'Kusama: Infinity' Review: Psychosomatic Polka Dot Princess
If you visited The Broad in downtown L.A. anytime between now and 2015 or saw your Instagram flooded with pictures of mind-blowing selfies in its Infinity Mirror room exhibit, then you've been exposed to Japanese artist Yayoi Kusama's work.
Known for her simplistic, yet avant-garde polka dot patterns, sculptures, and mirror play, the enigma that is Yayoi Kusama is explored in the documentary Kusama: Infinity. This arthouse film, which premiered at the Sundance Film Festival this year, is a wealth of knowledge packaged into a swift 77 minutes and is guaranteed to satisfy fans while piquing the curiosity of those who may have been previously unfamiliar with her work.
The film covers Yayoi's turbulent upbringing in Matsumoto City, Japan during World War II. In addition to the country's political turmoil and conservative view of the arts, Yayoi struggled to find acceptance within her community, with no help from her nonsupportive parents. Knowing that she was destined for worldwide greatness, she moved to New York City and began showcasing her work in small galleries and exhibitions. Eventually, her work caught the attention of the art world (rivaling Andy Warhol's fame) and she quickly began to make a name for herself. Currently, at 89 years-old, Yayoi Kusama is the top-selling female artist in the world.
Currently, at 89 years-old, Yayoi Kusama is the top-selling female artist in the world.
Of course, her story isn't without emotional pitfalls and unlucky streaks. The film's director, Heather Lenz, is sensitive to Yayoi's struggles and mental health issues when revealing her low points, including a failed suicide attempt and the fact that she started traveling with a psychiatrist in order to prevent panic attacks. The interviews that Lenz conducts with Yayoi, as well as top-notch curators from the Guggenheim, Tate Modern, and other notable galleries, give the audience an intimate look at this female Japanese outsider in the Western art world, whose work was surrounded by scandal and notoriety.
Yayoi Kusama is still alive today, living in a mental institution in Japan and continues to work and create. She never married or had children, thus, her legacy remains with her work. This doesn't seem to bother her, though, as she exclaims in the last line of the film, "I want to live forever." There is no question that Yayoi will be remembered forever as far more than just an artist. She is a visionary, underdog, feminist, and international icon.
'Kusama: Infinity' is not rated. 77 minutes. Opening this Friday at the Nuart Theatre.
'Pick of the Litter' Review: Love at First Sight
“A dog is the only thing on earth that loves you more than he loves himself.”
That quote by author Josh Billings gets me every time because I know that unconditional love he is referring to. I feel it from my dog, Ernest, every morning when he wakes me up with kisses only a mother could love. Most pet owners have a special bond with their animal, but there is something unique about the relationship between man and dog (they don't call them man's best friend for nothing). This sentiment is the perfect preface to Pick of the Litter, a documentary about the selflessness of working dogs- specifically as guide dogs for the blind.
Directors Dana Nachman and Don Hardy follow five dogs, from newborn puppies to adults, as they go through the laborious 20-month process of training to become certified guide dogs. Throughout the film's swift 81-minute runtime, Pick of the Litter is as heartwarming as it is educational. Aside from the obvious aww-inducing moments that are to be expected from a film about puppies, Pick of the Litter is full of interesting facts that prove how coveted the role of "Service Dog" is. One mind-blowing statistic reveals that, for the 800 dogs that are born as potential guide dogs every year, only 300 of those dogs will make the final cut as official service dogs. It further explains how dogs who are cut from the program, due to various qualities that make them unfit for service, are politely considered "Career Changed."
"...it is evident that these dogs mean the world to their owners and, as Josh Billings would argue, vice versa."
The film leads with a heavy hand, the opening sequence is extremely emotional as interviews with the vision-impaired portray incidents of how their previous service dogs saved their lives. Whether it was preventing someone from walking into oncoming traffic or leading them down 78 flights of stairs in the Twin Towers on 9/11, it is evident that these dogs mean the world to their dependent owners and, as Josh Billings would argue, vice versa.
