'Wildlife' Review: A Stunning Directorial Debut from Paul Dano
The last time Paul Dano was celebrated at the Sundance Film Festival, he was riding waves atop Daniel Radcliffe's farting corpse like a jet-ski in 2016's Swiss Army Man.
The last time Zoe Kazan was at Sundance, she was starring opposite Kumail Nanjiani in the beloved romantic comedy, The Big Sick. This year, the creative duo and real-life couple returned to the festival with a movie of their own, a passion project of Dano's which he directed and co-wrote with Kazan. Adapted from the 1990 Richard Ford novel, Wildlife makes its world premiere in the U.S. Dramatic Competition category and marks Dano's directorial debut.
Wildlife tells the story of a small town nuclear family in 1960s Montana. Jerry (Jake Gyllenhaal) and Jeanette (Carey Mulligan) live a simple life: he works on a golf course, she's a homemaker. Their 14-year-old son Joe (Ed Oxenbould) attends public school and struggles to meet friends, a by-product of the family's consistent moving around the country due to Jerry’s flighty nature and always-changing career paths. After an unexpected layoff not only hurts his financial stability but also his pride, Jerry makes a spur of the moment decision to uproot his life and join a nearby firefighting brigade that is battling an uncontrollable forest fire close by, leaving his small family behind for an unknown period of time.
As the movie shows through the limited but observant perspective of Joe, his mother edges ever closer towards the brink of unforgivable resentment and finds herself coping in ways a married woman shouldn’t. From getting a part-time job to exploring an extra-marital affair with a client (Bill Camp), she slowly discovers her own independence. As Jeanette begins to figure out what she really wants out of life, this leaves Joe, still waiting for his father's return, to be the emotional sounding board for his family. Witnessing his parent’s marriage fall apart right before his eyes is devastating, and even more so because of how much his parents each depend on him to be the anchor.
Dano certainly proves that he can command a tough yet tender film both technically and creatively.
It’s obvious that every detail of Wildlife has been carefully crafted from the eyes of a passionate artist. From the 1960s costumes to every detail of production design, the ambiance of the film screams warmth and heart, even if its central characters struggle with those same virtues. Here, Dano proves that he has not been an idle actor on all the movie sets he's been on, showcasing a strong visual style all his own (with maybe some compositional influences from P.T. Anderson). Every frame of Wildlife looks like it was lifted from a Norman Rockwell painting, the sweeping cool blue hues give a layer of sophisticated authenticity to this quiet yet powerful indie drama.
Beyond the film's visual style, Dano’s influence is also readily apparent in his direction with his actors. Wildlife is very much an “actor’s movie” – long, uninterrupted takes give the characters time to go through multiple emotions in a single setting; we see Joe work through feelings from confusion to submission, Jeanette from resentment to independence, and Jerry from disillusion to wild passion throughout the course of the movie. And this long-form character development works wonders here. While Gyllenhaal and Mulligan's star power burns bright, their flawed characters connect effortlessly with audiences, allowing us to see the same struggles in both of them that we can see in ourselves. A fantastic leading performance from Ed Oxenbould grounds the film in the dark reality of outgrowing relationships.
It will be interesting to see Dano and Kazan's film-making path post-Wildlife, which is a confident debut in and of itself. Dano certainly proves that he can command a tough yet tender film both technically and creatively. I, for one, can’t wait to see what he does next.
This review originally ran on January 24th, 2018, during the Sundance Film Festival
104 minutes. 'Wildlife' is rated PG-13 for thematic material including a sexual situation, brief strong language, and smoking. Opening this Friday at ArcLight Hollywood and The Landmark.
Announcing the World Premiere of 'Bali: Beats of Paradise' (Exclusive)
Cinemacy is excited to exclusively announce the world premiere of the original documentary, Bali: Beats of Paradise.
The film, running 55-minutes long, is a colorful and inspiring celebration of Balinese culture and gamelan music, spotlighting Nyoman Wenten - the renowned Indonesian composer who spent most of his life paying homage to the sacred but shrinking tradition of Balinese music and dance.
