Review: 'Meadowland'
Meadowland has been on the buzz list ever since its debut and nomination for "Best Narrative Feature" at the Tribeca Film Festival earlier this year. Cinematographer turned director Reed Morano tackles a heavy subject matter in her first feature film by confronting how different people cope with pain, and if they ever move past the state of unimaginable suffering.
A year after their son mysteriously disappears in a gas station bathroom on a family road trip, Sarah (Olivia Wilde) and Phil (Luke Wilson) are left to deal with the aftermath of their son's kidnapping, trying to keep the family together and attempting to move forward. Phil, a beat cop, transitions back to work rather seamlessly. He seeks out support groups and befriends others dealing with similar problems. Sarah has a harder time coming to grips with her reality. She, a school teacher, absentmindedly sits through classes and seeks comfort in the misfits from her classroom. She lives in a fog and by abusing pills used to treat depression, she is able to temporarily forget the life in front on her.
About halfway through the film, Sarah becomes fascinated with Adam (Ty Simpkins), a young boy with Asperger's. Her maternal instincts to care for him grow stronger as she finds out he is a foster child with neglectful parents, played by Elisabeth Moss and Kevin Corrigan. On the verge of a mental breakdown, Sarah acts without remorse and desperately does what she feels she needs to do to be the caretaker she once was.
In a style that is becoming increasingly more popular, the raw and naturalistic look that grounds the film in reality is a big part of Meadowland's appeal.
This story is every parent's nightmare, yet Morano makes the world of Meadowland look like a dream. Cotton candy skies and unapologetic New York City lights make up just a handful of beautifully composed shots that give Meadowland it's hallucinogenic quality. There is no denying that Morano is good, very good, at what she does behind the lens. In a style that is becoming increasingly more popular, the raw and naturalistic look that grounds the film in reality is a big part of Meadowland's appeal.
For all of the critical praise Meadowland has been receiving however, I feel among the minority by questioning it's (as of today) 100% rotten tomatoes score. My only criticism comes from the character, Sarah- the decisions she makes throughout the course of the film seem questionable and juvenile to the point where I lost sympathy for her and began to judge her. I'm assuming this is the exact opposite of what Morano wants from the audience. While everyone reacts to pain and loss in different ways, and no way is the "right" way, it is hard to feel sorry for Sarah while she abuses pills, stalks children at her school, has aimless sex, cuts her wrists, and above all else, refuses to cooperate with police who have a lead in finding her son. While her husband attends support groups to help deal with his problems, Sarah never seeks help, and it is very obvious she needs it. Her refusal to accept or ask is frustrating.
Life is made up of fleeting moments, and Morano takes the same approach with her supporting characters whose screen time is but a passing moment. Great performances from John Leguizamo and Giovanni Ribisi round out this already A-list cast. For a first time director, Morano has transitioned gracefully and proves that her years of on-set experience as a cinematographer have successfully prepared her for the big screen. She knows how to capture a scene, yet more emphasis on character development and making them sympathetic would have further propelled Meadowland's success. In any case, it's a solid debut.
Meadowland opens at Sundance Cinemas and the Laemmle Playhouse 7 this Friday, On-demand October 23rd.
https://www.youtube.com/watch?v=CIas8DA0Hdw
Director David Gelb on 'A Faster Horse'
It's awesome getting an "Opening Day Announcement" in your inbox for one of your friend's films. It's even better when you get the chance to "professionally" talk to him about it. David Gelb made a name for himself after the 2011 release of his award-winning documentary Jiro Dreams of Sushi and ever since the film's worldwide success, he has gone on to direct the thriller The Lazarus Effect and Netflix's first original documentary series, Chef's Table. Needless to say, he's been a very busy guy. Doing what he does best, Gelb uses his signature cinematic style to make a fascinating film about the Ford Mustang, it's 50th Anniversary redesign and the rarely talked about manufacturing process that takes cars from sketch to sale. We begin:
Everyone has a Mustang story, I'm curious what yours is?
I grew up in New York City, Manhattan actually, and nobody drives in Manhattan- my parents didn't have a car, my grandparents had a car because they had a country house, but my parents didn't drive. Whenever my dad would come to L.A. for business over the summer or whenever I didn't have school I would come with him and he would always rent a Mustang GT convertible. He would make a point how it was the "GT" version, you know, cause it was faster. It had a V8 engine- at the time I had no idea what that was, I thought V8 was a vegetable juice. I always felt so cool riding with him.
So when the idea was pitched to me as a car movie, I thought, 'I don't know.' But since the car is a Mustang, I had this story and everybody that I talked to about it had their own sort of connection to a Mustang. I thought it was so interesting how people are emotionally connected to this car and more often than not if you have a Mustang, you love your Mustang. I thought, why not make a film about that- about the emotional connection people have with their car.
The passion onscreen towards the Mustang is electrifying...
The people who care the most about it are the engineers themselves, they grew up loving Mustangs and they're trying to make something up to their own standards.
Did the Mustang's 50th Year Anniversary mean more to you after your experience working on the film?
When I think of the 50th Anniversary it makes for a better story because the stakes are so high. This is a car that has an incredibly large and devoted following with millions of Facebook fans and Mustang clubs around the world. For the guy building the 50th Anniversary version of this car, it's a lot of pressure because you have to make something that honors all of its tradition and all those Mustang fans who don't want it to change, you know- if it ain't broke, don't fix it. At the same time, he has to make something that will expand the audience and get new drivers to drive this car and bring this car into the future.
The 50 year Anniversary weighs pretty heavily on everybody. It was also a great opportunity to tell, in parallel to the story of our Chief Engineer Dave Pericak, the story of Lee Iacocca and his struggles in bringing the original car to life.
After watching the film, the parallels between a Chief Engineer building a car and a Director making a movie seem undeniable.
Absolutely, I learned a lot from Dave. It's interesting, in Jiro Dreams of Sushi, Jiro has maybe three apprentices including his son who work for him at the restaurant, so it's a very small film. When I was making that film I was the cameraman, the sound operator... I was basically doing everything. I did have a fantastic translator/assistant and editor, and that was pretty much the entire team. On A Faster Horse, Dave has this giant team and so our team also increased in size. Watching his leadership style was inspiring- he wants to get the best person in each position, and then he trusts those specialists and cheers them on and helps them to achieve their goals while letting everyone excel in their own roles without micromanaging them or making them feel inhibited. Dave gives this fantastic speech in the movie about how his job is to be the biggest cheerleader and to help empower people to reach for the best work they can do, knowing that Dave will be there to catch them if they screw up, and it's ok to take a risk. I try to apply those lessons in all the projects I do now.
