'Jonathan' Review: Twin Terror
I wanted to catch Jonathan when it premiered at the Tribeca Film Festival earlier this year but unfortunately, my schedule conflicted.
From first looks, this moody sci-fi flick seemed right up my alley. Reminiscent of a Drake Doremus color palette with two actors that seemed highly compatible on screen, I was hoping Jonathan would get picked up by a distributor so I would have a chance to see it in theaters. Thankfully, Jonathan is having its big screen debut this Friday and I am very happy to say that it lived up to my expectation and months-long anticipation.
Like an episode of Black Mirror, Jonathan follows the titular character – Jonathan (Ansel Elgort), a handsome young man who shares a body with… his brother. Now, don't write this film off based on this premise of symbiotic multi-consciousness, because the "why" remains a mystery for about a third of the movie (and I'd hate to ruin the surprise, so just go along with it for now). The way in which his body is shared is quite interesting as well. There is a daytime Jonathan – who acts as our protagonist – and a nighttime Jonathan – or "John" – whom we never actually meet. They each take 12-hour shifts within the body, with Jonathan being conscious from 7 am to 7 pm and John awake from 7 pm to 7 am. Since they don’t share a brain – only a body – they communicate about the days and nights events through videotaped monologues, catching each other up on whose turn it is to do the laundry or informing what groceries have been purchased.
'Jonathan' is twisted sci-fi through and through...
Their routine, while absurd, works for them. That is until Jonathan realizes John has been lying and secretly dating a girl named Elena (Suki Waterhouse). For obvious reasons, romantic attachments are strictly against their rules, and after an argument (which lasts for a couple of days since they need time to watch their videotaped fights and then reply), John goes radio silent, “ghosting” Jonathan and not recording tapes. Lost and confused, daytime Jonathan doesn’t know who to turn to, who to trust, or what's going to happen next.
First-time feature director Bill Oliver does such a fantastic job of building the suspense in Jonathan's world without overcomplicating or rushing key plot points. A tricky aspect of suspenseful surrealism convinces the audience of the story's realism, no matter how outlandish the plot. Jonathan is twisted sci-fi through and through, and Oliver's patient unraveling of information, along with cinematographer Zach Kuperstein's grounding camerawork, and a hauntingly good score from the Blair Brothers (Green Room, Blue Ruin) make this mind-bending thriller a fun and worthwhile watch.
Jonathan serves a double dose of Ansel Elgort, which is sure to excite fans of the twenty-four-year-old Baby Driver star. Thankfully, his character is more than just eye-candy to entice girls to the theatre. Here, Elgort is (literally) embodying two different personalities and acting against himself on screen. It's quite the challenge, yet he pulls it off so well and with such control, even when his character is anything but stable.
Jonathan is daring and bold, a fine film all the way around. It is sure to satisfy fans of the science fiction genre in a gently challenging way, but even if symbiotic multi-consciousness isn't your thing, there's still much to admire in this little indie film that could.
'Jonathan' is not rated. 95 minutes. Opening this Friday at Arena Cinelounge and on VOD.
The 5 Things We're Looking Forward To At This Year's AFI Film Fest
It was a shock to hear that LA Film Festival, a place where Cinemacy has had so many great and unforgettable memories over the years, will not return next year.
While losing this platform to showcase indie film is a hard hit for LA's cinephiles and fans alike, we're fortunate that the AFI Film Fest has no signs of winding down. All eyes are on the festival, which starts tomorrow, and in anticipation of the event, we're highlighting the five things we’re most looking forward to. If you can’t make it out, be sure to follow Cinemacy as we cover the festival from start to finish on Instagram, Twitter, and Facebook!
Sally Field, Miles Teller, Rebecca Hall, and Adam Driver at the Indie Contender's Reception at AFI Fest 2016
Morgan's pick: Women in Film Roundtables
The roundtable discussions at the AFI Film Festival are always an enlightening and inspiring event, but this year's focus on Women in Film makes me so happy. Not only will there be a presentation by director Nina Menkes on female representation in cinema, but there will also be a panel dedicated to female film critics! This panel appeals to me for obvious reasons, with topics of conversation ranging from the state of film criticism and how media outlets, studios, and film festivals are working to increase representation among critics and journalists.