Pick of the Litter is sincere in its mission to show the challenges and ultimate gift that a service dog is- an ability and freedom for the blind to explore the world. Lives are transformed as recipients are given the ability to live more independently, and while the process is not without occasional heartache, its beauty far outweighs the fleeting times of sadness. Pick of the Litter is a quintessential feel-good movie that is perfect for children, optimists, and dog lovers everywhere.
'Pick of the Litter' is not rated. 81 minutes. Opening this Friday at Laemmle Royal Theatre in West L.A.
'Searching': Not Clickbait
Without a doubt, one of the most original films to hit the big screen this year is Searching.
Searching is a "screen movie," meaning that the entire format of the film takes place as if it were from the point of view of a screen- be it a laptop, computer monitor, iPhone, or webcam. Much like how The Blair Witch Project revolutionized the "found footage" genre, Searching has the capability to make the genre of "high tech" films a growing staple in the ever-evolving Hollywood medium. Not only is it an astounding feat to create a feature film in this format, but the story itself, of a father's desperation to find his missing daughter, also stands alone as a chilling and emotional rollercoaster that stays with you long after watching.
David Kim (John Cho) is just trying to put the pieces of life back together after the unexpected death of his wife and family matriarch, Pam (Sara Sohn). Adjusting to life as a single father to their sixteen-year-old daughter Margot (Michelle La), he struggles to connect with the quiet and reserved high school junior. Aside from their weekly TV nights watching The Voice, David assumes Margot is acclimating to this "new normal" on her own terms and at her own pace. That is, until Margot fails to return home from a study group one night, prompting David to do a deep dive through Margot's past and online history. This brings to light shocking information that causes David to believe that he never really knew his daughter at all.
Fresh off the heels of 'Crazy Rich Asians', 'Searching' has its own statistics that are quite impressive in this current big box office landscape- this is the first mainstream, contemporary thriller headlined by an Asian-American actor.
One woman attempting to help bring Margot home is Detective Rosemary Vick (Debra Messing). Her no-nonsense attitude clicks with David's unwavering determination, and together, they weed out potential suspects, assemble search parties, and develop a platonic connection that is based on them both being parents. David also leans on his brother Peter (Joseph Lee) during this difficult time, but as days pass without any information, David becomes suspicious that things are not what they seem.
The merging of technology and filmmaking by first time feature director Aneesh Chaganty is a pure adrenaline rush. One doesn't have to be a millennial or familiar with the latest social media apps or hardware to enjoy the thrills in Searching. In one way or another, we can all sympathize with a parent's worst nightmare of waking up to discover your child is missing, gone without a trace. The format in which Searching was shot only heightens the suspense and, surprisingly, is never a distraction to the story unfolding.
It is, perhaps, the perfect time for the release of a movie like Searching. Fresh off the heels of Crazy Rich Asians, Searching has its own statistics that are quite impressive in this current landscape of big box office projects. As the first mainstream, contemporary thriller headlined by an Asian-American actor, Cho balances humor, grief, and optimism in his layered performance as a father looking for answers (fulfilling the wishes of the people behind the social movement #StarringJohnCho). On a more somber note, a story of the disappearance of a young woman seemingly out of thin air may remind those of Mollie Tibbetts, the missing Iowa college student who was unfortunately discovered deceased on Tuesday.
Searching premiered at the 2018 Sundance Film Festival, and despite its small screen containment, it is best experienced in a theatre. Hopefully, the success that comes from this independent film won't leave audiences "searching" for Asian-American representation in mainstream movies any longer.
'Searching' is rated PG-13 for thematic content, some drug, and sexual references, and for language. 102 minutes. Opening this Friday at ArcLight Hollywood and Sherman Oaks, and AMC Century City.
'The Swan' Review: Trouble in Icelandic Paradise
If fairy tales were real, I imagine they would take place in the Icelandic countryside.
Breathtaking landscapes of luscious grassy hillsides and crystal-clear lakes have the power to romanticize any story, even if they don't end in "happily ever after." A Reykjavik native herself, 34-year-old Ása Helga Hjörleifsdóttir makes her feature-length directorial debut with The Swan (Svanurinn), a coming of age drama that lends a tender touch to a tale as old as time.
