Brainwashed by The Beatles, 'Charlie Says' Shows Life After Manson's Reign
CHARLIE SAYS (2019)
Starring Matt Smith, Hannah Murray, Sosie Bacon, Suki Waterhouse
Directed by Mary Harron
Screenplay by Guinevere Turner
104 minutes. Rated R. Opening this Friday in select theaters. On VOD May 17th.
What does it say about our culture that every time a new crime related film, TV show or podcast lands on our radar, it can so quickly become the latest sensation? Since the beginning of 2019, Netflix's Extremely Wicked, Shockingly Evil and Vile, HBO's The Case Against Adnan Syed, and Hulu's The Act, are just a few of these that have found a loyal fanbase among the curious and intrigued. Adding to this growing repertoire of fascinating evil acts made for public consumption is director Mary Harron's biopic Charlie Says, a film that chronicles how one teenager went from an innocent all-American girl to cold-blooded killer.
Charles Manson believed he was more popular than Jesus. He thought that when the apocalypse came, he would be responsible for starting a new community and life on Earth after cryptic messages from "Helter Skelter" on The Beatles' White Album directed him to. Clearly, Charles Manson was not mentally sound. So how did he convert so many men and women into believing in him, following him, and committing heinous crimes on his command? Charlie Says is an attempt to answer this question by infiltrating the minds of three of his "Earth Mothers": Leslie “Lulu” Van Houten (Hannah Murray), Patricia “Katie” Krenwinkle (Sosie Bacon), and Susan “Sadie” Atkins (Marianne Rendon).
This approach should have been enough to make Charlie Says a powerful and – dare I say – sympathetic look at how these impressionable women fell under the spell of a manipulative and maniacal demigod. Unfortunately, the dive doesn't feel quite deep enough to make an emotional impact. It's a lot to tackle in just 104 minutes, but Charlie Says, which is mostly told through flashbacks, unsatisfyingly skims the surface of what could have been a multi-part series about three women who can finally think for themselves and reflect on their actions as they sit in prison for life.
Matt Smith as Charles Manson is one of the film's stronger pillars, he completely transforms into the enthusiastic and arrogant, yet musically adept, cult leader. As an ensemble piece, Charlie Says is very impressive. Strong performances from Murray as the lead, as well as supporting actors Kayli Carter (Private Life), Chace Crawford, and Merritt Wever round out a solid cast. Another strong visual is the styling (many of the girls' outfits ended up on my Pinterest board).
Charlie Says has made its way through the festival circuit (Venice Intl Film Festival, Tribeca Film Festival), finally finding a home at IFC Films. It may not be the strongest biopic of a murderer and the heartbreaking aftermath, but it's definitely worth a watch... if you're into that sort of thing.
'Softness of Bodies' Review: A Portrait of a Narcissistic Poet
SOFTNESS OF BODIES (2018)
Starring Dasha Nekrasova, Morgan Krantz, Nadine Dubois
Directed by Jordan Blady
Screenplay by Jordan Blady
74 minutes. This film is not yet rated. Now available to stream on VOD sites including Amazon and Vimeo.
Art loosely imitates life in writer/director Jordan Blady's stylish feature film Softness of Bodies.
Starring real-life poet Dasha Nekrasova as a struggling artist trying to make a living in Berlin's competitive art scene, this dark comedy plays perfectly into the stereotype of the entitled millennial and the assumption that creative drive will equal monetary success. Unfortunately, like most people working in the arts, our protagonist learns the hard way that just because you want something, doesn't mean you are destined to have it.
Charlotte Parks (Nekrasova) is an American poet living in Berlin on a year-long arts grant. She pours coffee at a cafe during the day, steals clothing from the local mall in the afternoons, and attends poetry slams at night. Her routine is unconventional but stable. That is until a tidal wave of changes hit her, hard. First, Franz (Moritz Vierboom) the man she was having an affair with breaks up with her. Next, her ex-boyfriend Oliver (Morgan Krantz) unexpectedly shows up in town, along with resurfacing emotions and feelings. And then, Charlotte's kleptomaniac ways catch up with her, literally, when she is caught stealing and forced to pay 800 euro or risk jail time. All of this happens while she is struggling to make ends meet and can barely afford her next meal, let alone pay her way out of trouble, but a silver lining of hope appears when she learns that she is a finalist for a poetry grant in a major competition. The question is, can she overcome her personal baggage in order to fulfill her lifelong dream of becoming a recognized poet?