Shoplifters film still
Ryan's pick: This year's Cannes Film Fest Palm d'Or winner, Shoplifters
In the context of prestigious film festivals, we can always look to the Cannes Film Festival (bucket list destination) to point to cinematic accomplishment and excellence. Credit the power of AFI Fest for being able to land this year's Palm d'Or winner at the festival, Shoplifters. Other than the fact that this Japanese film won Cannes' highest award, I don't know much else about this drama centered around a band of misfit family members – which is enough to get me to check it out.
ROMA film still
Morgan's pick: Roma
This may be cheating as I was fortunate enough to see Roma last night (followed by an incredible and intimate Q&A with select cast and crew), but I speak from experience when I say you MUST see this film on the big screen. Alfonso Cuarón's latest masterpiece is a black and white Mexican epic centered around family, which was inspired by Cuarón's own childhood. The film will have a divisive limited theatrical run in mid-December followed by it's Netflix release, but if you're able to catch Roma at the AFI Film Fest, then I highly, highly recommend that you do.
Vox Lux film still
Ryan's pick: Girls rocking hard in Vox Lux and Her Smell
Count me in for any hard-rocking movies centered around rockstars. A pair of femme-punk fronted films are screening at this year's festival, and I'm excited to see Natalie Portman returning to the big screen as a national pop-star in Vox Lux, and Elizabeth Moss going punk rock with Her Smell. In a year where women's voices are being heard louder than before, I'm excited to see more films where ladies turn it up to eleven on the DGAF scale.
The Ballad of Buster Scruggs film still
Ryan's pick: Netflix's big screen debuts, The Ballad of Buster Scruggs and Roma
It might sound counter-intuitive, but among all of the films I'll be watching this upcoming week are ones that I'll eventually be able to stream on my couch before the end of the year. Netflix inserts itself into Awards season with two films made by some of the most accomplished working directors in the business today, and the fact that these cinema-purists have gotten into business with the streaming giant shows how far the movie landscape has changed. The Coen Brothers' screwball Hollywood satire Hail, Caesar! didn't particularly win me over but nonetheless, I anticipate every one of their films, and my newest must-see is The Ballad of Buster Scruggs (originally conceived as a mini-series for Netflix, but will be an anthology of Western stories). The other Netflix title that is among my most anticipated of the year is Alfonso Cuarón's Roma, which has been receiving rave reviews (see above) and will certainly kick start "Best Picture" conversations into high gear.
'Bohemian Rhapsody' Review: Queen Reigns Supreme
I wasn't born when Queen performed at the legendary Live Aid Benefit show in July of 1985.
I was barely three-years-old when frontman Freddie Mercury died from AIDs-related symptoms in 1991. But man, did I feel like I was experiencing the mesmerizing talent of the iconic glam rock superstar in person, with a front row seat to one of the greatest moments in musical history. It tested my physical self-control to not stand up and headbang while singing along to the songs I grew up listening to in my childhood (thanks to the many summers spent in Drama Camp where the director used them during pre-performance warm-ups). No, I wasn't alive when Queen reigned supreme, but seeing Bohemian Rhapsody in theaters was the next best thing.
Bryan Singer's musical biopic about the enigma Farrokh Bulsara aka Freddie Mercury is a colorful and whimsical dive into the life of a societal outcast who found confidence and compassion within his chosen family of musicians. As an Indian immigrant who suffered from physical and sexual insecurities, Mercury consciously suppressed his negativity by putting his undeniable talent front and center, and it didn't take long for people to notice. His vocal capabilities were a way to override his anxiety, as he quickly bonded with his Queen bandmates Brian May (Gwilym Lee), Roger Taylor (Ben Hardy), and John Deacon (Joe Mazzello). He became engaged to the lovely Mary (Lucy Boynton) and went on to have international acclaim with #1 hits, and too much money to know what to do with. Talk about Killer Queen.
'Bohemian Rhapsody' is a film for the optimists, the music lovers, and the champions of the world.
The band's musical style evolved from anthem rock to opera soliloquies to disco-inspired-dance beats to emotional ballads and beyond. Mixing these genres was intentional, as Queen always wrote and performed their songs with the audience in mind. They wanted to create music that made the audience feel like it belonged to them too, they wanted the audience to feel a part of the band. And the audience loved it. But despite seemingly having it all, Mercury was selfish, self-admittedly "hideous", and often alone. While his outward confidence continued to grow with the band's success, behind the curtain, his off-stage persona was still an isolated immigrant teenager who longed for authentic, personal connections. It's poignantly ironic that the film's beginning montage is "Somebody To Love" (which, like every other song, left me with chills).