Equally matching the idyllic setting is The Swan's protagonist, a curious and emotionally intelligent nine-year-old girl named Sól (Gríma Valsdóttir). When we meet Sól, whose angelic demeanor steals every scene, she is getting ready to leave her parent's house near the coast to spend the summer with estranged relatives in the country. However, this isn't a vacation, or even a choice, for Sól, but rather a punishment for getting caught shoplifting. As a consequence, her parents decide that spending a summer working on her aunt and uncle's farm to learn discipline through hard work, is just what their young girl needs.
Sól is immediately put to work, undertaking age-appropriate chores, while slowly starting to converse and become infatuated with, a twenty-something farmhand, Jón (Thor Kristjansson). Jón is equally fascinated with Sól, whose emotional maturity connects with his poetic ways. Their special bond is disrupted when Sól's older cousin Ásta (Þuríður Blær Jóhannsdóttir) returns home from college and disrupts the tranquility of the family's daily routine. As she is quickly thrust into situations far beyond her understanding, Sól struggles to make sense of the drama unfolding within the family. To cope with her changing situation and the sudden confrontation with life and death, she escapes into her own fantasy world comprised of vivid imagery within nature.
Martin Neumeyer's eye for breathtaking imagery is on full display here, literally, every frame creates a magical quality that gives off a feeling of optimism and rebirth.
The character of Sól is a dynamic one, and Valsdóttir's performance is nothing short of astounding. Sól is both confident and timid, with creativity and empathy that far exceeds her age. Her transformation from when she arrived at the farm to the film's very last frame is an exciting journey to witness in the short 91-minute runtime. It's undeniable that a major part of what makes this so fascinating is the cinematography. Martin Neumeyer's eye for breathtaking imagery is on full display here, literally, every frame creates a magical quality that gives off a feeling of optimism and rebirth.
Unlike Under the Tree, another recent Icelandic drama that portrays a dispute in the suburbs gone terribly wrong, The Swan shows rural Iceland in its purest and most beautiful form. Audiences, much like the film's protagonist, will stare wide-eyed at the natural beauty on display, while also being reminded of the strength of love, the power of compassion, and the meaning of life.
'The Swan' is not rated. 91 minutes. Opening this Friday at the Laemmle Royal.
'Skate Kitchen': Lords of Dogtown for the New Generation
This year, the films at Sundance have shown several women in female-empowering roles: Chloë Grace Moretz educated herself in the Grand Jury Prize winner The Miseducation of Cameron Post, Mia Wasikowska was nobody's damsel in Damsel, and Carey Mulligan found new life in Wildlife. In director Crystal Moselle’s highly anticipated sophomore feature film The Wolfpack, she adds the fierce young females of Skate Kitchen to this list. Known in real life as "The Skate Kitchen," these newcomers to the big screen take commanding roles that champion not just women, but women skaters who can kick-flip boards as easily as they kick butt.
Growing up in the Jersey suburbs of Long Island with her single mother and no close friends, Camille (Rachelle Vinberg) is a lone wolf searching for a community of like-minded chicks to skate and hang with. When she stumbles upon an Instagram profile called “The Skate Kitchen” – an all-girl skater group with mad style – Camille is intrigued: all talented, tough, and only a short distance away. She leaves her hometown for the unknown skate parks of New York City's Lower East Side just as soon as her board's wheels touch the ground, and upon finding the girl gang, is brought in as one of their own. Each with their vibrant style, Camille feels right at home with her new chosen family and the girls proceed to run and skate around the city.
With her second feature film, Crystal Moselle proves that one of her biggest strengths as a director is her ability to blend into her surroundings and capture the essence of her real-life subjects, which she did in 2015's award-winning documentary The Wolfpack. And here, Skate Kitchen feels no different. While Moselle infuses a loose script into Skate Kitchen, the strength of this movie is the more observational and improvised moments which straddles the line between documentary and narrative. Impressively, where Wolfpack showed a group of young brothers claustrophobic in their apartment-confined existence, here Moselle is let loose in the city and flexes her artistry even further, displaying a visual style that captures the electricity and grittiness of the concrete jungle bustling with danger and possibilities. Seen from the point of view of these young women, there is a high energy and honesty that especially shines in the skate sequences and hangout sessions that evoke feelings of Kids and Lords of Dogtown for this generation.