Softness of Bodies can be a frustrating watch when the script focuses on Charlotte's unrelenting sense of entitlement and narcissism, but its stylish vibe has a way of romanticizing being young in a foreign city. Chain-smoking in a Berlin bar while working through emotions from past lovers has a nostalgic attachment that feels whimsical. The Euro-electro synth score adds to the uncertainty of Charlotte's future and the volatile nature of her situation.
Dasha Nekrasova's performance is raw and untraditional, she plays the "victim" card well. Nekrasova ends every sentence with a downward inflection, giving off a vibe of arrogance and whininess, making it hard to sympathize or feel sorry for her. When things don't go her way, she complains without showing any true effort to right her wrongs, but that's not to say that Charlotte doesn't learn lessons, she just learns them the hard way.
A thrilling and engaging watch, Softness of Bodies is a solid debut from first-time narrative feature film director Jordan Blady. It will appeal to the viewer who can identify with the struggling artist existence, and this coupled with the original poetry from Dasha Nekrasova herself, makes Softness of Bodies a full artistic experience.
This review originally ran on September 27, 2018 during the LA Film Festival
Savannah Knoop: "I don't miss JT anymore"
It’s the scandal that shook the arts community. A literary wunderkind with a secret so big, his extravagant hats and large shades could barely conceal his true identity. There were only three people who knew the real JT Leroy when he burst onto the writing scene in 1999, and Savannah Knoop was one of them. She was so close to JT because, well, she was JT. In my exclusive interview, I chat with the New York-based artist about living as a fictional celebrity for six years, her relationship with Kristen Stewart, and what she misses most about her androgynous persona, JT LeRoy. We begin:
I was amazed the persona of JT was kept up for six years! Was anything "Hollywoodized" for the sake of the movie?
We did all those trips to Paris and Cannes, there was a lot of travel If anything, we paired it way, way down. Although one Hollywood flourish was the moment JT was on the jumbotron [at Cannes]. I was never on a jumbotron.
JT was also known for his outlandish style and hats. Did you have a favorite outfit?
I'm a big believer in personal style. I used to make clothes and I'm an avid thrifter. I'm really into what it means and the signifiers of it. So in terms of accessing this character, I would start with- what would he be wearing? It was always about a lot of layers.
One of my favorite looks that Avery, the costume designer, got spot on was JT wearing three hats and the wig all at once. It was very maximal to me. JT style.
Which is interesting because JT was such a reserved person. It's such a crazy cool contradiction of a character.
Right. It’s like a composition. One of the things that Laura [Albert] was always stressing was JT can be anyone. That was something that was always embedded in his interviews and when you go out in public. So the look of all these layers, it creates this composite of a layered person. Like, you could have 5 or 10 people in outfits with how many different outfits JT was putting on.
Meeting Kristen Stewart, knowing she would play you- did you instantly know she would keep this character safe for you?
That's such a nice way to say it. I did feel that way when I met her. I felt immediate trust. I met her briefly before the film started shooting and then we had a few days before we were on set to get to know each other more. She had read my book [Girl Boy Girl: The Story of JT Leroy] and did a lot of research beforehand. She's been amazing, she just has this presence.
My mom saw the film in New York and she said, “You know, she really gets you.” And my mom is the only other person that would know me as well as I do! My mom calls Kristen the James Dean of our time.
Being on set with Kristen and Laura Dern, watching this all play out again, must’ve felt like a very meta experience…
Yes! I’m just going to say yes. It was very meta haha.
Is that something you liked?
I was feeling many different things all at once, but I did feel really lucky. Being on set felt like a social experiment at first. It was this feeling that like, I was a holy cow. People were confused haha. It's that thing where you kind of feel like you can't be seen but also you’re seen too much, if that makes any sense? But that was just at first, we all got over it quickly.
The character is named Savannah in the script and so people on set would call me Sav, kind of a nice nickname. I don't go by that necessarily, but I think it was, unconsciously, a way to make a distinction between the character and myself. I am not the same person that is in the script, so it is a nice way of keeping it clean.
Do you miss JT?
[pause]
I don't miss JT anymore. I think at first, when the whole thing unraveled, I did. I’ve since found ways to sort the parts of JT that maybe I missed when it was first integrated into my life. Now I've found ways to find the parts of my own life that I missed. For example, making art after all these years- it's nice to know that I'm still obsessed with the same stuff. Like, I would be in the same place whether I'd had that experience as JT or not. I’m still doing what I'm really passionate about. I try to invest in the things that bring me joy.