Director Bryan Singer, who is best known for the X-Men series, portrays Freddie as a flawed but lovable man who may have been blinded by fame, yet throughout his journey of self-discovery, ultimately comes to a place of self-acceptance. Singer keeps the story moving along quite swiftly (my only criticism is at times, the journey seems a little too easy) but the most impressive feat is how mind-blowing the performances are, especially the concert footage in the last scene. From small stages at local bars to London's Wembley Stadium, Singer recreates the crowd's uncontrollable energy and transforms the audience's theater seats to stadium risers.
It's quite audacious to take on the role of such a well-known individual, and it's another feat to completely become him. Rami Malik nails Mercury's nuanced mannerisms with his flamboyant stage prancing and exaggerated over-bite (due to having 4 extra incisors that made his mouth much larger than most), while also respecting his internal emotional struggle. Malik is magnetic on screen and gives a performance that makes Bohemian Rhapsody what is it: bold, in your face, and unforgettable.
Queen was a band of misfits, and they were universally embraced because of their authenticity. It was their creative spirits and steadfast dedication to musical exploration and inventive storytelling, fronted by an enigmatic lead singer, that landed them on the top of the charts. Freddie Mercury left absolutely everything he had on the stage and fought till the end. A bittersweet account of a man who dared to be different, Bohemian Rhapsody is a film for the optimists, the music lovers, and the champions of the world.
PS- While this film should definitely be experienced in a theater with surround sound, I also recommend watching it again in the comfort of your own home so you can rock out with no judgment.
'Bohemian Rhapsody' is rated PG-13 for thematic elements, suggestive material, drug content, and language. 134 minutes. Now playing in theaters.
'Thunder Road' Review: An Off-Kilter Look at Love and Loss
An impressive 12-minute long one-take sets the scene in writer/director/actor Jim Cummings' dark comedy, Thunder Road.
Aside from the impressive technical accomplishment of capturing this mammoth of a monologue, which is performed by Cummings alone, it's clear from the beginning that this is going to be a very off-kilter viewing experience. Emotionally in tune with the struggles of being both a parent and a child, Cummings creates a bittersweet love letter that speaks to the complexities of family dynamics while keeping the overall tone of the film interesting and unconventional.
Thunder Road is Jim Cummings' movie, through and through. He plays the fragile protagonist, police officer Jim Arnaud, and when we first meet him, he is delivering a heartfelt tribute to his deceased mother at her funeral. Dressed in his uniform, Jim uses his platform for a cathartic release of his pent-up regret about his past behavior of acting out towards his mother during childhood. He ultimately eulogizes her with an interpretive dance to Bruce Springsteen's "Thunder Road", providing a much-needed chuckle after nearly 10-minutes of grief-stricken sobbing.
As if losing his mother wasn't enough, Jim is also in the midst of a divorce, having issues at work, and struggling to connect with his young daughter, Crystal (Kendal Farr). After all, there is only so much advice a father can give his pre-teen daughter about boys and wearing makeup. Jim's unrelenting heartbreak is heavy, it seems as if he is never happy and that is a tough thing to sit through for an hour and a half. But Jim is resilient in his quest to give and receive love, which offers a silver lining during his struggle.
Directorial choices like these are what make 'Thunder Road' inventive both in front of and behind the lens.
A limited musical score adds to this dark comedy's overall feeling of unrest. When there is music, it comes from one lone, depressing violin, except for the beautiful sound of Bon Iver's "Skinny Love" performed by a string quartet in the film's final scene. That moment is sure to give anyone chills. This non-use of music is quite unconventional, and some may view it as flat. While there are moments that could have been aided by a more consistent score, the silence further adds focus to Cummings performance as an actor- distraction free.
Directorial choices like these are what make Thunder Road inventive both in front of and behind the lens. Cinematographer Lowell A. Meyer is patient with the long-takes and smooth with the subtle movements, breathing life into every scene.
Based off of and built upon Cummings' short film of the same name, which won the Short Film Grand Jury Prize at the 2016 Sundance Film festival, the 12-minute long short was quickly adapted into the feature-length film that is playing in theaters today. Thunder Road was also honored with the SXSW 2018 Feature Film Grand Jury Award and was in the top five best-reviewed films at Cannes this year where it premiered internationally.