Seen from the point of view of these young women, there is a high-energy and honesty that especially shines in the skate sequences and hangout sessions that evokes feelings of Kids and Lords of Dogtown for this generation.
However, for all of the aesthetic praise that Skate Kitchen is getting – which is entirely due – I feel like there are a few missed opportunities in not developing the story even further, which ends up largely getting by by cashing in on its currency of cool. I was hopeful that Skate Kitchen would set out to provide more insight and hardships into what being a female skater is like in the male-dominated sport of skateboarding. We do see moments like this, like when the Skate Kitchen's spots get overtaken by the boys at the skate park, but more personal moments of womanhood feel awkward and out of place (for example, a hangout that turns into the girls discussing their menstruation cycles feel weirdly slotted into the movie). I did appreciate a scene in which the girls of the Skate Kitchen rush over and attend to one of the girls after she twists her ankle following a trick down a flight of stairs, running counter to what would be the more likely scenario of male skaters leaving the injured to walk it off.
More pointedly, the story ends up falling victim to the exact opposite of what it sets out to do – empower young girls – when the entirety of the plot turns into the conflict and fallout within the group after the introduction of a boy. When Camille begins hanging around Devon (Jaden Smith), a skater from a neighboring clique, the crew's camaraderie is examined, forcing her to question the validity and depth of her friendship with the girls. For a film led by a strong director who champions feminism and girl power, I was ultimately disappointed by this predictable and overseen trope.
That said, it's undeniable that Moselle has a magic touch when it comes to finding the subjects for her films. Just as she struck cinematic gold when she discovered the Angulo brothers of The Wolfpack, Skate Kitchen sees Moselle bring a new set of fresh female talent to the screen.
This review originally ran on January 29, 2018, during the Sundance Film Festival
'A Prayer Before Dawn' Review: The Merciless Shall Inherit the Earth
Twenty-nine-year-old Joe Cole has been slowly and steadily making his mark on indie filmmaking for years, but after this stunning and unforgettable performance as a troubled, drug-addicted boxer, he has surpassed the threshold from supporting talent to a commanding presence.
A relatively quiet release from power player A24, compared to the recent buzz of Eighth Grade and Never Goin' Back, the grisly biopic A Prayer Before Dawn may be flying under the radar, but it is fierce nonetheless. Based on the horrifyingly true story of an English boxer who wound up in one of Thailand's most notorious prisons, A Prayer Before Dawn is a visceral punch in the gut powered by the innate talent of Joe Cole.
The film begins in a ritualistic way as Billy Moore (Cole) applies globs of vaseline to his face before jumping into the ring. He doesn't speak, only the chanting and shouting of Taiwanese spectators fill the open-air arena. Moore is a boxer, and while it is unclear how or why he is pursuing a career in Thailand, it's apparent that he makes his money selling drugs. A crack-addict himself, it's only a matter of time before Moore gets caught and about 10 minutes into the film that happens, and chaos ensues.
Billy arrives at the prison scared, confused, and alone. Unfamiliar with the language and the sudden culture shock, Billy realizes the only way to survive is to put on a tough front. However, faux confidence isn't enough to stop him from getting repeatedly assaulted and mentally tortured. He watches as other young men are raped by older inmates in the most degrading of ways. The men are animalistic, tattooed and sweaty, and uphold the stereotypical imagery of degenerate Thai prisons. Corruption runs amuck between prisoners and guards, and the tension builds minute by minute. Internalizing this anxiety while trying to keep a brave face pushes Billy to the brink of despair. After partaking in a boxing match with other inmates, Billy gets a stroke of luck. His talent gets the attention of the prison guards, who offer him the opportunity to join the prison's boxing team, which means moving cells and leaving the abuse behind. With just months to train and his freedom on the line, Billy makes history by becoming the first foreigner to join the Muay Thai team.
