. Despite the countries of origin, budgets, and talent attached, all of the films recognized at the Spirit Awards have one thing in common: they all embody diversity, innovation, and uniqueness of vision. My brother Ryan and I had the opportunity to cover the awards ceremony, both on the red carpet and in the press room.
Comedians Nick Kroll and John Mulaney returned to co-host the event, which was broadcast live on the IFC channel with audiences tuning in from 56 countries. The NYC indie rock trio Sunflower Bean was this year’s house band, and their dreamy and melodic guitar tunes kept the energy at an all-time high (even with the show running 30 minutes over its scheduled time).
https://youtu.be/8pxyilXoIYU
Over the past three years, the films that won Best Picture at the Independent Spirit Awards would also go on to win Best Picture at the Oscars the next day, including Moonlight, Spotlight, and Birdman. This year, Get Out took home the honors and accepting the award was the film’s director Jordan Peele, who also won the event’s Best Director award. That statistic would end this year, however, as The Shape of Water wound up winning Best Feature at the Oscars.
Voters awarded Best Male Lead to 22-year-old Timothée Chalamet for his performance as Elio in the breathtaking drama Call Me By Your Name. Sweeping the awards circuit since the very beginning, the Best Female Lead went to Frances McDormand for her performance as the no-nonsense Mildred in Three Billboards Outside Ebbing, Missouri. Sam Rockwell took home the Best Supporting Male award for his performance as goofy cop Dixon in Three Billboards, with Best Supporting Female going to Allison Janney for her captivating performance as the critical and cruel LaVona in I, Tonya. No surprise here, McDormand, Rockwell, and Janney would all go on to be honored at the Oscars for these performances as well.
Other notable awards went to Lady Bird’s Greta Gerwig for Best Screenplay, The Big Sick’s Emily V. Gordon and Kumail Nanjiani for Best First Screenplay, and Ingrid Goes West’s Matt Spicer for Best First Feature. The Robert Altman Award, which is given to an ensemble cast, director, and casting director of a film considered to be a "maverick" of the year, went to Mudbound. Director Dee Rees gave an electrifying acceptance speech that left the room speechless, and star of the film Garrett Hedlund literally dropped her mic after her she spoke to signify the importance and strength of her words.
Judging by the passion and perseverance for positive change that was displayed at last Saturday’s event, the power of independent cinema is not only stronger now than ever before, but truly demonstrates its ability to tell these original stories that can impact – and even change – the world.
'The Vanishing of Sidney Hall' Review: A Tortured Artist Gets Too Much Too Soon
In today's day and age, thanks to our continuously connected world, it is more and more common for kids to catapult to fame and achieve a level of success that was previously not attainable until adulthood.
Take Emma Gonzalez and Malala Yousafzai for example, and their fight for social justice which has cemented their reputations as modern-day heroines. They have become the face of the millennial revolution. Luckily, they seem capable of dealing with the price of fame- both the highs and the lows- but what happens when the pressure of the spotlight is just too much?
In director Shawn Christensen's drama, The Vanishing of Sidney Hall, he explores this coming-of-age theme through the titular protagonist, Sidney (Logan Lerman), and his unusual way of coping with unexpected success. Sidney begins as a controversial and boundary-pushing high school writer who outshines his peers by a landslide and considers Hunter S. Thompson and David Foster Wallace aspirational heroes. When a teacher takes notice and submits his work to a publishing house, Sidney's life is forever changed. He falls in love with his next-door neighbor Melody (Elle Fanning), signs a book deal, skyrockets to an international best-seller, and then goes missing.
Fame wasn't something Sidney wanted, it was just a by-product of the surprising outcome of the success of his page-turning debut novel, Suburban Tragedy. The book, which was based on the death of one of his high school classmates, flies off the shelves, meanwhile, Sidney flies off the handle. He begins having panic attacks and his ego swells to the point that it puts his relationship with Melody at risk. Ultimately he leaves town, but not without burning every copy of Suburban Tragedy he can find. Sidney has become a “somebody,” but all he wants to be now is a “nobody.” His actions seem inspired by Fahrenheit 451 while the reaction to success seems more like Joaquin Phoenix, nonetheless, Sydney’s disappearance piques the interest of an amateur detective (Kyle Chandler) who makes it his mission to find the missing author.
...what happens when the pressure of the spotlight is just too much?
The Vanishing of Sidney Hall is a heavy-handed character drama that deals with a young man's personal struggle with adult responsibilities. The story itself, while an interesting premise, follows a non-linear structure that feels like the script was dropped and the pages were scattered about, only to be put back out of order. The story weaves in and out of three different timelines, with each one heartbreaking for a variety of reasons. Things take an even darker turn towards the end of the film when rape and sexual assault of a minor are discovered within one of the character's backstories. For as dark as the film is on the page, however, it is an absolute beauty to watch on screen. Cinematographer Daniel Katz creates breathtaking images of romantic pastel landscapes and vibrant cityscapes that feel as if it's buzzing with spontaneity and mystery.
The performances from Lerman and Fanning are spellbinding, with extra praise going to Lerman for also being one of the executive producers of the film. Kyle Chandler as the persistent detective brings an eagerness to the story, and Michelle Monaghan as Sidney's mother strikes all the right emotional chords. The Vanishing of Sidney Hall premiered at the 2017 Sundance Film Festival, and while it's subject matter may weigh heavy, the overall package is an emotionally engaging viewing experience for anyone willing to take the journey.