And what's better, you're working with some of your good friends?
Oh yeah, it's amazing to have a team that I trust so much. Everybody's really able to do the best work that they can.
What did they each bring to the film that was unique to their personalities?
Will [Basanta, Cinematographer] can shoot a scene as if he is the director. I'd like to say that I need to be there but to be honest, I trust him so much that if it's a tight space, he'll just go in and when I ask him if he got it and he says yes, I know that he's got it. His eye is also incredible, it's so much fun to work with him because we build on each other's ideas. He can film a two-hour meeting without stopping, handheld, his endurance is amazing. Isaac [Hagy, editor] is just an absolutly brilliant editor. He's someone who understands the director's intentions when he's looking at the footage but then can see things the director's not seeing and use the footage to even greater effect. He'll put together scenes that are far better than I could have even imagined. Someone who I had never worked with before is Mark Monroe, our documentary writer- which is a new role for me. I've never really had the luxury of having someone to assist the editor and myself in that way. What Mark does is go through the transcript and helps put together scenes in an order that's very dramatic and exciting. He helped us weave between the present day story and the archival story.
It's certainly a team effort and everyone has their individual talents and it all comes together to form a whole that we're all very proud of.
At the end of the day, you've accomplished so much and you continue to impress us with your work. How do you stay motivated during periods of uncertainty?
I just love to make movies and work with my friends. I think when you make a film you learn something new about yourself. I've been planning on jumping between fictional films and documentaries. It's hard to explain, it's just a feeling and you just go and do it. I'm very fortunate because a lot of opportunities have been presented to me, but ultimately it's something that you just feel in your gut and for documentaries especially, you're always asking yourself, 'Is this an experience that I want to live vicariously?' I wanted to make a film about Mustangs because my dad used to drive me around in a Mustang. When I got to the Ford Factory I was just blown away by how they put these cars together, the amount of work, labor, blood, sweat, and tears. I thought maybe I could live vicariously as an engineer for a year, following them around and driving in their cars, and sharing this story that not many people know about.
For our review of A Faster Horse, click here.
Review: 'A Faster Horse'
Director David Gelb has a knack for seeking out the finer things unique to different countries and bringing it to the big screen. He introduced audiences to the world of 85-year-old Jiro Ono (now 89) in the critically acclaimed documentary Jiro Dreams of Sushi, putting what was once a hidden secret among Japan's foodies on the map for intercontinental tourists. Now, Gelb tackles an icon a little closer to home: the Ford Mustang.
With the same cinematic look and feel as Jiro, A Faster Horse goes in-depth into one of America's favorite cars, the Mustang. With its 50th Anniversary approaching at the time of the film's production, Gelb is given unique access to the Ford factory in Dearborn, Michigan like no one has before, to document the intricate process of the car's 5th redesign.
Gelb puts the Chief Program Engineer Dave Pericak front and center as he walks us through the whole five-year process of building a car. First come the sketches, then the execution of clay models made to scale. After the car has been molded, the engineers work tirelessly to design the over 2,000 pieces it takes to put the Mustang together. No doubt, problems arise constantly. Too much buzzing on the steering wheel, parts that won't quite fit, nothing is spared when capturing this very realistic and raw process. After it's all said and done, it's quite clear that the Mustang- and cars in general- are all works of rolling art.
The mustang is more than just a car, and as such, 'A Faster Horse' is more than a documentary; it's an ode to history, memories, and the future.
A Faster Horse does not just focus on the future of the Mustang, in fact, a significant portion of the film is dedicated to its history. The Mustang first debuted in 1964 and since then has remained a cultural American icon. Driving the point home are the high energy montages from various films and commercials dating back to its genesis using the Mustang as its sleek and stoic co-star.
Now, let me say that this is not just a film for gearheads. While the average person may not be familiar with the auto industries technical lingo, the emotion and passion in which the interviewees talk about their job is inspiring. The mustang is more than just a car, and as such, A Faster Horse is more than a documentary; it's an ode to history, memories, and the future.
Those with even the slightest interest in cars will no doubt leave the film with a higher respect for the Mustang. Assembling his team of college friends, cinematographer Will Basanta and editor Isaac Hagy, Gelb collectively capture the unique essence of the Mustang that is sure to get car enthusiast's tongues wagging. The level of access Gelb reaches will excite Ford super fans; from secret test drives at night to avoid the paparazzi to internal issues and boardroom conversations, A Faster Horse makes for one thrilling and heartwarming watch.
A Faster Horse opens at the AMC theatre in Burbank and Vimeo.
https://www.youtube.com/watch?v=mloeFzMPn64
Review: 'Partisan'
This award-winning thriller piqued the interest of audiences at the 2015 Sundance Film Festival by taking home the "Special Jury Award for Cinematography" and now it's set to open in select theaters today. 28-year-old Ariel Kleiman makes his directorial debut with Partisan, a film about one child's coming of age and maturity in a sequestered commune, facing his moral conscience all alone. Despite the broadly appealing storyline Partisan, unfortunately, will leave the audience with more questions than answers.
An off the grid commune on the edge of a crumbling city is where 11-year-old Alexander (Jeremy Chabriel) lives with his mother and figurehead Gregori (Vincent Cassel), along with multiple other children and their mothers. Like a scene out of Prophet's Prey, Gregori is the "Warren Jeffs" of the secular compound; he teaches the children how to grow vegetables, care for livestock, and essentially survive off the grid, a lá Jeffs. Gregori's main objective: training his child army to be thriving assassins.
For a film that's as forcefully plot driven as Partisan is, it's a disappointment that more screen time wasn't dedicated to Gergori's backstory- just why did he create this commune?
For years, Alexander has gone along with the scheduled killings of people in the outside world but with every mission, he becomes growingly more interested in life outside of his home. He begins to defy Gregori, and the 11-year-old's attitude starts to chip away at Gregori's cool and calm demeanor. What was once a "father and son" type relationship now becomes "good vs evil", and only one will come out on top.
Partisan has all of the makings of a cult classic, a sinister thrilling story and fantastic performances from Cassel and Chabriel. Vincent Cassel (Black Swan), a notable French actor, doesn't disappoint as a sympathetic yet sadistic cult leader. On the opposite end of the experience spectrum is Jeremy Chabriel, who astonishingly makes his acting debut here. His talent far surpasses his 13 years and mark my words, he is one to watch. Chabriel is on a path to greatness.
