'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/
'Hail Satan?' Exposes Satanic Panic in Middle America
HAIL SATAN? (2019)
Starring Jex Blackmore, Nicholas Crowe, Lucien Greaves
Directed by Penny Lane
Distributed by Magnolia. 95 minutes. Rated R
Headline-grabbing independent filmmaker, Penny Lane, has profiled some incredible subjects over her years as a documentarian. From President Richard Nixon to Dr. John Romulus Brinkley- the infamous goat testicle surgeon- Penny Lane has a knack for bringing engaging stories to the big screen, and her latest feature, Hail Satan?, is no exception.
Hail Satan? is a documentary meant to provoke. Fed up with the status quo government classification of the United States as a Christian nation as opposed to a secular one, activist Lucien Greaves has dedicated his life to pressuring society to evaluate the notion of one "right religion." Greaves- not his birth name- is the mastermind behind The Satanic Temple, which has been described as the new weapon in culture wars. Greaves and other members of The Satanic Temple aim to point out every mention of Christianity within the government, including the motto "In God We Trust" on our currency as well as erecting a 10 Commandments statue outside the Capitol Buildings. The Satanists combat this with provocative performance art, demonstrations, and even the construction of their own statue, Baphomet, to sit alongside the religious ones.
Disregard everything you thought you knew about Satanism- these followers and religious instigators claim that just as the devil directly confronted god, satanism directly confronts religion. They profess that death and mayhem aren't the pillars of Satanism but are characteristics that have been wrongly attributed to this misunderstood organization since its origin. Rather, Satanists consider themselves to be realistic and logical thinkers who believe that religion should be separated from superstition. They believe in empathy, respect, and good will towards others. Shockingly, Satanists don't believe in Satan.
Hail Satan profiles The Satanic Temple and its members and Penny Lane humanizes the once-feared and very misunderstood world of Satanists. The documentary itself is very standard, with talking heads directly addressing the camera, but the subject matter alone is enough to engage the audience during the entire 95-minute run time. This film, however, isn't for everyone. If you're easily offended by vulgar nudity, fetishizing abortion, or provocative performance art, this may not be a comfortable watch.
Hail Satan? should be viewed through the lens of ironic humor. While these are the real beliefs of real human beings, the outrageousness of their actions makes it ok to laugh with and at them. Catchphrases like "Satanism is patriotism" and conducting interviews wearing devil horns makes Hail Satan? enlightening and entertaining. The Satanic revolution is coming, we've all been warned.
Opening this Friday at ArcLight Hollywood.
'Mary Magdalene' Review: Quietly Captivating Biblical Drama
MARY MAGDALENE (2019)
Starring Rooney Mara, Joaquin Phoenix, Chiwetel Ejiofor
Directed by Garth Davis
Distributed by IFC Films. 120 minutes. Rated R
Straight off of Lion- Garth Davis' Oscar-nominated directorial debut that physically moved me to tears- comes Mary Magdalene, another emotional drama that brings the story of the apostle (or mythical apostle, depending on who you ask) Mary Magdalene to light for the first time. Aside from the film's visual beauty, it's important to note that Mary Magdalene is the last film score by the incredibly gifted composer, Jóhann Jóhannsson.
The film opens on a shot of a woman drowning, her wavering, sinking body looking more like an underwater ballet than a death. This imagery is strong, but should not be taken literally. It is made to resemble Mary's (Rooney Mara) suffocation at the hands of her father, her arranged marriage, and her lack of a sense of purpose. Mary is beautiful and headstrong, two qualities that aren't compatible with her time, and so all she can do is pray for change. When news spreads that a mysterious man named Jesus (Joaquin Phoenix) has come into town, claiming he knows the path to God's kingdom, Mary finally sees a way out. Without hesitation, Mary follows her faith and blindly follows Jesus and his disciples, including Peter (Chiwetel Ejiofor), on his journey to preach the word of God.
Mary falls under the spell of the bearded messiah after witnessing him heal the blind and bring people back from the dead, but it is their intimate, abstract discussions that bond the two. There is no romance between Jesus and Mary, it is purely platonic (off-screen, however, Phoenix and Mara found love on the set). Mary is there with Jesus until the very end as he hung lifeless on the cross. She was there when he was buried in the tomb made of rocks. And she was the first person to witness his resurrection.
Rooney Mara's ethereal beauty and wide-eyed innocence are natural features that make her the perfect Mary. She re-teams with Garth Davis and delivers a simmering performance. From Jesus to the Joker in a matter of months, Joaquin Phoenix flexes his range as an actor as the proverbial Son of God. This film proves that he really can do it all.