It might be different if I was an accountant- nothing against accountants haha- but if I wasn’t in a creative field maybe I’d remember those days more. But I have to say, it's so lovely to not be young anymore. The older I get, the more I know myself.
'Body at Brighton Rock' Review: A "Campy" Camp Thriller
BODY AT BRIGHTON ROCK (2019)
Starring Karina Fontes, Casey Adams, Emily Althaus
Directed by Roxanne Benjamin
Distributed by Magnolia Pictures. 86 minutes. Rated R.
Director Roxanne Benjamin is quickly becoming the reigning queen of horror, with past films like Southbound and the Cherry Glazerr music video Nurse Ratched bringing thrills and blood by the bucketful. In the wonderfully campy camp thriller Body at Brighton Rock, Benjamin takes the audience on a tumultuous ride through the isolated backcountry where a lack of cell phone service is just as terrifying as a dead body.
A simple walk in the woods turns out to be anything but for "indoor kid" Wendy (Karina Fontes), whose natural instincts are not rooted in nature. Wendy isn't the stereotypical park ranger prototype, she is small in stature with a quiet presence, and frankly, just very unlucky. After a simple assignment turns into her losing her only map, and her way, in the woods, Wendy fears the worst, but she never expects to stumble upon a dead body. Which she does.
The thriller here isn't necessarily the bloody and bruised body, it's being in the middle of nowhere with poor wifi connection, alone. After frantic calls via an old walkie talkie to the command center, she is told to stay near the body overnight until the rescue team can get to her in the morning. Wendy is pushed to her emotional and physical limits as she struggles to survive and stay sane in the middle of nowhere.
What's equally impressive as the female presence onscreen from Fontes and actors Emily Althaus and Miranda Bailey is the powerhouse of women working behind the scenes. Aside from director Roxanne Benjamin, cinematographer Hannah Getz, co-editor Courtney Marcilliat, and production designers Courtney and Hillary Andujar combine talents to make Body at Brighton Rock a power anthem of female force. Original music by The Gifted, who has worked closely with Benjamin for years, accompanies the film and creates the perfectly eerie soundtrack for a restless night's sleep.
Body at Brighton Rock is a tight-knit film both in scope and execution. The story takes place in predominantly one location and all within 24 hours, making this a delightfully swift watch. It's not the type of film to give you nightmares, but it will leave you in anticipation of what director Roxanne Benjamin has up her sleeve next.
Body at Brighton Rock opens this Friday at Laemmle Glendale
'JT Leroy' Review: The Literary Wunderkind Who Never Existed
JT LEROY (2019)
Starring Kristen Stewart, Laura Dern, Jim Sturgess, Courtney Love, Diane Kruger
Directed by Justin Kelly
Distributed by Universal Pictures. 108 minutes. Rated R
It is perhaps one of the greatest celebrity hoaxes of all time within the literary and arts community. Here was a teenage author, an accidental wunderkind, who became a revered and respected talent for his powerful stories of abuse and misfortune. His words were so honest, no one ever thought to question whether JT Leroy even existed. Which he didn't.
JT Leroy is based on the memoir Girl Boy Girl: How I Became JT Leroy, in which Savannah Knoop details the unbelievable six years she spent as JT Leroy- an avatar of sorts for her sister-in-law Laura Albert, the real voice behind the fictional Leroy. In the film JT Leroy, directed by Justin Kelly, Savannah is played by Kristen Stewart in a role that feels tailor-made for her. Embodying Knoop's androgynous style and questioning gender identity, Stewart channels the struggle of living a double life- her own private one and the very public, yet completely fabricated public one.
Laura Dern plays the punky feminist Laura Albert, a gifted writer who found it easier to express her dark thoughts through the personas of other people. JT Leroy's success wasn't planned, but once Albert's debut book- which was "written" by Leroy- became a bestseller, she knew she wouldn't be able to keep his identity hidden forever. After enlisting the help of her sister-in-law, Knoop, to physically portray Leroy at book signings and special events, the two embark on a wild ride that wouldn't be believable if it wasn't true.
The last film that portrayed a bombshell literary forgery was the Melissa McCarthy-starring, Oscar-nominated biopic Can You Ever Forgive Me?. In it, washed up author Lee Isreal forged letters from literary greats and sold the "authentic" works for cash. It shocked the literary community, but not in the way JT Leroy's outing did in October of 2005. Thousands of people were deceived, lied to, and ultimately embarrassed for falling under the spell of JT Leroy's facade.