Unfortunately, the film suffers from two very big flaws which may keep it from succeeding as a cult classic. First, the lack of tension between Gregori and Alexander in the film's latter half is weak and not executed to its fullest potential. The screenplay called for triumphant and chaotic moments, but instead we are left with a flat shadow of its goal. The second, and probably biggest, flaw, is the lack of character building on the part of Gergori. For a film that's as forcefully plot driven as Partisan is, it's a disappointment that more screen time wasn't dedicated to Gergori's backstory- just why did he create this commune? What secrets was he hiding from his followers that he did not want them to explore the outside world? Above all else, why was he raising his child army as assassins? Without this information, we are left questioning just who to root for and why we should root for them.
From the very first frame that sets up the vast dystopian landscape, Partisan draws you in. The visuals are immediately arresting. Heavy influence from George Miller's Mad Max is apparent in the films' production and characters but still remains authentic to Kleiman's vision. Admittedly, and disappointedly, my hopes that Partisan would be one of the better films of the year seems unlikely.
Partisan opens at Laemmle NoHo 7 and on Demand today.
https://www.youtube.com/watch?v=mS5nblYINZk
Review: 'This is Happening'
It is always a delight to see 89-year-old Cloris Leachman on screen, whether she's getting down on "Dancing with the Stars" or hearing her iconic voice in the animated film The Croods. We know her as a quick-witted woman with sass, and we love her for it. It's no surprise then that Leachman shines as the ailing but feisty grandmother in the comedy This is Happening, a heartfelt story about two estranged siblings setting aside their differences in order to find their runaway grandma.
Per his father's instructions, straight-laced Philip Davis (James Wolk) is instructed to place his grandmother Estelle (Leachman) in an assisted living facility. Not wanting to disappoint his father, Philip obligatorily prepares for a solo trip to his grandma's house in Palm Springs, leaving behind a mediocre job and a bossy girlfriend for a week. When his drug dealer/slacker sister Megan (Mickey Sumner) hears of Philip's trip, she sees it as an opportunity to pick up a large supply of marijuana from her dealer, so she convinces Philip to let her tag along.
If anything, Cloris Leachman is the film's saving grace, and could be reason enough to watch the film.
When they find Estelle at her home, they are taken aback by her eccentricity. Her taxidermied dog Ralph rests atop the television set while Estelle's copper wig lays perfectly styled on top of her head. It isn't until Estelle and Megan smoke some pot when Megan lets it slip that the only reason why her and her brother are there is to put her in a retirement home. Not one for confined living, Estelle grabs the stuffed dog and takes off in the middle of the night for Seattle. As if the stakes of a missing grandma wasn't high enough, Megan reveals to Philip that she left a 5 lb bag of marijuana in the trunk of the car that Estelle took.
At its core, This is Happening is a very silly, over the top film that could have greatly benefitted from the "less is more" approach. Having Philip and Megan be two polar opposites that ultimately come together for the greater good is a theme that has done before, but it is the way in which the characters push each other's buttons that is tiring to watch. Some of the bizarre situations they find themselves in, like breaking out of hospitals and stealing convenience food from small town gas stations, could have been genuinely funny if the scenes were played more realistically and less soap opera-y. The acting seemed as if it was for the stage, in which case over exaggeration is encouraged. In films, however, over exaggeration is obnoxious. Unfortunately, the characters of Philip and Megan are so "by the book" and stereotypical that we can predict the upcoming jokes in the scenes and sigh from the lack of authenticity that makes either character sympathetic.
This is Happening seems targeted to millennials, and could do well among the VOD audience. If anything, Cloris Leachman is the film's saving grace, and could be reason enough to watch the film. Her performance is reminiscent of June Squibb in Nebraska, to give an even better idea. Director Ryan Jaffe may not have hit a home run with this film, but seeing as this is his feature film directorial debut, I have high hopes that his breakout film will be forthcoming.
This is Happening opens this Friday at the Laemmle Ahrya Fine Arts Movie Theatre in Beverly Hills.
https://www.youtube.com/watch?v=dprsVsILp2M&feature=youtu.be
Review: 'Ashby'
Nat Wolff takes the lead as another "teenage heartthrob" (see: Paper Towns, The Fault in Our Stars) in the latest coming of age film Ashby. Doing what he's proven he does best, Wolff takes the "boy likes girl, boy loses girl, boy gets girl" situation to pleasurable, although not groundbreaking, heights. Director Tony McNamara, known for his extensive TV experience, tries his hand at the long form narrative but can't shake the "made for TV" vibe throughout. While a pleasing attempt at a feature debut, it's hard to imagine Ashby will have too much staying power past its theatrical release.
Wolff plays Ed Wallis, the new kid who recently transferred into an Oregon high school. His extensive knowledge of Ernest Hemingway in the film's first scene is unexpected, yet very engaging. Perhaps this is not just another teen rom-com after all? Ed describes Hemingway's life as a daily struggle. A man who believed that in order to prove his manhood, one must try to get killed and overcome it. Not a discreet enough reference to render it pointless, we assume he must be foreshadowing the film's titular character Ashby, played by Mickey Rourke.
Despite Ashby's inherent "teen drama" formula, the juggling of storylines and non-fluid editing makes me think that this movie would have been better served as a television series rather than feature film...
Ed meets Ashby when he is assigned to write a 2,000-word paper on an "old person," and turns to his kooky next-door neighbor. Clearly not the 'former napkin and straw salesman' he claims to be, Ed knows there is much more to Ashby than he is letting on. After finding a stack of passports (which I'm pretty sure were old pictures of Rourke from Google images), guns, and knives littered throughout his house, Ashby confesses to being a hired assassin. Their relationship grows throughout the course of the film and they find each needing the other one more than either of them could have imagined.
The film's biggest con is having three parallel story lines which all center around Ed, making for one watered down film. The first is Ed's coming of age learning experiences with his next door neighbor. The second is some minor teenage angst in dealing with a strained relationship with his absentee father (he lives with his mother played by Sarah Silverman). The third is a high school romance with the nerdiest girl in school, Eloise (Emma Roberts). Their relationship is put to the test when Ed joins the football team and must decide where his priorities lie.
Roberts, who shares the screen with Wolff in Gia Coppola's Palo Alto, effortlessly captures your attention onscreen, but can't shake the screenwriter's stereotypical, one-dimensional character that Eloise was written as.