Throughout the film, Davis is respectful to the religion and the beliefs of Christians, handling the crucifixion and miracles with sensitivity. He even goes so far as to dispel the popular "rumor" that Mary Magdalene was a prostitute. In one of the title cards at the end of the film, a statement reads this was a "misconception" started by Pope Gregory in 591 AD.
Believer or not, there is a quiet captivation in Mary Magdalene that audiences will find themselves lost in, be it the picturesque surroundings, Mara and Phoenix's chemistry, or the gift of hearing Jóhann Jóhannsson's final musical score one last time.
Mary Magdalene opens this Friday at Laemmle theaters, on VOD and digital platforms April 19
'High Life' Explores Humanity in Isolation
Robert Pattinson's reinvention into an indie darling has been an exercise in pushing artistic boundaries and audience expectations. It may seem like Pattinson- the blockbuster heartthrob- was a whole other person. Maybe at this point, he is. Proving that he's not one to shy away from obscure projects, (see: Good Time), Pattinson joins forces with famed French director Claire Denis in the brain-busting sci-fi, High Life, a film whose meaning is obtuse but whose beauty is undeniable.
High Life is a story about isolation, survival, and rebirth. Set in deep space, we follow Monte (Pattinson), a convicted criminal who forgoes a traditional prison sentence to serve out his time as a pawn on a spacecraft as part of a governmental experiment. Monte and a handful of other unlucky men and women – including girlfriend Boyse (Mia Goth) – are to spend years in space, with the main objective of harnessing energy from a deadly cosmic vortex (a seemingly monumental task, especially for criminals with little to no education). Taking advantage of the offenders' vulnerability and circumstance, the crew's leader, Dr. Dibs (Juliette Binoche) has other plans for the space convicts. In the film's more risqué moments, we see her personal aim of achieving fertility by using the reproductive parts of the passengers aboard, with or without consent.
It should be mentioned, all of the above is crucial backstory crucial to explain Monte's situation when we first meet him at the beginning of the film (High Life is told through a series of flashbacks). As High Life opens, we see that Monte is apparently the only living person aboard the spacecraft – except for Willow, his infant daughter (played by 14-month-old Scarlett Lindsey). Kudos to the baby wrangler and Pattinson himself for creating such a warm and comfortable environment for baby Lindsey to thrive in. A sci-fi Cast Away of sorts, Monte no doubt has learned how to care for both him and his daughter over the years of living in isolation, much of his survival dependent upon the spacecraft's flourishing and vivacious garden.
Meditative and esoteric, High Life is definitely a thought-provoker. It is another ambitious output from Denis, who is known for her highly-cerebral and challenging films. But despite these accolades, High Life is still a challenge to watch. There are questions never answered that can lead to confusion, at times I wondered if I was missing something. The biggest takeaway from High Life is that an open mind should be brought aboard this odyssey.
Make sure you stay through the end credits, audiences are treated to Robert Pattinson's vocal arrangement in Tindersticks' song, "Willow"- the film's end track. It's a catchy, moody tune that perfectly sums up the vibe of the film- a unique production that demands a second listen to fully appreciate all of the little gems buried in this treasure trove.
High Life is rated R for disturbing sexual and violent content including sexual assault, graphic nudity, and for language. 110 minutes. Opening this Friday at ArcLight Hollywood and The Landmark.
'Slut in a Good Way' Review: Life's Short, Have Fun
A French-Canadian teenager takes her power back after a stereotypically degrading insult in director Sophie Lorain's progressive, sex-positive comedy, Slut in a Good Way. This black and white mumblecore film explores the strength of female friendships during the pivotal time in a young girl's life when both personal and sexual freedom is explored and discovering the freedom of being comfortable in one's own skin.
The film begins with a long one-take of three giggling girls, Charlotte (Marguerite Bouchard), Mégane (Romane Denis), and Aube (Rose Adam), as they rummage around a sex shop where Charlotte is deciding on which lingerie set to buy for her boyfriend. With input from her friends, she chooses an outfit, but unfortunately, the lingerie does little to spice up the 17-year-old's relationship, as Charlotte’s boyfriend decides to break up with her that night. Turns out, he prefers men. But that doesn't deter a headstrong Charlotte from trying to win him back, as she simultaneously self-medicates her heartbreak with booze, bongs, and best friends.