'Thunder Road' is not rated. 92 minutes. Now playing at Laemmle theaters in Glendale, Pasadena, and Santa Monica and available on VOD.
David Majzlin: "Don't use music as a crutch"
David Majzlin is a busy guy, just ask director Paul Weitz.
In-between work on the award-winning TV show Mozart in the Jungle and his recent project Bel Canto, both of which were lead by Weitz, the Emmy-nominated composer has been immersed in creating classical tunes for the big and small screen. Wanting to become a musician since he was two-years-old, Majzlin is literally living his dream as he continues to expand his repertoire, both in working with filmmakers and learning new instruments. In our exclusive interview, I talked with Majzlin about working with the legendary opera singer Renée Fleming and how he discovered Bel Canto's key instrument at a party. We begin:
On deciding between a career as a composer or film critic.
"I like to say that I got my start when I was two or three and I destroyed my parents piano. The name of my publishing company is Toy Hammer Music and that's because my parents had this piano with ivory keys on it and I really beat it up with this toy hammer. They thought I was just playing until they came into the room and there are ivory keys all over the floor. That really freaked them out.
But all joking aside, I studied music my whole life. I had piano lessons growing up and then in my teens, I started playing guitar and bass. I always absorbed a lot of different kinds of music. I never had one set "style."
And then I started scoring films in New York. I actually did my masters in a film criticism program at New York University. I wasn't sure a hundred percent if I was going to do music, I loved music and film, and I had a really hard time deciding which passion I wanted to pursue."
On working with opera legend Renée Fleming (who dubbed over Julianne Moore's voice).
"The greatest challenge is always time.
I was working on Mozart in the Jungle simultaneous to working on Bel Canto and I normally I wouldn't do two projects like that at the same time, but they were both for [director] Paul Weitz. You don't get a lot of time to write these things, [the production] has to move very, very quickly. You know what they say- you never finish a film, you just run out of time or money.
That's definitely the case with writing music for a film. We get maybe 8 to 12 weeks to work on everything. There were two challenges with this film. One is that Bel Canto is a film about music featuring someone as prolific as Renee Fleming. I had to be very careful not to overstep the composition because her voice is what the film is about, the whole idea of classical music as a conduit for love.
I had to be very careful given that Renee's voice is such a powerful instrument on its own, and then you have Julianne Moore, who's spectacular, and I didn't want to step over her. So that's the challenge."
Never heard of the "Timple"? Neither had David.
"Bel Canto takes place in an undetermined Latin American country. We don't say what country it is, so I needed to find an instrument that wasn't specific to a certain country. Like if I picked the Berimbau, for example, the Berimbau is definitely Brazilian, the Tarang is Indian, etc.
I was at a party once and I met this girl, a musician, who was moving to Mexico and was selling this instrument. Well, actually, it wasn't for sale at first but I convinced her to sell it.
It's called a Timple, which is often used in the Canary Islands and in Latin America. I'd never heard of this instrument but when I went to her place, I saw it on the wall and it really spoke to me. I got her to let me play it and I just fell in love. It was like love at first sight. I just knew that this is the instrument that's going to serve for the whole film. This is going to be my palate. This is going to be unique."
On telling directors not to use music as a crutch.
"No matter who the director is unless the director is a musician, there's always a sense of uncertainty and trepidation because music composition is not their language. The directors are visually oriented people. It's sort of like you're taking their baby to college and you're like, 'Don't worry, it's going to be better!'
I ask the editor to edit for as long as possible without any music at all. I try to get them to get all the way to the end with no music that way you can see what's missing. That way you don't use the music as a crutch. A lot of times, the number one request I'll get for music is, 'Oh, the scene is boring or it's slow or the energy's low' and I'm always thinking, 'Well, maybe you should cut that scene because if it's slow then why is it in there?' You know what I mean?
You have to know why you're using that music. If you don't, then you run the risk of people not understanding what you're intending."
Listen here:
https://open.spotify.com/artist/5Hz5BSLJuxBF7dWNIwfhgs
'Border' is Cinema Magic at Its Best
The best way to experience Border is by not knowing anything about Border. Let me explain...