It is so good to see Mickey Rourke on the big screen, even if his talents aren't being utilized to their fullest here. His masculine yet compassionate and comedic performance hits every note just right and leaves us wanting more. Despite Ashby's inherent "teen drama" formula, the juggling of storylines and the seemingly unintentional off-kilter editing, makes me think that this movie would have been better served as a television series rather than feature film, but it is enjoyable nonetheless.
Ashby is in select theaters, on Demand and digital HD September 25th.
https://www.youtube.com/watch?v=z6NyqgsFwz0
Review: 'Prophet's Prey'
In the early 1800s, a man named Joseph Smith claimed he had been chosen by God to restore the Church of Jesus Christ on earth. For the next ten years, he was said to have received "messages" from above which eventually were translated into the Book of Mormon. Among the messages was the instruction that Mormon men were to have at least three wives to reach the celestial kingdom. Multiple wives bearing many children, known as polygamy, was seen as one of the most important components of the holy doctrine, and was the belief of the self-proclaimed "prophet" Warren Jeffs when he took control of the FLDS (Fundamentalist Church of Latter Day Saints) church and its people in 2002.
Prophet's Prey trails closely behind private investigator Sam Brower who has dedicated years to monitoring the religious cult, sometimes from a distance and sometimes not. In the film, Brower is confronted, chased and followed by FLDS security in an attempt to expose the group's deepest and darkest secrets. What results is a riveting documentary, an unintentional horror film that exposes what truly goes on behind the doors of one of the world's most evasive religious sects.
Animated sketches recreate the FLDS history, giving those who are less familiar with the religion and its teachings an opportunity to get caught up to speed within the film's first three minutes.
However what looks like paradise from above is in fact a mirage; one step into the reality of this scene and into the day to day life of a Warren Jeffs' follower reveals a world void of joy, happiness, and individuality.
Director Amy Berg captures the innocence and remorse of so many current ex-members and how they feel about the life they lost while brainwashed at the hands of Warren Jeffs' tyrannical mind control. Warren's brother Wallace speaks candidly to Berg, expressing the emotional devastation at the loss of his children who, still complying to FLDS rules, remain hateful towards him and want no form of a relationship. One of Warren's wives, Janetta Jessop (#63 for those keeping score at home) tells stories of underage marriage, bearing a child, and an irreparable relationship with her own mother.
It is ironic that Berg pairs beautiful sweeping aerial shots of the FLDS' mountainous compound with the full sound of a children's choir singing hymns. These moments could be taken from a fairy tale, an innocent scene born out of purity. However what looks like paradise from above is in fact a mirage; one step into the reality of this scene and into the day to day life of a Warren Jeff's follower reveals a world void of joy, happiness, and individuality.
Dustin Lance Black, Brian Grazer, Ron Howard, and Regina Scully are a few of the powerful forces that serve as executive producers, while music by Warren Ellis and Nick Cave round out this who's who of famous backers.
At one time being #2 on the FBI's most wanted list (next to Osama Bin Laden and Whitey Bulger), Warren Jeffs was captured in 2006. Today, Warren's brother Lyle rules over more than 10,000 FLDS followers on behalf of his brother, who still remains locked up in a Texas jailhouse. Despite his capture, the worry of Warren Jeffs' control over his followers has not stopped. Interviewees are concerned that blind obedience will see thousands of people follow Warren to the grave, reminiscent of a Waco or Jonestown. Even though he is behind bars, Prophet's Prey leaves us with the indication that Warren's reign is not over yet.
Prophet's Prey opens Friday, September 25th at the ArcLight Hollywood followed by a national rollout.
https://www.youtube.com/watch?v=PWUP9IYjfgI
Review: 'Goodnight Mommy'
Equal parts cerebral and graphic, Goodnight Mommy (Ich Seh, Ich Seh) is an immediate cult favorite from Austrian filmmakers Severin Fiala & Veronika Franz. A contemporary setting with a mid-century modern aesthetic, the overall tone of the film is quiet, daring its audience to listen and watch more closely. With their glowing skin and bright blue eyes, the characters seem angelic and inviting, yet be prepared for this seemingly warm cinematic experience to throughly turn your world upside down and possibly leave you with nightmares. You've been warned.
Twins Elias and Lukas (Elias Schwarz, Lukas Schwarz), nine year-old boys who find each other's presence company enough, are awaiting their mother's return from facial reconstructive surgery in the early scenes of the film. Bandaged and unrecognizable, she (Susanne Wuest) returns home and immediately something seems off to the boys. This is not the mother they knew.
Together, the boys make a pact that they will get her to crack, and the torturous ways in which they go about getting their information is almost unbearable to watch.
Small incidents since their mother's return only further proves to the boys that the bandaged woman is impostor. She favors one son more than the other, vocalizes her frustrations with the twin's relationship as if wanting to break them up, and more significantly, is missing her signature mole on the right side of her face. Together, the boys make a pact that they will get her to crack, and the torturous ways in which they go about getting their information is almost unbearable to watch.
There are some stereotypical thriller tropes that are sprinkled throughout the film; for example, you know it's a scary movie when the family doesn't have neighbors and live in a remote, yet beautiful, wooded oasis. A couple jump scares here and dream sequences there, this art film didn't necessarily need to stoop to that level to achieve those "scary" moments.
Goodnight Mommy works because it is a very tight, solid film. There are three principal actors, one main location, and minimal dialogue. The horror builds from the twin boys' insecurities, which is perfectly conveyed by novice actors Elias and Lukas, who make their cinematic debut here. Their innocence is perfectly guided too, making it hard for the audience to confidently decide on who to sympathize with. It is a welcoming but unsettling feeling, is this really their mother? And if so, is she an innocent victim? Are the boys just misunderstood or are they terrorists? Being a genre film, we tend to throw guesses at every possible twist very early on, but keeping an open mind and enjoying the ride will give you the best experience.
Goodnight Mommy opens at Cinefamily this Friday.
https://www.youtube.com/watch?v=0kXpUaQpXMA
In 'Finders Keepers,' One Man's Foot is Another Man's Treasure
In 2007, a North Carolina man got a lot more than he bargained for when he bid on a used grill from a repossessed storage unit at a local flea market. Much to his surprise, when Shannon Whisnant took the grill home, he discovered a severed human foot inside. An egotistical and boisterous personality, he unapologetically intended to keep this foot forever, despite demands of its return from the man whose foot it was. As bizarre as it sounds, this all happens within the first act of the film Finders Keepers, truly one of the strangest and funniest documentaries of the year.
