'Dirty Laundry' Review: Hard Truths Are Revealed in This Magical Coming of Age Comedy
Dirty Laundry, the feature film written and directed by Rocky Walls, offers a nostalgic nod to male friendship. Set in 1997, the film stars Mitchell Wray and Charlie Schultz as two teenagers navigating a life event when their relationship is tested supernaturally. Delightfully similar to Freaky Friday in its story arc and resolution, Dirty Laundry tells a heartfelt story full of authenticity. Due to its relatability surrounding coming-of-age themes, it's the perfect film for adolescents, especially those entering high school.
A Nostalgic Nod to the 90s
The film opens with a montage that feels extracted from a 90s rom-com. The pop-rock soundtrack hits all the right notes and sets the stage for our protagonists, Kyle (Wray) and Eric (Schultz). It's a Thursday night, which to them means only one thing: It's time to call their bi-weekly business meeting at the local laundromat to order. Every other Thursday is laundry night, and the boys use that time to work on their developing business plan.
Watch the Dirty Laundry trailer here.
On this night, they encounter a woman who offers unsolicited life advice and leaves them with a parting gift as a spell. Once she leaves, the boys realize her magic spell has removed their lying ability. Kyle and Eric have fun with this newfound power, asking each other questions and knowing they will get the truth. However, the lightheartedness turns into a make-it-or-break-it moment when some hard truths are shared that threaten to disrupt their friendship.
Takeaway
Truth and friendship can never be fully separated in Dirty Laundry, whose title also refers to the secrets we all harbor within ourselves. Filmmaker Rocky Walls uses trust as the cornerstone of this sentimental coming-of-age film, and the result is a timeless story about the power of friendship. Dirty Laundry may not be a big blockbuster with an infinite budget, but it is a charming, small-scale production that is sure to relate to younger audiences.
'Seeking Mavis Beacon' Review: On Being Lost & Found in the Digital Age
If you were born in the early 80s, there's a good chance you're familiar with the name Mavis Beacon. Her beautiful smile graced the cover of "Mavis Beacon Teaches Typing!", a software game used to assist middle school-aged children in becoming fluent in computer literacy. Many remember her as an icon and a symbol of excellence, with Oprah, Obama, and Wendy Williams singing her praises. But the shocking truth we come to learn in the hybrid documentary, Seeking Mavis Beacon, is that this legendary figure never actually existed.
The Woman Who Never Existed
Avid Mavis Beacon fangirl and filmmaker Jazmin Jones enlists her friend, Olivia Ross, a cyber security wunderkind and self-described "cyber doula", to investigate the disappearance of the woman they affectionately call the "The Aunt Jemima of Technology". Working out of a shared warehouse space in West Oakland, the young women embark on a years-long investigation to locate the most recognizable woman in technology, who had been out of the public eye for 26 years. After thorough "e-detective" work, they are stunned to discover that their beloved hero is a result of collective misremembering, better known as the Mandela Effect.
Upon further discovery, they confirm that Mavis Beacon was never a real person. Three middle-aged white men created the character, and the woman behind the facade is a Caribbean-born former high fashion model named Renee L’esperance. This bombshell throws Jazmin and Olivia for a loop, and they quickly pivot their search toward Renee. Who was she? Where is she now? And most importantly, does she want to be found?
Watch the Seeking Mavis Beacon trailer here.
Does the Right to Privacy Exist in the Digital Age?
Seeking Mavis Beacon starts as an engaging investigative documentary but slowly morphs into a cultural examination of ethical journalism, digital privacy, and the right to have one's story told on one's own terms. Renee L’esperance never makes an appearance in the documentary, which is a disappointing conclusion for audiences and I'm sure even more so for the filmmaker. However, her unwillingness to participate in the film and protect her privacy serves as a fitting reminder that you can't always control the narrative.
Another perspective that Seeking Mavis Beacon takes is the cultural impact Mavis Beacon continues to have in the tech world today. Her creation predates Apple's Siri and Amazon's Alexa, leading us to question why all tech caregivers seem to be female. Further still, the film questions why Mavis was written as a Black woman. Was it an effort to address cultural inclusion, or was it the result of the coded gaze? It's an important observation, especially given the fact that most coders and programmers continue to be white men.