119 minutes. 'The Vanishing of Sidney Hall' is rated R for language and some sexual references. In theaters Friday, March 2nd.
'Half Magic' Review: Kickstarting the Sexual Revolution Through Satirical Comedy
Heather Graham is here to prove that she is more than just the stereotypical leading lady she's been known to play.
She's got a voice and right now is the perfect time to use it. Taking to the big screen, Graham shows off her directorial and screenwriting skills with her feature film debut, Half Magic. The satirical comedy, which is loosely based off of her own unjust and, at times, demeaning experiences in Hollywood, is the female-driven movie we should all be watching. If there were ever a movie to propel the #MeToo and "Time's Up" movements to the forefront of conversation, it would be Half Magic.
Young Honey (Chloe Graham) grew up believing that sex comes with a stigma attached, as is relatively common within devout Christian belief systems. These sexual insecurities have grown to affect both her personal and professional relationships. Now a young adult, Honey (Heather Graham) finds herself working in the entertainment industry in L.A. as an assistant– with dreams of making it as a screenwriter– to both boss and boyfriend, Peter (Chris D'Elia). Peter is the embodiment of a male chauvinist pig, some of his notable one-liners include, "If you want to make a good story, you gotta write about a man," and "I'm not against women's rights, I'm just saying there's no market for their films."
Fed up with not being taken seriously, Honey finds comfort in the women-led support group run by a flamboyantly fabulous leader (Molly Shannon) who encourages women to "embrace the power of their pussies." It's during one of these body appreciation exercises when Honey meets Eva (Angela Kinsey) and Candy (Stephanie Beatriz), two women who are also struggling with various degrees of sexism, bad relationships, and low self-esteem in their own lives.
The common thread running through the film stands as a powerful message to women everywhere – you are deserving and capable of what you want, now it's up to you to get it.
The women take to each other quickly, like kindred sexual spirits, and support each other in trying to tackle the negativity in their lives. Through friendship, the women learn what it takes to stand up for themselves and how to tap into the power of self-confidence. The road to self-love and acceptance isn't easy or without detours, but in the end, Honey and the gang come to the realization that the key to happiness lies within, and isn't that something we could all be reminded of?
At its core, Half Magic is a story about female empowerment in friendships, careers, and sexual experiences. While the situations the protagonist finds herself in are comical and look like caricatures of the current political workplace environment (due to a solid performance from funnyman Chris D'Elia), the common thread running through the film stands as a powerful message to women everywhere – you are deserving and capable of what you want, now it's up to you to get it!
'Half Magic' is rated R for strong sexual content, nudity, language and drug use. 94 minutes. Now playing at the Vintage Los Feliz Theatre and on VOD and Digital HD.
'The Female Brain' Review: Whitney Cummings Gives Us a Lesson on Love
This review originally ran during the 2017 LA Film Fest
Comedian Whitney Cummings was every bit the engaging artist as she introduced her directorial debut, The Female Brain, at the Los Angeles Film Festival on Saturday evening.
She briefly spoke about choosing to adapt Louann Brizendine's nonfiction book, The Female Brain, as her first film, so eloquently describing it as a modern-day "Magic School Bus." "And if you are too young to know what The Magic School Bus is," she went on to say, "Then I hate you."
The Female Brain is a vignette-style romantic comedy that looks at the lives of different couples in varying stages of their relationship. Unlike other generic rom-com's, however, The Female Brain focuses on the fact-based situations and pitfalls that arise when primal neurology meets passionate or unrequited love. In other words, Cummings is giving audiences a lesson on why we do the things we do in relationships, breaking down the stereotypes women face by blaming it on science!
As the anchor of the film, Cummings plays the neuroscientist Julia Brizendine, a type-A woman who rigidly controls her daily habits in order to get the necessary chemicals she "technically" needs to live a happy life. This includes hanging out with friends, working out, staying organized, and other things that give off different types of endorphins without engaging in a romantic relationship (because why would anyone willingly put themselves through the dating scene?). Her plan gets thrown off when she meets Kevin (Toby Kebbell), a participant in one of her research groups who attempts to woo her despite her stance on romance.
As a woman, I could personally relate to more moments in the film than I would like to admit, but 'The Female Brain' doesn't appeal to just women.
The rest of the cast plays like a who's who of comedians, Broadway hotshots, and NBA superstars. Lisa (Sofia Vergara) and her husband Steven (Deon Cole) struggle with diminishing sex appeal and connection, Greg (Blake Griffin) and Zoe (Cecily Strong) are newlyweds that are still figuring out the balance of power within the relationship, and Adam (James Marsden) and his girlfriend Lexi (Lucy Punch) struggle with boundary issues. Guest appearances from Beanie Feldstein and Ben Platt are as surprising as they are delightful.
The humor ebbs and flows throughout the film, a few moments playing to the lowest brow of comedy, but overall the tone of The Female Brain is both fun and informative. The addition of animated brain diagrams, which pop up throughout the film, help to digest the scientific information more easily.
As a woman, I could personally relate to more moments in the film than I would like to admit, but The Female Brain doesn't appeal to just women. The men sitting next to me laughed just as much through the film as I did, proving two things: one, Whitney Cummings' humor translates from the stage comedian to big screen director and two, we're all just humans looking for love, trying to keep the love alive, or slowly realizing that we're all doomed because we will eventually end up acting like our parents.
'The Female Brain' is not rated. 98 minutes. Now playing at Laemmle's Monica Film Center.