While most people who discover an amputated body part would either alert authorities or get rid of it as quickly as possible, Shannon found this as an opportunity to cash in on 15 minutes of fame. Assuming that this severed foot would be an easy moneymaking spectacle, he charged $1 for children and $3 for adults to take a peek at just the grill the foot came in. He was making a name for himself as a ruthless media hog, and much to the dismay of his family, Shannon thought this was his big break. He always wanted to be “famous”. However, when John Wood caught word that Shannon had the foot, his foot, he publicly demanded it back. What happens next is a ridiculous media frenzy, a fantastic chain of events that ultimately leads to a custody battle over the foot on the Judge Mathis TV show.
It’s an unconventional idea, but the way John speaks to the camera and explains his hardships so honestly and, now seven years sober, so openly, we can’t help but support his decisions, no matter how crazy they may be.
Just how did the foot get in the grill in the first place? This is the question asked by so many throughout the course of this bizarre, true-life tale. Unfortunately, the story is born out of tragedy– John lost his foot in an airplane crash that also left his father dead. On top of struggling with drugs and alcohol for years, the death of his dad was especially hard on him, so he decided to mummify his foot in memoriam. It’s an unconventional idea, but the way John speaks to the camera and explains his hardships so honestly and, now seven years sober, so openly, we can’t help but support his decisions, no matter how crazy they may be.
Directors Bryan Carberry and Clay Tweel have really found a needle in a haystack with Finders Keepers. While it is tonally a funny film, they don’t shy away from hitting poignant, emotional notes that ground the film and give it substance. While it could have been easy to laugh at and look down on the situation, the way Carberry and Tweel capture John’s essence and Shannon’s ignorance is sweet; we laugh not at them, but with them.
I first saw Finders Keepers when it screened during this summer’s Sundance Next Fest and while I initially didn’t have high expectations that this documentary would be anything out of the ordinary, I did predict that I would be in for a wild ride. Now having seen the film, the term “wild ride” seems like an understatement. Funnily enough, when I left the theater at the Ace Hotel in Downtown L.A., I ran into John and his wife about a block away. I stopped to talk to him for a good 20 minutes, and he told me even more outrageous facts that will possibly be made into a narrative film. You heard it here first.
Finders Keepers opens in Los Angeles this Friday, September 25th; VOD October 2nd.
https://www.youtube.com/watch?v=bexyqstg4-E
Review: 'Cop Car'
Kicking off this year's NEXT FEST (the LA-set sister film festival to Sundance), Cop Car is being touted as a must-see for "midnight thriller" cinephiles. A corrupt cop, two rebellious kids, and a stolen police vehicle make up this dark little comedy that proves to be one of summer's top coming-of-age thrillers. Premiering this past Sunday at the Hollywood Forever Cemetery (a fitting location for added creepiness), the tense cinematic sequences that Cop Car organically conjures up were felt long after the film's brisk 86 minute run time.
Kevin Bacon, who stars in the set-up opposite the film's two young leads, shows off his devilish comedic chops as the mustachioed and corrupt county sheriff, Kretzer. Bacon doesn't appear in the film's initial scenes, a job left to newcomers James Freedson-Jackson and Hays Wellford, who play young runaways and best friends Travis and Harrison. The boys, moseying through the picturesque Colorado plains while one-upping each other in an innocent-enough swear-off as they look for more adventure, find just that in an abandoned cop car in the middle of nowhere. With an empty beer bottle on the roof and the keys in between the seats, the boys take off on a joyride that every young kid dreams of.
Perhaps that's just the power of Kevin Bacon, but I'd like to think it comes from the undeniable magic that happens when a talented actor is matched with an as equally talented and creative director like the promising Watts.
Donuts, burnouts, and speeding make for a very entertaining montage sequence, but it's not until the owner of the car comes back to claim it (shown in a brief flashback to the moment said driver leaves the car), and realizes it's missing, when the tension (and comedy) hits. The car belongs to Sheriff Kretzer, and, past his comedic confusion, he is not happy. After some illegal activity leads him away from the car in the first place, he is left immobile and alone in the vast countryside, and determined to get his car back (as the trunk is learned to be holding precious cargo) quickly and in one piece – a fate he doesn't hold for the rest of the parties involved.
Cop Car is a reflection of a successfully made, true independent film. With its limited budget, seen in its rural-set locations and single-day narrative, director Jon Watts manages to produce something small and wonderful. It's no wonder why Watts was chosen to direct the forthcoming Spiderman reboot. This small scale production produces high stakes horror, and while Watts sets us up with the perfect scenario and tone reminiscent of the Coen Brothers' No Country For Old Men, it is the actors that truly drive the story home. Kevin Bacon is selfish, evil, and lacks empathy, yet I still found myself rooting for him. Perhaps that's just the power of Kevin Bacon, but I'd like to think it comes from the undeniable magic that happens when a talented actor is matched with an as equally talented and creative director like the promising Watts.
For some, however, this tightly wrapped story may leave some important questions unanswered after the film cuts to black. Why were the kids running away in the first place? What ultimately happened to Sheriff Kretzer? Did the boys make it out ok? I don't believe these facts are detriment to the film's success; in fact, it makes for a perfect setup for Cop Car 2. Now that's one sequel I'd like to see.
Cop Car opens at the ArcLight Hollywood this Friday.
https://www.youtube.com/watch?v=MBK_9GlVlc0
Review: 'The End of The Tour'
Often times, when an iconic figure in history, and specifically pop culture, is recreated for the purpose of film, we can't help but have preconceived notions of the subject, who will either live up to our standards, or be a flimsy caricature of said person. While I had heard of author David Foster Wallace before reviewing The End of the Tour, I was not as familiar with him as were the other attendees at the film's screening, where I soon realized that I was sitting amongst a crowd of literary conscious NPR members. The early and scattered premature uncertainty of Jason Segel's performance as the beloved D.F.W. didn't go unheard by me, and yet any question or doubt this room had going into the film was answered by the end. Not only is Segel mesmerizing, The End of the Tour stands as an early contender for a Best Picture Oscar nomination.
The End of the Tour is based on real-life journalist David Lipsky's critically acclaimed memoir, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, which chronicles the highs and lows of his 1996 five day journey with his interviewee-author. Jesse Eisenberg plays Lipsky, himself a novelist with a fasciation with Wallace. While working as a reporter for Rolling Stone magazine, Lipsky convinces his boss to let him join Wallace on the last leg of his book tour for the post-modern masterwork, Infinite Jest, scoring a days-long exclusive with the writer dubbed genius.