The story- and the film- is a fascinating examination of fame and the bizarre nature of celebrity. Solid performances from Stewart and Dern coupled with the fast-paced style of Justin Kelly's directorial choices makes JT Leroy completely enjoyable as well as being a cautionary tale of sorts. Long story short: don't believe everything you read.
JT Leroy opens in theaters and on demand this Friday.
Elisabeth Moss is a DGAF Punk Rocker in 'Her Smell'
HER SMELL (2019)
Starring Elisabeth Moss, Cara Delevingne, Dan Stevens
Directed by Alex Ross Perry
Distributed by Gunpowder & Sky. 134 minutes. Rated R
Picture Josie and the Pussycats laced with drugs, sweat, and glitter, and that's only scratching the surface of what to expect from this larger-than-life indie film. Screening at the AFI Film Festival, Her Smell is a wonderfully wicked portrayal of the pressures put on a rock star to keep up her trajectory of success. Phenomenal performances coupled with creativity behind the lens makes this one blood-pumping, unforgettable film.
The all-female punk rock band Something She is at the top of their game on stage but quickly unraveling behind the scenes. Lead singer Becky Something (Elisabeth Moss) is an out of control addict who indulges in selfish and self-destructive behavior. She alienates bandmates Marielle Hell (Agyness Deyn) and Ali van der Wolff (Gayle Rankin) with her outrageous demands and makes co-parenting with her ex (Dan Stevens) nearly impossible due to her unpredictable volatility. Nearing their 15 minutes of fame, Something She doesn't have time to waste, which becomes even more apparent when a new girl band shows up on the scene- the Akergirls. Comprised of the up and coming artists Cassie (Cara Delevigne), Dottie (Dylan Gelula), and Roxie (Ashley Benson), who look and sound like a newer Something She, Becky makes it apparently obvious, through hyperactive monologues that scale the emotional spectrum, that she will be damned if anyone tries to steal her crown.
Her Smell would be nothing without the mind-blowing performance from Elisabeth Moss. Like a coked-out version of the energizer bunny, Moss bounces around on-screen and changes personalities as if we were flipping through the channels on TV. She is clearly broken and struggling, grasping onto anything that makes her feel good in the moment. This display is mesmerizing for the audience as Becky works through all of her emotional baggage. In one of the film's most moving scenes, Moss sits down with her daughter and plays DJ Sammy's "Heaven" on the piano, in its entirety, in one take. Flexing her muscles as an actor and musician, this is Elisabeth Moss at her best. Supporting actors Agyness Deyn and Gayle Rankin also lend themselves to the film's pivotal scenes.
Equal praise goes to cinematographer Sean Price Williams (Good Time), whose camera work in keeping up with Moss can only be equated to something of an Olympic sport. Such explosive performances are confined to very tight spaces throughout the whole film, but Williams creatively maneuvers throughout the scene to keep everything feeling fresh and unexpected. Composer Keegan DeWitt – a Cinemacy favorite – expands his indie film repertoire by creating a score that can best be described as a combustion of sounds. It perfectly plays to Becky's personality without distracting from it.
Director Alex Ross Perry certainly had a vision for Her Smell, and what we have is a nuanced and niche exploration of an aging rock star. The film is only comprised of 5 scenes and 4 locations, and with a runtime of 135 minutes, that roughly equates to every scene being around 30 minutes long. These scenes, while exhausting at times, are all darkly hilarious and never dull. And because so much of the movie is go, go, go, Becky's moments of restraint - like the piano scene - feel so much more beautiful and well-earned. Her Smell will definitely not appeal to everyone, but there is no denying the pure artistic vision associated with it will make Her Smell a captivating watch for those who are drawn.
Opening this Friday at ArcLight Hollywood.
This review originally ran on November 14, 2018, during the AFI Film Festival
Vlogging the 2019 TCM Classic Film Festival
A behind-the-scenes look at the 2019 TCM Classic Film Festival.
On Camera: Morgan Rojas
Editing by: Morgan Rojas
Instagram: @cinemacy https://www.instagram.com/cinemacy/
Instagram: @morganrojas https://www.instagram.com/morganrojas/
Like us on Facebook: https://www.facebook.com/cinemacyspeaks/
Follow us on Twitter: https://twitter.com/cinemacyspeaks/