Featuring Grammy Award-winner Judith Hill (20 Feet from Stardom), Bali: Beats of Paradise is a fusion of cultures, sounds, and an immersive experience like no other. Wenten and Hill join forces to reignite gamelan - Bali’s rhythmic style of classical music - by blending classic funk with the beats of Bali to create a distinctive sound for a new piece of music she’s composing. The final result is an epic music video that catapults gamelan into the digital age.
Distributed by Sun and Moon Films and directed and produced by Livi Zheng (Brush With Danger), Bali: Beats of Paradise also makes for the perfect celebration on this Female Filmmaker Friday.
'Bali: Beats of Paradise' will have its world premiere at The Samuel Goldwyn Theater in Beverly Hills, CA on Wednesday, November 7, 2018. The film will also open exclusively in Los Angeles at the Laemmle Theater and at the Cinema Village in New York for an exclusive run beginning Friday, November 16.
For more information about the film, please visit www.BaliBeatsofParadise.
'The Hate U Give' Review: No Justice, No Peace
The Hate U Give is an adaptation of a YA novel written by Angie Thomas, but standing out from other Young Adult fiction dealing with societal problems while coming of age, the inspiration for this film comes from a rather surprising source.
A divisive figure in contemporary hip-hop, Tupac Shakur and his activism in support of the black rights movement is the driving force behind this big screen adaptation. Regarded as a visionary and disruptor of societal norms, Thomas found inspiration in his infamous acronym, "T.H.U.G. L.I.F.E.", which has a much deeper meaning than literal "Thug Life". The saying stands for "The Hate U Give Little Infants Fucks Everyone," meaning, how society treats its children will be a direct reflection on how they treat society when they come of age. This is where the story of The Hate U Give begins.
Starr Carter (Amandla Stenberg) is a high school teen stuck between two worlds. At her home in Garden Heights, a rough and predominantly black neighborhood littered with drugs and gangs, she is seen as an outsider. At her private high school in the wealthier and white part of town, she is seen as a diversity statistic. Despite her personal struggles, the support from her family never falters. From a young age, her father (Russell Hornsby) always told her about the power and pride she and her brothers should feel as a young black person in America, despite the injustice their people face every day. When Starr witnesses the shooting death of her unarmed best friend Khalil (Algee Smith) by a white police officer, her world is turned upside down.
As the only witness to Khalil's wrongful death, Starr feels pressure from the community and social justice worker April Ofrah (Issa Rae) to testify against the officer in court. Starr's mother (Regina Hall) wants Starr kept of the spotlight to prevent unsolicited attention, especially from local gang lord leader, King (Anthony Mackie). Add to this, Starr's ignorant high school friends who see attending a Black Lives Matter rally as a great excuse to cut chemistry class. Struggling to make sense of her new normal, Starr is faced with a life-changing decision: stay quiet and let life pass her by, or stand up and speak her truth.
'The Hate U Give' is a heartbreaking and emotionally taxing account of one young African American woman's struggle to fit in and the burden she carries as a result.
Amandla Stenberg gives a groundbreaking and emotionally stirring performance as the young protagonist, Starr. In nearly every scene, tears stream down Stenberg's face and we can't help but feel our hearts break along with hers. Her range as an actor is on full display as she brings life and powerful charisma to every moment. Equally as affecting is Russell Hornsby's performance as her protective father. His tough exterior protects his gentle heart as he puts his family's well-being above his own, claiming that family is the only people he lives and dies for.
The Hate U Give is hard to watch, especially being a white woman who is critically aware of being in the fortunate position of not being faced with violence and a cultural identity crisis on the daily. Just being female in a male-oriented world can come with its own set of restraints and hurdles. In this case, director George Tillman Jr.'s exposé is an eye-opening account of an all too familiar scenario, and just because we may not like what we see, doesn't mean we should turn away and pretend it's not happening. To that point, I hope The Hate U Give is able to expand its reach beyond its target audience of young people of color, and land on the radars of varied ethnicities and ages. To the African American community, The Hate U Give is just preaching to the choir... this is the type of film that everyone would benefit from seeing.
A timely conversation centering around the Black Lives Matter movement and the injustice of racial profiling within law enforcement and beyond, The Hate U Give is a heartbreaking and emotionally taxing account of one young African American woman's struggle to fit in and the burden she carries as a result.