Lipsky, a fast-talking and socially awkward man, first meets the reserved, introspective Wallace at his home. Subtle humor is sprinkled throughout this first "getting to know you" scene, and it's here where the tone is set for the rest of the film. As the days go by, the bond grows stronger between Lipsky and Wallace, and what was initially a more formal and awkward Q&A evolves into a free flowing and revealing, conversational interview.
A neatly wrapped package with stand out performances, this is an example of what really good filmmaking looks and, more importantly, feels like.
Inevitably, as a journalist who also happens to be a fan, Lipsky gets too close to his mesmerizing subject to stay objective. Yet the breaking of this ethical code is what it takes for Wallace's emotional walls to come down, as he begins to bare his soul to a man he just met. Pretty soon, we, as well as the characters on screen, step back and ask ourselves, who is interviewing who?
It is easy to chart where Wallace's-depicted personality breaks through and wins us over. The thoughtful dialogue between both characters is sharp and tactful, one of my favorite lines being "reading you is another way of meeting you," but the minutes-long monologues are where Segel really shines. His honesty and disenchantment with fame is a refreshing perspective on life, and his humility is applaud-worthy. He observes that American life has us programmed to want to achieve everything, but there is nothing wrong with ultimately wanting to stray from the mainstream and be left alone. This is the inspiring path Wallace is choosing to take, but can't help but let his "Lone Wolf" lifestyle, depression, and loneliness get the best of him.
Segel and Eisenberg's performances are magnetically matched, the intensity of their relationship growing stronger throughout the film. Much credit is due to screenwriter Donald Margulies, who himself is a Pulitzer-Prize winning writer. He tackles The End of the Tour with stark realism, highbrow humor, and bittersweet insight. This is evident in the film's final moments, which ends with a single, affecting word.
Director James Ponsoldt's big break into mainstream cinema came in 2013 with the coming-of-age film, The Spectacular Now. Avoiding many of the stereotypical pitfalls most young-adult stories fall victim to, Ponsoldt captured sensitivity and poignancy that left a lasting impression on audiences. The Miles Teller-Shailene Woodley starring film paved the way for this next feature, and it is with this same attention to detail and wistfulness that The End of the Tour is greeted.
Meditative and thought provoking, The End of the Tour captures the complexity of one man's life through a delicate lens. A neatly wrapped package with stand-out performances, this is an example of what finely-crafted filmmaking looks and, more importantly, feels like. One thing to note–there is a hidden gem if you stay through the end of the film that delights, just like how I'd imagine David reacting to this surprise if the film was to continue on. It will bring a smile to your face and lead you to tip your hat to the creativity and talent of Ponsoldt in insightfully capturing the essence of a brief yet honest, and almost magical, moment in this reclusive genius' life.
The End of the Tour opens at the ArcLight Hollywood and Landmark Theaters this Friday.
https://www.youtube.com/watch?v=fqUa5sYHC9s
Morgan Neville & Robert Gordon on 'Best of Enemies'
In 1968, ABC News featured two high-profile intellectuals of different political parties, Gore Vidal, and William F. Buckley, Jr., to participate in 10 live debates with each other. What resulted created a new format for pundit television. The documentary Best of Enemies tells this incredible story, and I had the opportunity to talk exclusively with directors Morgan Neville and Robert Gordon about their unusual approach to making this film, the incredible Sundance screening, and how Kelsey Grammer and John Lithgow's "rare, mid-Atlantic accents" blew them away. We begin:
You both have successful musical backgrounds within filmmaking, were you hesitant to approach a "political" film?
MN: I feel like this film is about culture, and my culture films are about politics. A film like 20 Feet From Stardom talks a lot about race, civil rights, and gender. I don't see these things as being so distinct. To me, I find a great story and that's what excites me.
RG: I would say that our music films only use music as an angle into other, bigger topics– social and cultural topics. I understand why people think of this as a departure, but it wasn't intimidating in that way.
For our review of Best of Enemies, click here.
I have to say, I thought the music in the film was great. A mix of piano, some jazz, it is a pretty intense soundtrack.
RG: We wanted the music to reflect these two men, and they were both classical aficionados, so that was the starting point.
MN: Our big challenge in terms of the filmmaking was that we were making a film about two guys sitting in a room talking, how do you make that cinematic? I felt like we had to use every tool we could to make it feel big, and music is a major part of that. We felt the drama of what was going on in the conversations was operatic and the music had to match that level of drama.
What initially attracted you to this story and these people?
RG: It was the sense of the culture wars we live in being anticipated and expressed by these two guys so long ago.
MN: I just thought it was so... verbal. Haha. I just loved the language, the humor– that was the first thing that got to me. Without understanding where exactly this film would go, I was interested in all of the directions it could go.
Robert, you initially found the footage?
RG: Yeah, a friend of mine shared it with me and I was just wrapped up in it. I called Morgan and he was excited just by the notion of it. We both knew who these people were, we were raised at a time where they were part of the culture, but these debates had kind of slipped from our consciousness. All I had to do with Morgan was say their names and he was excited.
Did you have to narrow down a lot of footage?
RG: Oh yeah, there are 2 1/2 hours of raw debate footage, 10 meetings of 15 minutes each of them in verbal bloodsport.
MN: We had to [cut out a lot] because we didn't know where the story was going. Nobody had ever written a book about it. The only way we could figure it out was to just keep talking to people, and that's challenging, but the fun part too. Another big revelation for us was the ABC story, we didn't know the behind the scenes stuff. That was one of the things that just got better and better the more we went into it.
Yeah, like the roof literally caving in. You can't write that, it's too perfect.
MN: I know!
RG: Metaphorical for the network.
I read that you interviewed Gore Vidal in 2010, how long has the span of this project been?
MN: That was the beginning.
RG: Yeah, it began in May 2010. The first round of interviews were kind of a test for the movie. We both knew it was a good idea, but was it going to be affirmed by others? The people who said yes were a way of letting us know we were on the right path.
How did you choose John Lithgow nd Kelsey Grammer to read the voiceovers?
MN: It was a long thought process for us to figure out what to do. It was something we wrestled with, do we do soundalikes? Women? Children? Who reads these voices? And then, I don't actually remember how, but Kelsey Grammer is a known conservative and that kind of seemed like a natural fit. John Lithgow is a known liberal. They both have those rare, mid-Atlantic accents that completely embody Vidal and Buckley. That's one of those things you don't really know how it's gonna turn out until they do it, and they just blew us away. They brought so much to it.