Iranian-Swedish director Ali Abbasi takes the seemingly-innocent genre of romantic fairytales and with a conjuring of dark material so weird it'll make your head spin, he creates one of the most disturbing films of the year. It's essentially a troll love story set in the Swedish countryside, but Border's hyper-realistic aesthetic combined with a jaw-dropping, phenomenal performance from Eva Melander makes this film a sight to be seen.
Tina (Melander) lives a rather solitary life. She works as a border patrol agent and, due to her unnatural dog-like instinct to detect shame, guilt, and rage through her sense of smell, she is highly successful at catching smugglers with secrets. It should also be mentioned that, along with these unique capabilities, Tina's appearance is noticeably different from her peers. Due to a chromosome deformity, her features are extremely masculine with a protruding forehead and unruly body hair. She is the definition of a societal outcast but continues to live her life, for the most part unaffected, but surrounded by her manipulative roommate Roland (Jörgen Thorsson) and her ailing father (Sten Ljunggren).
Border's ability to teeter between fantasy vs reality is cinema magic at its best.
Tina's daily routine is interrupted when she meets and quickly develops an unexplainable connection to a mysterious man whose smell she cannot figure out. A husky man with features similar to her own, including crooked and underdeveloped teeth, Vore (Eero Milonoff) is an enigma. After an agonizing and emotional back and forth on Tina's end, she finally allows herself to get to know the man who she feels magnetically drawn towards. While getting to know him, Tina begins to discover who she really is and starts to realize that what she is discovering will change her life forever.
There is so much to unpack in Border, both in front of and behind the camera. Most notably is Eva Melander's total transformation into this troll-like creature, Tina. Though her character has a heart of gold and a humanistic desire to help others in need, it is overpowered by her awkwardness. One can't help but focus on her exterior with a judgemental distraction. Melander's performance doesn't rely on the phenomenal appearance-changing prosthetics she wore- she taps into the heart of the character and is no holds barred when it comes to the vulnerability of raw emotion. She leaves nothing to be desired, making her performance nothing short of Oscar-worthy.
Audible nuances gnaw at you like incessant gnats in the summer- the sounds of open-mouthed chewing, heavy panting, and buzzy mosquitoes contribute to the film's intentional discomfort. The aesthetic of the locations used, combined with these seemingly minor additional details are what makes the world of Border so eerily realistic. It's easy to forget that beyond the lush, dense forests and murky waters, or beneath the layers of scratchy wool sweaters and out of control body hair, there is an entire film crew behind the scenes and a director calling "action."
Border won the Un Certain Regard Award at the 2018 Cannes Film Festival and continued to shock and awe audiences during its festival run. As Sweden's official Oscar entry in the Best Foreign Language category, Border's ability to teeter between fantasy vs reality is cinema magic at its best.
'Border' is rated R for some sexual content, graphic nudity, a bloody violent image, and language. 110 minutes. Opening this Friday at ArcLight Hollywood.
'Can You Ever Forgive Me?' Review: Writer Gone Wrong
They say imitation is the best form of flattery, but things get sticky when the flattery turns into forgery.
American writer Lee Israel, who passed away in 2014, knew this repercussion all too well. A former celebrity biographer who penned literary works for Katherine Hepburn and Estée Lauder, Lee's infamy came not from her books, but from her late in life bad behavior. In her confessional memoir turned film adaptation, directed by Marielle Heller (The Diary of a Teenage Girl), Can You Ever Forgive Me? stars Melissa McCarthy stars as the desperate and damaged Lee Israel in a dynamic role that is sure to land on the early Best Actress prediction lists.
When we are introduced to Brooklyn-born Lee Israel (McCarthy) in the early 90s, she is living in the shadow of her previous biographies and is struggling to land another NY Times best-seller. Her agent (Jane Curtain) doesn't return calls, her rent is due, and her 12-year-old cat needs surgery. Anxiety-ridden and depressed, Lee turns to alcohol for the temporary escape from the reality of her situation, which is that she needs money, and fast. What starts as an exercise in creative writing soon leads Lee to embark on a dark and unethical secret of creating forged letters from literary greats and selling them to bookstores and art collectors as authentic works for cash. For a while, it worked... until it didn't.
A recluse by choice, Lee's uncharacteristic friendship with fellow author Jack (Richard E. Grant) is the film's emotional anchor and comedic relief. Contrary to Lee's brash and brazen ways, Jack is larger than life and flamboyant in both his personality and mannerisms, making him a character we can't help but love. Lee ropes Jack into helping with her illegal operation when the FBI starts catching wind of her scheme which now, coupled with Jack's sales schmoozing, produced over 400 fake letters sold for hundreds of dollars apiece.