'The Hate U Give' is rated PG-13 for mature thematic elements, some violent content, drug material, and language. 132 minutes. Now playing in select theaters, including ArcLight Hollywood and AMC theaters and expanding everywhere Friday, October 19th.
'A Star is Born' Review: An Emotional Supernova
Since its debut at the Venice Film Festival, A Star Is Born has been hot on the lips of anticipating fans worldwide.
In his directorial debut, which hits theaters everywhere this Friday, Bradley Cooper has not only created a visually stunning awards-worthy feature- which was given an eight-minute standing ovation when it premiered in Venice- but a fantastically observant and delicate movie musical. Starring Lady Gaga like you've never seen her before, A Star is Born is a wonderful remake of the 1937 classic of a timeless love story but with a 2018 modern twist.
Jackson Maine (Cooper) is rock n roll's bad boy, a swoon-worthy crooner on stage, but a heavy drinking and lonely man when off of it. During a spontaneous visit to a late-night bar, he meets the alluring Ally (Lady Gaga) and upon hearing her rendition of La Vie En Rose, he immediately falls under her spell, seeing the potential in her music, even though she doubts herself. As the supportive partner we all aspire to have in our lives, Jackson encourages Ally to live her dream and speak her truth, not just as a singer but also as a songwriter. Gaining notoriety very quickly from her undeniable talent, Ally skyrockets to fame but loses her authenticity as she bends to conventional pop star tropes while Jackson watches from the sidelines. With his own career floundering plus the dissolution of his relationship with his older brother (Sam Elliott), the stress becomes too much for Jackson to handle on his own, much less sober. His demons begin to take over, which force Ally into unfortunate situations. She finds herself at the peak of her career at the very same moment Jackson is at rock bottom, and their personal circumstances prove to have heartbreaking consequences.
If A Star is Born proves anything, it's that it is time we take Lady Gaga seriously as an actor.
A star was born in 1986 and her name, or stage name, is Lady Gaga. In a role made famous by Barbara Streisand, Lady Gaga, born Stefani Joanne Angelina Germanotta, is one of the only few artists who could successfully pull off the all-encompassing and demanding role of Ally. She sings, dances, and acts so effortlessly, it feels as if this was the role she was born to play. This isn't Gaga's first foray into acting, she won an Emmy in 2016 for her role in American Horror Story, but what surprised me most was how she completely transformed into Ally. Especially in the earlier scenes before she becomes a "star," Gaga gets lost in Ally's insecurities and body shaming, and it's hard to imagine her as Mother Monster, or Joanne, or a celebrity superstar at all. If A Star is Born proves anything, it's that it is time we take Lady Gaga seriously as an actor.
Being that this is Bradley Cooper's directorial debut, it's understandable that he would want to soak up every moment of the experience. His decision to shoot mostly in close-ups is an interesting choice and lends to both a feeling of suffocation at the height of fame while also the connection and closeness of Ally and Jack's relationship to music and each other. At times it can feel a bit self-indulgent, holding takes for what may seem a little too long (and it's questionable why he has a midwestern accent when he was born and raised in Arizona?), but nonetheless, the film checks all the right boxes, technically and emotionally. While the story is an adaptation and therefore his creative control can only stretch so far from the original story, Cooper succeeds in creating a full cinematic experience that stings with bitter realism and soothes with medicinal music.
For all the bells and whistles that come along with A Star is Born, it's very easy for me to pick the one moment that made my mouth drop. This moment stands out from every other scene in the film's 2-hour and15-minute runtime. That moment is the very first time Ally joins Jack onstage at his show and they sing Shallow. Their duet sends chills down my spine, even thinking about it now as I write this. That song is a symbol of strength, as a raw Gaga belts out the words at the top of her lungs and Cooper, in his gravelly voice, strums an acoustic guitar alongside her- acting as a pillar of strength.
A Star is Born is a fairytale, our protagonist a Cinderella. The film has gone through four remakes since the 1937 original, but this time, with Cooper at the creative helm, he brings to the big screen an emotionally charged, cinematic knockout that is arguably the most affecting version to date.