Watching [Joe Cole] onscreen, you'll feel like you've also just gone through an emotionally taxing and exhausting 9 rounds of fighting.
Joe Cole, who rose to fame on the television show Peaky Blinders, shows his versatility as not just an actor, but a leading man. A Prayer Before Dawn may not be his breakout film, due to the film's arguably one-note execution that lacks emotional depth, but his performance is nothing short gripping. Watching him onscreen, you'll feel like you've also just gone through an emotionally taxing and exhausting 9-rounds of fighting. Director Jean-Stéphane Sauvaire's choice to not use extensive subtitles puts the viewer in Billy's shoes as we struggle to make sense of what is unfolding in front of our eyes.
A Prayer Before Dawn is based on the non-fiction international best-seller written by Billy Moore (who makes a well-deserved cameo at the end of the film). That said, there is much to be desired in the film adaptation- most importantly, delving into Billy's backstory. We only get a glimpse of what this man suffered through but, I wonder, if we knew more about who Billy was prior to his arrest and imprisonment, would we feel even more sympathetic towards his situation? Perhaps. That said, the raw energy that A Prayer Before Dawn creates is an accomplishment on its own, and another win for A24.
'A Prayer Before Dawn' is rated R for strong violence including a brutal rape sequence, drug use, and language throughout, some sexual content and nudity. 116 minutes. Opening today at ArcLight Hollywood and available to rent on Amazon Prime.
https://www.youtube.com/watch?v=Mp88Nuci68c
'The Miseducation of Cameron Post' Review: Chloë Grace Moretz Leads This Heartfelt Conversion Therapy Drama
There are so many good things to say about The Miseducation of Cameron Post, the second feature film from director Desiree Akhavan which played in competition at this year's Sundance Film Festival in the U.S. Dramatic category.
Adapted from Emily Danforth’s acclaimed teen novel, Miseducation is a coming-of-age story of a young teen sent to a religious camp to pray the gay away. Led by Chloë Grace Moretz, the entire cast brings life to these characters, mixing heart and humor for moving performances. What's more, one of the most inspiring parts of this production, besides Moretz's female-empowering performance, is the below-the-line hiring, as Akhavan herself, along with the film's cinematographer, editor, co-writer, and music supervisors, are an all female crew.
Cameron Post (Moretz) sits in bible study group, silently observing the environment around her. Having grown up in a Christian household, it's been made clear since day one that there is a very clear right way and wrong way to live in the eyes of the Lord, which bodes unwell for Cameron being that she likes girls. When she is caught engaging in sexual activity with her secret girlfriend on Prom night, her life gets instantly turned upside down. Cameron is immediately sent to God’s Promise, a gay conversion therapy school run by Reverend Rick (John Gallagher Jr.) and Dr. Lydia Marsh (Jennifer Ehle) who claim to cure “SSA,” or “Same Sex Attraction” through Christian teaching.
Luckily, like Cameron, not all of the students – or disciples, as the school calls them – are on the same page with the school's mission. Cameron quickly finds kinship in rebellious classmates Jane (Sasha Lane) and Adam (Forrest Goodluck), who smoke poorly-grown pot and eye-roll their way through the school’s constant and hokey activities, like worksheets and collage art therapy intended to trace back what events in the students' lives "caused them to be gay." It’s evident that no one at God’s Promise wants to be at God’s Promise, but Cameron and her new friends rely on each other to get through this process as relatively unscathed as possible.
'The Miseducation of Cameron Post' serves as a beacon of light for anyone struggling with aspects of their lives and proves that being true to yourself is the only way to live.
Chloë Grace Moretz is subtle yet astounding in the title role. The authenticity she delivers as a teen struggling with her sexual identity proves she was absolutely the perfect casting choice, and she doesn't shy away from the movie's more demanding scenes of physicality with other women. Her vulnerability in this role makes it easy for audiences to see just how awful this experience is for those who are forced to partake in it (fortunately, as was reported at the post-screening Q&A, more and more states are beginning to outlaw conversion therapy in growing numbers). John Gallagher Jr. as the conflicted Rick especially shines ("Rick eating cereal" was the movie's scene-stealing moment) and Jennifer Ehle as the domineering school leader gives another brilliant performance.