Each boy crazy in their own way, the girls can't believe how many handsome guys work at the local toy store, Toy Depot, and immediately apply for part-time jobs just to be in their company. Hoping to get her mind off her ex, Charlotte finds that flirting with the other boys at work is actually helping her move on. It is said that one way to get over someone is by getting under someone else, and Charlotte does just that. For a while, she feels more confident and self-assured, but when her co-workers begin slut-shaming her with the unfair double standard between her actions and those of her male partners, Charlotte becomes more insecure than ever.
Slut in a Good Way, previously titled Charlotte a du fun (aka Charlotte has fun) is an anthem to strong independent women who are not relying on having a boyfriend to feel complete. Director Sophie Lorain accomplishes this by never pointing a finger at Charlotte or insinuating that her trysts are mistakes. Rather, Lorain portrays the natural curiosity of a young woman who enjoys having sex without a moral judgment- something that is rarely supported onscreen. Once the stigma surrounding her sexuality is erased, Charlotte’s character is viewed as neither wrong or bad- in this case, “slut” is actually a term of endearment.
Lighthearted with a strong message behind it, Slut in a Good Way joins a growing number of films that are tackling progressive teenage sexuality, like Netflix's Sex Education and To All The Boys I've Loved Before. Slut in a Good Way is an upbeat and refreshing story, reminiscent of a modern-day version of Grease in some aspects, and another step toward the future of female-powered independent films.
89 minutes. Rated R for sexual content, drug use, drinking, and language - all involving teens. Opening this Friday at Laemmle Royal, Playhouse 7, and Glendale.
No Good Deed Goes Unpunished in 'Ash is Purest White'
A poetic romance that transcends time, Ash is Purest White tells a love story that doesn't play by the rules. Written and directed by Jia Zhang-Ke, the film is a tribute to the lengths one will go in order to reclaim a past relationship, despite the intangible longing of a love that's been lost. Ash is Purest White, which at the time of writing this review, currently holds a 100% on Rotten Tomatoes, shows that even though the truth may hurt, it is an absolute necessity in order to move on.
Sacrificing yourself for another
Qiao (Tao Zhao) is in love with the local "jianghu" (mafia) boss Bin (Fan Liao), and even though he is hesitant to put a label on their relationship, everyone who knows the couple knows they are together. One night, a mysterious murder in the group's inner circle puts everyone on edge, as town's rival gang appears to be sending threats. That threat becomes personal when a group of boys catch Bin off-guard and begin beating him in the middle of a busy street. Qiao, whose initial reaction of shock quickly turns into controlled rage, pulls out a gun- the gun that Bin gave her days prior- and shoots it up into the air as a warning. The rival group scatters, but unfortunately for our heroine, Qiao, she gets arrested for owning and discharging an illegal firearm.
Love lost
Fast forward five years, Qiao is finally released from prison and begins her search for Bin in the hopes to pick things up where they left off. The fact that Bin never came to visit her in prison and now is not answering his phone, makes her nervous. When Qiao finally tracks Bin down, his selfishness dumbfounds her. Not only does he have a new girlfriend, despite Qiao's sacrifice to save his life, but his feelings for her have also clearly changed. He doesn't love her anymore, and for Qiao, that reality is the equivalent of a slap in the face. She now realizes that her whole adult life, she had been a prisoner in both the literal sense and also figuratively as a pawn, in a non-committed relationship that had no future.
Lynchian moments make this a true art film
Almost Lynchian at times, Ash is Purest White incorporates surrealist moments that serve to shake up the film's otherwise natural sensibilities. The dance club scene early on, in which Qiao and Bin dance with a group of strangers to the Village People's YMCA, gives off strong Pulp Fiction vibes. Ballroom dancers at a funeral and a UFO sighting are other nuanced touches that director Zhang-Ke also incorporates. Visually, Ash is Purest White is drenched in the naturalistic beauty of the northwestern Chinese region where it looks as if every frame is a painting. The greenery of the hills juxtaposed with the neon vibrancy of city aesthetic breathes life into the tepid relationship we see on screen. The film also does a wonderful job of indicating that time is passing without relying on title cards or other obvious methods. We see our characters age through their wardrobe, hairstyles, and the continuous upgrades in the technology of the times.
Facing the truth is not easy, but necessary
Ash is Purest White is a film about life, love, and freedom where coming into one's own can be an ambiguous and anxiety-ridden journey. Qiao learns this the long and hard way as she discovers that she must live her life for no one other than herself. It's a lesson about self-discovery that's not only important but clearly timeless.
Ash is Purest White is not rated. 136 minutes. Opening this Friday at ArcLight Hollywood and Laemmle Monica Film Center.