'A Star is Born' is rated R for language throughout, some sexuality/nudity and substance abuse. 135 minutes, In theatres everywhere this Friday.
ReelAbilities Film Festival | Exclusive Trailer
When we talk about inclusion and diversity, people with different abilities tend to get left out of the conversation.
The City of Los Angeles is on a mission to make sure that does not happen by producing an inaugural LA-based film festival that honors and highlights the disability community: ReelAbilities Film Festival.
The ReelAbilities Film Festival is the largest festival of its kind, promoting awareness and inclusion through the stories and artistic expressions of people with different abilities.
ReelAbilities Film Festival: Los Angeles 2018 will take place October 11-14, 2018 at locations throughout the city.
For more information please visit http://reelabilities.org/losangeles or on Facebook, Instagram, and Twitter @ReelAbilitiesLA
'Tea with the Dames' Review: Legends Unite
In director Roger Michell's documentary, Tea with the Dames, the legendary stage and screen icons Eileen Atkins, Judi Dench, Joan Plowright, and Maggie Smith candidly discuss their careers, friendships, and lessons they've learned along the way.
Just as they were back then, these artists continue to be a sign of independence and inspiration for future generations, and a much-needed symbol of strength for women in these trying times.
Despite their bustling careers and hectic schedules, the four Dames have always found time to meet in the English countryside to let their hair down, gossip, and catch up with each other. But this is the first time they have let cameras into the sacred space of their loose and relaxed banter. The result is an interview style, which includes breaking the third wall numerous times, lending to the film's overall feeling of inclusion along with admiration. In talking so candidly with the production crew and each other, the women let their guard down and give off the impression that we are all old friends, which is a warm, wonderful feeling.
"Whatever it is, it's too late," Maggie says with defeated breath.
"Oh," Joan exclaims, "but it's never too late."
Like a refined version of The View, or the "Pickalittle" ladies from The Music Man, the Dames are chatty, giggly, and honest. They talk openly about their fear of being approached to play Cleopatra, with Eileen and Joan flat out refusing to ever play the iconic character. Maggie admits she was terrified and only took the part in a Canadian production to escape harsh criticism elsewhere, and when Judi hesitantly accepted the part, people laughed openly at her performance. "Critics believe we think we're the bee's knees," Joan goes on to say, "...they don't know that we're shaking inside."
A fascinating retrospective of some of the most notable actresses in history, Tea With the Dames is a touching tribute to the women who contributed to shaping the dramatic arts. Pioneers in their own right with voluminous careers to reflect upon, the Dames are asked poignantly in the film’s finale if there was any advice they would give their younger selves. Joan says she would have liked to have discovered yoga and mindfulness at a younger age. Eileen says she would like to have listened more and quit her bad temper. Joan heartbreakingly says she would have tried not to be so susceptible to falling in love. Maggie admits she doesn't know what she would tell herself because she "wouldn't be listening anyway." After a laugh she answers more truthfully, her advice being "When in doubt, don't."
"Whatever it is, it's too late," Maggie says with defeated breath.
"Oh," Joan exclaims, "but it's never too late."
'Tea with The Dames' is not rated. 94 minutes. Now playing at Laemmle's Royal Theatre and streaming on Amazon Prime.
'Solace' Review: An Honest Reflection of Mental Health
Solace is a breath of fresh air.
With writer/director Tchaiko Omawale at the helm, this coming-of-age story doesn't tackle the stereotypical issues seen in many other young adult films. Here, Omawale pushes boundaries with Solace's progressive subject matter, which includes self-harm, eating disorders, and body dysmorphia, all set in the upper middle class of Ladera Heights, a predominantly African American community. The LA Film Festival is the perfect launching point for a film like Solace, and it's my hope that this film continues to be shown around the world because issues like the ones seen here are not exclusive to Los Angeles.
Seventeen-year-old Sole (Hope Olaide Wilson) is struggling. After her father's death, the New York City teen is ordered by the court to relocate to Los Angeles to stay with her last living relative, her maternal grandmother, Irene (Lynn Whitfield). Irene's church-going and preachy behavior doesn't sit well with the defiant Sole, whose atheist and vegan ways are consistently at odds with her elder. Sole feels like no one understands her, and so she turns to food for comfort. Binge eating takes the pain away, if only for a few moments.