Their voices sounded familiar, but they weren't distracting away from the film.
RG: They had the authoritative tone. Those Esquire articles [in the film] contained so much great interior monologue that we knew we had to get them in there.
When you approached them with this movie, were they familiar with the debates?
MN: They knew the men, John knew Gore and Kelsey knew Buckley. Neither of them knew them well. Most young people in 1968 were not home watching TV and because there were no VHS tapes or YouTube, it was something more of lore more than what people actually remembered.
What was your first thought after getting accepted into Sundance?
MN: Yay!
RG: Time to buy some galoshes!
Laughter
MN: This was a five year labor of love and whenever you do something like that, you always wonder if anybody is going to like it. Especially when you work on it in a small, dark room for years. Knowing we got into Sundance was huge, but the first screening at Sundance was probably the pinnacle moment of this whole ride. It was the first time we had proof that what we thought was working, actually was working. The laughter and conversation afterwards exceeded our expectations.
RG: I gotta say, in terms of a Sundance moment, the acceptance was great, but in that first screening in front of 500 people when we had only ever showed it to like 5 or 10 people at once, and never the finished cut to anybody, it was hitting me in my very core. There was a sense of elevation; this is working, the audience is laughing at everything they're supposed to laugh at. Even the small stuff! It's sort of like an alchemy moment, we've turned this thing and these ideas into something tangible.
Review: 'Best of Enemies'
In the '60s, American society had the utmost confidence in its TV news. It was held to the highest of standards, reporting only the truth with no sidebar commentary or other funny business. By 1968, ABC was considered a laughing stock in the television news world, with jokes like, "The way to win the Vietnam War is to put it on ABC and it'll be canceled in 3-4 weeks."
With the large scale media event of the Democratic and Republican national conventions approaching, coupled with being dead last in the ratings, ABC had nothing to lose and took a chance by featuring two high-profile intellectuals of different political parties, to participate in a live debate with each other. What resulted created a new format for pundit television and news stations everywhere, a format we reproduce to this day.
Academy-Award winning director Morgan Neville (20 Feet From Stardom) and Robert Gordon (Very Extremely Dangerous) bring to the big screen the infamous and provocative debates between Gore Vidal and William F. Buckley Jr in the documentary Best of Enemies. Vidal, a Democrat and cousin to Jackie Onassis, had also gained notoriety from his works as an author. Pushing the boundaries of societal "mainstream," Vidal always liked to shock his audience. His most notable book, Myra Breckinridge, explored pansexuality and "free love," a concept that was seen as taboo at the time.
While the older generations who have lived through these debates may enjoy this film slightly more than millennials, it is an entertaining watch nonetheless.
William F. Buckley Jr., on the other hand, was a cornerstone of the modern conservative movement. A stark difference from Myra, Buckley founded the editorial National Review, and counted Ronald Reagan as a supporter. Two completely different ideologies from individuals who truly despised each other, clearly there was no lack of drama from the very beginning of this relationship.
A majority of the film consists of found footage from the debates, but we also get an exclusive look into the private lives of both of these men. They speak with an eloquence that gives them away as members of the upper class, yet their cunning dialogue and petty insults make them relatable. Sharp banter is flung, all the while keeping fake smiles on their faces. These moments in the film are organically humorous, and provide a magnetic point of interest for the audience.
While older generations who have lived through these debates may enjoy this film slightly more than millennials, it is an entertaining watch nonetheless. Neville and Gordon have managed to make politics funny and interesting for the audience at large. Comparable to the notorious banter between film critics Ebert and Roper, Vidal and Buckley truly were "Best of Enemies."
Best of Enemies opens at The Landmark this Friday.
https://www.youtube.com/watch?v=CzgfQvB2dvA
Review: 'The Look of Silence'
In 2014, director Joshua Oppenheimer's divisive and powerful documentary The Act of Killing, which explored the lives of former Indonesian death-squad leaders, was nominated for an Academy Award. While it ultimately lost out to 20 Feet From Stardom, the film left a lasting impression on many. Now Oppenheimer is back with an equally bold companion piece, coming from the perspective of the victims, in The Look of Silence.
As in The Act of Killing, The Look of Silence's roots stem from the 1965 Indonesian genocide and execution of perceived communists. The film explores the emotional aftermath that has never been publicly expressed. One family in rural Indonesia who lost their first born son to the hands of these "gangsters" had always tried to bury the past, not wanting to confront the real identify their son's killer. However, their youngest son Adi Rukun, an optometrist, takes it upon himself to figure out what exactly happened to his big brother many years ago, exposing the perpetrators along the way.
Adi makes house calls as an eye doctor and confronts some of his brother's murderers. He boldly asks them why they carried out such heinous crimes. It is a tense situation for everyone, including the audience. While Adi confesses to his 100-year-old mother and 103-year-old father that he could forgive the killers if they truly felt remorse, not one of the alleged gangsters demonstrate any sense of responsibility or guilt. "In the afterlife, the victims take revenge," Adi is told.
The Look of Silence brings the ferocity to the big screen with a delicate lens, and this juxtaposition is the reason why I would claim this is one of the best documentaries of the year.
While there are many moments in the film that leave one speechless, a major revelation shocks Adi to the core. He discovers that his uncle was a guard for the "Death Squad," indirectly participating in the killing of his brother. With a heavy heart, Adi shares this information with his mother, which is understandably devastating to her. It is a tough scene to get through with dry eyes.
Oppenheimer effectively captures a stunning moment in history in The Look of Silence. Back on board as executive producers are documentary heavyweights, Werner Herzog and Errol Morris. Cinematically, the look of the film is sharper (likely due to a camera upgrade since his previous film), and the story is more condensed. The graphic nature comes mostly from the killers' own mouths, describing mutilation such as how they cut off women's breasts, killed men by shoving wood up their anus until it hit their throat, and drinking the blood of their victims to, in their words, "stay sane." Oppenheimer reverts back to his unique edit of cutting back and forth between television screen and an emotionless protagonist fixated on the images. Instead of Anwar staring at his performance in The Act of Killing, it is now Adi watching an interview with two murderers describing how their victims "screamed, cried, and begged for mercy."