Since the release of her debut feature, Appropriate Behavior, director Desiree Akhavan has shown that the ambitions of her artistry have grown in the last four years. Back then, it seemed like a plausible assumption that she would continue to work in niche hipster fare and follow in the footsteps of Lena Dunham's style of trendy filmmaking. But with this film, she proves that she has much bigger aspirations and skills than that, creating a film that is appealing to everyone and specifically meaningful to the young LGBTQ community. The Miseducation of Cameron Post serves as a beacon of light for anyone struggling with aspects of their lives and proves that being true to yourself is the only way to live.
This review originally ran on January 26, 2018, during the Sundance Film Festival
'The Miseducation of Cameron Post' is not yet rated. 90 minutes. Opening this Friday.
'Never Goin' Back' Review: Millennial Girls Gone Wild
Independent film distributor A24 is not one to shy away from provocative projects.
Following in the same rowdy footsteps as the company's 2012 hit Spring Breakers while keeping to a similar aesthetic as 2017's The Florida Project, comes Never Goin' Back. Set in an undisclosed small town in Texas, writer/director Augustine Frizzell's gritty girl drama is a mad dash of teenage woes, plans gone awry, and constipation, all set against a backdrop of an anticipated idyllic vacation getaway.
Angela (Maia Mitchell) and Jessie (Cami Morrone) are best friends- they share their bed, their job, and even their drug habit. It's no question, then, that Angela would pull out all the stops for Jessie's 17th birthday by surprising her with a trip to Galveston to chill at the beach and celebrate seventeen in style. Figuring it was a good idea to use next month's rent money to pay for the trip, with no financial security net to fall back on (you can see where the film is going...), the girls figure that another week's worth waitressing wages from the town's local diner would be all the money they need to make up for the rent. Having dropped out of high school to make quick cash, this job is all they have. What they didn't account for is getting fired from their job, losing all their money, and eating so many weed edibles they can't think straight.
From that summary, it's clear that Never Goin' Back shouldn't be pigeon-holed as solely a drama, in fact, it is hard to justify how this is even a "drama" at all. The film's hijinks start almost immediately after a robbery gone wrong, due to a shady deal by Jessie's brother Dustin (Joel Allen), that ends up with both girls in jail for completely unrelated charges. Angela and Jessie hit rock bottom multiple times throughout the film, and each time is more over-the-top and outlandish than the last.
What is refreshing about 'Never Goin' Back' is the fact that the story doesn't center around a boyfriend, a crush, or any love interest whatsoever.
The performances from Mitchell and Morrone are strong. As two overly-confident and brash teenagers, the duo makes their relationship as "best friends forever" incredibly believable. Much in the same way the Spring Breakers girls were overly affectionate with each other and had a touchy-feely codependency about them, Angela and Jessie are also very hands-on and physical. Taking charge as more of the leader, Mitchell plays Angela with a slight arrogance, but the little rays of admirable qualities make her watchable. Morrone plays the slightly (keyword: slightly) more responsible one who ultimately gives in to Angela's peer pressuring and follows her as they both continue to make terrible decisions. Kyle Mooney has a supporting role as the girls' creepy roommate Brandon, and his performance is everything you'd expect a Mooney performance to be: funny.
What is refreshing about Never Goin' Back is the fact that the story doesn't center around a boyfriend, a crush, or any love interest whatsoever. This is an ode to the power of female friendships, no matter how dysfunctional or troublesome they may be. There are moments that seem to blur the line between what their relationship actually is- platonic, romantic, etc. -however it is never addressed as queer or bi-curious. Relationship dissecting aside, the absence of sexual desire is what makes Never Goin' Back this summer's millennial feminist flick. A comedy of errors from start to finish, Never Goin' Back may be anxiety-ridden and stressful but it's definitely not boring.
'Never Goin' Back' is rated R for crude sexual content and language throughout, drug use and brief nudity - all involving teens. 85 minutes. Opening today at ArcLight Hollywood.