The story of the notorious Lee Israel deserved a big screen production, and I would venture to guess that she would be pleased to see her name back in headlines.
Melissa McCarthy completely transforms into Lee Israel, from her frumpy attire to unflattering bowl haircut. Her performance really shines towards the end of the film when she is forced to take accountability for her actions and face the repercussions, for both her criminal ways and in her strained friendship with Jack. It is clear in Can You Ever Forgive Me? that Lee was a complicated woman and McCarthy explores all these layers throughout the film. Lee's sympathy toward the people she duped was limited, as she said in her memoir "I still consider the letters to be my best work.” It's this attitude that makes Lee not necessarily a likable character, but a very relatable one. A traditional protagonist who does a 180 after learning a life lesson was clearly never director Marielle Heller's intention, and this complex character arc brings out the best in McCarthy's dramatic capabilities, perhaps making one of her strongest performances to date.
Literary forgery isn't the most exciting crime to see play out on screen, and the thrill of typing letters is only so adrenaline-producing. The overall story is a fascinating one, though watching it unfold feels a bit slow at times, anti-climactic even. However, the story of the notorious Lee Israel deserved a big screen production, and I would venture to guess that she would be pleased to see her name back in headlines.
106 min. 'Can You Ever Forgive Me?' is rated R for language including some sexual references, and brief drug use. Now playing at ArcLight Hollywood and The Landmark.
https://www.youtube.com/watch?v=UvJIaNsf_bY
'The Guilty' Review: A Masterclass in Suspense
The last place one would expect to find an emotional connection is on the other end of an emergency services phone call.
There's an unsettling anxiety that runs rampant throughout call centers worldwide as life and death decisions are made in a matter of seconds. And it is from this chaos that writer/director Gustav Möller creates an unconventional, slow-burn explosion of passion in the dramatic thriller, The Guilty (Den Skyldige). A powerful juxtaposition of calming urgency, The Guilty is a masterclass in suspense with one of the best stomach-lurching shocks I've seen all year.
Jakob Cedergren plays Asger Holm, a Danish police officer acting in an emergency operator role, due to a mysterious suspension, until he is able to patrol the streets again. Fifteen minutes before his shift is scheduled to end, Asger receives a rather unusual call from a clearly troubled young woman. A sense of protectiveness kicks in and he is able to discreetly dissect information from Iben (Jessica Dinnage) about her situation, which turns out to be a kidnapping in progress. Taking the call more personally than the others before it, Asger panics when the call is suddenly disconnected, and frantically begins doing everything he can- ethically and not- to figure out the missing pieces of information and bring Iben home.
Similar to Tom Hardy's performance in 'Locke' (another fantastic one-man movie), this is Cedergren's movie and he commands every moment.
The Guilty is a race against time, playing out in real time. The audience is thrust into the drama the second the film begins, and the high-stakes intensity doesn't let up for a moment. For as sedentary as the "action" is, the film's unique ingenuity comes from what is absent on screen. Like Asger, the audience is hearing the situation unfold through the headset, and we use our imagination to visualize what is happening in the world of our protagonist and the victims.
Asger becomes more than just a vessel of relaying information, he becomes a self-appointed voice of reason, even if he oversteps his role as an operator in doing so. He loses his calm, cool, and collected demeanor as he passionately crosses ethical boundaries and although the intent is pure, he slowly begins to make promises that are beyond his control and lose himself to his imagination.
This is a vehicle for Jakob Cedergren to show his range as an emotionally tortured man in a career that disapproves of personal attachment, and his performance is spellbinding. Similar to Tom Hardy's performance in Locke (another fantastic one-man movie), this is Cedergren's movie and he commands every moment on screen. The film's overall aesthetic is dark and looming, taking place all in one room, yet it never feels claustrophobic or stalled. In fact, the film pulsates with energy.
The Guilty is Denmark's official Oscar entry in the Best Foreign Language category and has already amassed a slew of awards and nominations, including the Audience Award at the Sundance Film Festival. Patience is a virtue in The Guilty, and the payoff is phenomenal.
'The Guilty' is rated R. 95 minutes. Opening this Friday at Laemmle's Royal Theater.