The Look of Silence is far from a light film, with the weight of all the victims who went without a voice for years, resting on it's shoulders. Oppenheimer has done a groundbreaking job in exploring an act of terror not widely known, and getting into the mindset of the killers to try to understand "why." He then comes full circle, focusing on the innocent victims and how they have been affected. The Look of Silence brings the ferocity to the big screen with a delicate lens, and this juxtaposition is the reason why I would claim this is one of the best documentaries of the year. It is not rash to call this film another Oppenheimer masterpiece.
The Look of Silence opens today with a national rollout to follow.
https://www.youtube.com/watch?v=aA_ZHAs4M9k
Anders Holm on 'Unexpected'
I meet Anders Holm at the SLS Hotel for our exclusive interview about Unexpected, the new indie flick starring Holm and Cobie Smulders of How I Met Your Mother fame. Holm, himself a notable comedian for his show Workaholics (in which he co-stars, writes, and directs), is quick to crack a joke (If only his character "John" in the film was as entertaining as Anders is in real life). With a monotone cadence, Holm rides the line of being either sarcastically hilarious or completely serious. It is a style of comedy which I'm personally a huge fan of, so our interview is no doubt a very fun 15 minutes. We initially cover the film, but then can't help digressing for the rest of the interview to other important subjects such as: proper telemarketing etiquette, his daily routine, and his dreams of wearing a speedo one last time. We begin:
How did you become attached to the project?
I became attached after reading the script and falling in love with it, and then meeting Kris Swanberg. Not falling in love with her, but loving her and wanting to work with her. So between the script she wrote and then just Kris herself, I was like I wanna be a part of this.
In Unexpected, you play the perfect boyfriend. When fans of Workaholics see you in this role, what will they say?
They're gonna say, "Woah, Ders is a total bitch in this movie, but I like him." You know as I get older, and I am, it's no longer like "fresh out of college." It's more like oh, this guy's in his 30s and just had a baby and proposing and getting married. Hopefully my characters can evolve with my actual self.
Is that something you want to do, take on these more "serious" Hollywood roles?
No I mean it's just like realistic. It's funny, I was on set two seasons ago when I was 31 and we [Adam Devine, Blake Anderson] were chasing these girls who were underage and couldn't buy beer, and one of the actresses was 17 playing 20, and I was 31 playing 27 or whatever. It was like, alright, let's just start playing our age. What are we doing here? It's bizarre.
At least it's not the other way around, you're not aging yourself.
But isn't that society? Isn't it not right either way? I'm kidding. There's double standards and there always will be.
What was working with Cobie Smulders like?
Cobie is awesome. She's easygoing, she knows her lines. She seems like she could be a diva, like, "This girl's got it all," but she's not. She's the most fun and also just like, good. There's nothing like showing up on set and acting across from someone and thinking, "Oh, they're way better."
Did you go with the film to Sundance and SXSW?
I went to Sundance. Went to the dance, the Sunny D. Walked around with Chris Webber, who's a producer on the movie, and watched some guy pass by and say, "Was that R. Kelly?" It was very funny. I had never done Sundance before and it was just cool.
What's your daily routine?
Well now I've got a kid, so the child wakes me up. I used to wake up to Alice in Chains "Here Comes The Rooster," on my phone, but now I wake up to a 19-month-old down the hall going, "MOM. MOM. MOM" for like 10 minutes before we're like, "We gotta get up." That's zero exaggeration. It's deep and it's not "Mama," it's not "Mommy," it's "Mom."
He sounds like a teenager.
Yeah it's weird. So that gets me out of bed and then I either try and do a five minute workout or I get out the door and go to work and write all day with my best friends on Workaholics. Then I go home and open the door and the kid's like "MOM."
I'm sure with a kid you've had to master the art of fitting things in with a limited amount of time.
Yeah, well it's more of I've given up my own life, minus work. I did have some hobbies I used to do, and they no longer exist.
Would you say you're most productive in the morning, afternoon, or night?
Night, which I can't do anymore. I'm a total night person. If I was left to my own devices I would become a vampire and stay up until 4 a.m. But when you've got a kid you can't do that because you've gotta be up at 7 a.m., so I've taken to writing at like 10, maybe 11 a.m. Then I just work during the day. I don't like it as much but what am I? A child? It's time to go to work.
What is your process for memorizing lines?
Well Workaholics is cheating because two things: We wrote the episodes so I was there and read the script a bunch of times. I also have the advantage of being able to say whatever I want anyway 'cause it doesn't matter. When you get to other people's sets it matters a little more. I don't know what I do [learning lines], I'm not the best, but Jillian Bell on Workaholics taught me this thing where if you hand-write out all of your lines and also the other person's lines, it will help you embed it into your brain. It works, but I've got brain damage or something. It's never gonna happen.
You're also involved in improv comedy.
I took a couple classes after Workaholics just 'cause I was like, bored, and wanted to make sure I could still act. When you're insulated with the guys who I've just been shooting videos with and you're like "Oh other actors are going to be coming to set," it might be good to just get out there and sharpen my tools.
So when you are on other people's sets, do they allow you to improvise?
It varies, but when I did The Mindy Project we would improvise a lot. I would usually let Mindy [Kaling] go off the page before I did. It's her house, I'm not gonna walk in there and tread mud. But then at the same time it's better to beg forgiveness than ask for permission. I've begged for forgiveness a whole bunch.
If you could write/direct your next movie, featuring you, what would that be?
That's what my manager is telling me and I don't know what it is. How about it's a guy whose back is up against a wall, so he puts on his speedo and tries to make the Olympic trials.. and doesn't.
You already have the speedo experience*, right?
I do have the experience. I might as well, one last time.
What's been the worst job you've had in a non-acting context?
I mean, I did telemarketing and so did Adam DeVine. What I did was tele-fundraising. Instead of calling you and saying, "Hey I've got a product," I would say, "Hey, there are some whales that are getting murdered off of the coast of Japan. Do you want to give money to make those whales not murdered?" It sucks. Asking people for money, on the phone, sucks. You're hooked up to a computer so as soon as a call is over and you hang up, it dials another one.
Ok, so I have to ask, what is the polite way to say "No thank you" to these calls?
Yeah exactly! So now when I get one of these calls, I let them get out their main thing, and if they do say "How are you," I'll say, "Hey I'm good and I appreciate your call but I'm not interested. Thanks and good luck." You've gotta be sweet. I don't know why people... I think it's a power thing. If you have no power in your day-to-day life except for when someone calls and you can just shit on them, people will. But my life's ok so I can just talk them down.
*Anders was a varsity member of the swim team at the University of Wisconsin-Madison.
For our review of Unexpected, click here.