'Solace', the newly announced LA Muse Special Mention and Best Ensemble Cast winner, stands out as a great independent film with a fantastically relevant social message.
Looking for a way out of LA, Sole discovers a performance art grant that promises a trip back to New York. Desperate to go back to the life she had, Sole recruits her next-door neighbors Jasmine (Chelsea Tavares) and Guedado (Luke Rampersad), who also seem to be societal misfits, to help her achieve her goal of getting the grant. It's while working with them that Sole finds solace in this chosen family while simultaneously discovering herself along the way.
Acknowledging and overcoming self-destructive behaviors is at the heart of Solace, and the most important take away is realizing that we all struggle with something. External behavior doesn't necessarily reflect the emotional struggle one may be going through, regardless of age, gender, and race. Hope Olaide Wilson's performance is strong and heartfelt, making her a character we can all find a way to relate to.
Solace is a bold new voice in the filmmaking arena and with its timely message of women taking a stand and having their voices be heard, director Tchaiko Omawale has not only made a great film with distinctively stylish cinematography, but also an honest reflection of mental health. Solace, the newly announced LA Muse Special Mention and Best Ensemble Cast winner, stands out as a great independent film with a fantastically relevant social message.
'Solace' is not rated. 81 minutes.
'Ashes in the Snow' Review: Big, Bold, and Beautiful
Having its world premiere at the LA Film Festival, Ashes in the Snow is not for the faint of heart.
This coming of age story is a heartbreaking tale of innocence and young love set against the brutally cold and dismal backdrop of remote Siberia. In director Marius Markevicius' historical drama, based on the novel Between Shades of Gray by Ruta Sepetys, one teenager's resilience and passion for finding the will to create art even in the darkest of situations is a touching and tender watch.
Set in 1941, in the middle of WWII, sixteen-year-old Lina (Bel Powley) is a talented artist living at home in Lithuania with her mother, Elena (Lisa Loven Kongsli), father, Kostas (Sam Hazeldine), and younger brother, Jonas (Tom Sweet). One unsuspecting night, a group of Soviet officers kidnaps the family from their own home and forcibly puts them, along with hundreds of other captives, on a train to one of Joseph Stalin's work camps in Siberia. Devastated and confused, yet trying to be strong for her mother, Lina realizes that continuing to create her art could lead to freedom, if not physically, then at least mentally.
Ashes in the Snow is a great character study of the depths of humanity and the duality of man's capabilities when put in situations with dire consequences. Screenwriter Ben York Jones, who recently added creator credit to his resume with the Netflix series Everything Sucks!, is no stranger to developing passionate and affecting love stories. A frequent collaborator with director Drake Doremus (Newness, Like Crazy), Jones brings visceral heartache and layered character complexity to this independent film, proving once again that a good love story can transcend time.
The colors are crisp and bold, the landscape is vast and unrelenting, and even the dirt that covers the Lithuanian's faces can't hide their beauty.
The conflict between Lina's mother, Elena, and the baby-faced young Soviet soldier Nikolai Kretzsky (Martin Wallström) provides much of the film's electric tension. Nikolai confides to Elena that he shares her feelings of frustration about the position he has been put in. However, their shared feelings toward their mutual circumstances aren't enough to form any sort of bond or sympathy. The two develop a dysfunctional relationship that stands in complete contrast to the evolving relationship Lina finds herself in with a fellow prisoner, Andrius (Jonah Hauer-King). A slight nod to the Shakespearean dilemma of two lovers being torn apart by their surroundings, their optimism is a much-needed signal of strength.
The colors are crisp and bold, the landscape is vast and unrelenting, and even the dirt that covers the Lithuanian's faces can't hide their beauty. A powerful story that is equally matched with breathtaking cinematography and a haunting score from German pianist and composer Hauschka (real name Volker Bertelmann), Ashes in the Snow is a cinematic triumph.
'Ashes in the Snow' is not yet rated. 98 minutes.