Takeaway
It's obvious that Seeking Mavis Beacon is a passion project through and through. Jazmin and Olivia are insightful and personable protagonists. Their side quests are charming, even if they don't always serve the plot. At times, however, the film feels slightly off-balance. It tends to overcompensate with a focus on the women's personal lives as much as on their mission to find Mavis. Perhaps they felt the need to pad the film with these unrelated moments to make up for not being able to include Renee. While this isn't distracting, the edit could have been a little tighter and the runtime cut by at least 10 minutes.
Jazmin and Olivia have accomplished their mission. They located Mavis but Mavis didn't want to be found. While not quite the Hollywood ending, Seeking Mavis Beacon is a fascinating journey and conversation starter about privacy in the digital age.
'My First Film' Review: A Meta Retelling of a Failed Film Shoot
My First Film is an experience unlike any other, where the boundaries of life and art imitate each other so closely that it's hard to tell where reality stops and fiction begins. Centered around a retelling of history from personal experiences, filmmaker Zia Anger draws inspiration from her past, and the failed development of what would have been her debut film. Channeling that heartache and frustration into artistic expression, Anger dramatizes her experience into this true feature debut, aptly titled My First Film.
An Indie Film Descends Into Chaos
"This probably shouldn't be a film..." says Vita (Odessa Young) as she types on her computer. Narrating through voiceover, the young filmmaker, meant to resemble director Zia Anger, sets the stage for the difficult journey we the audience are about to embark on with her. She speaks in hindsight, as most of the film takes place 15 years earlier. Vita recounts having to beg, borrow, and steal to get $5,000 to make her semi-autobiographical first feature. Nothing was going to get in her way of making this movie. Well, almost nothing.
Watch My First Film trailer here.
Fifteen years earlier: Energetic and brimming with passion, Vita assembles a group of friends to help her shoot the semi-autobiographical film, "Always All Ways, Anne Marie", a story about a young woman from a small town who gets pregnant and decides to leave home. A novice director in every sense of the word, Vita's eagerness can't compensate for her inexperience. Through no fault of anyone in particular, except for maybe the stoner crew members, the indie production quickly descends into chaos. On-set tension with her friend and lead actress Dina (Devon Ross) makes their relationship uncomfortable. Her well-meaning but distraction-prone boyfriend causes many derailments, which only increases Vita's resentment toward him. And when a near-fatal accident threatens one of the key cast members, Vita knows her dream project has officially unraveled and appears lost forever.
Set to an Abstract Score by Perfume Genius
Anyone who has spent time on a film set, professionally or in college, will feel nostalgic watching My First Film. Zia Anger captures those small but essential moments, when you're low on sleep, short on money, and spending hours a day hanging with friends. It's a magical time that doesn't come without its complications, including relationship dynamics. Perfume Genius (Michael Alden Hadreas) lends his whimsical artistry to the score as the film's composer. The breathiness and light vocals further contribute to the film's overall sense of intimacy.
Takeaway
Zia Anger touches on a deeply personal and sensitive moment in her life in My First Film. It feels cathartic to watch, and I can only imagine how therapeutic it was to make. Much like how Dina expresses herself in ways that Vita is afraid to, Vita acts as a vessel for Anger to explore deep, unearthed emotions. My First Film is a reflective critique of artistic truth. Through intricate and fearless storytelling, this labor of love stands as a powerful statement from an exciting director we should keep on our radar.
'Antarctic Voyage' Review: The Wildlife Inhabiting a Remote Island
Nature and science intersect in the documentary Antarctic Voyage, a fascinating exploration of animal life in one of Earth's least explored locations. Award-winning filmmaker Kevin Schreck takes audiences on a journey at sea as he documents a 2024 biological research expedition to the remote island of South Georgia at the top of the Antarctic convergence in the Southern Ocean.
A Fascinating Study of Remote Seabirds
Scientific consultant and field biologist, Dr. Samantha Monier, acts as the guide throughout the film's 48-minute runtime. She and her crew travel for days to reach their South Georgia Island destination, often considered one of the most remote and biodiverse places on Earth. Surrounded by ice and icebergs the size of apartment buildings (and that's just what's visible from the sea surface), the beauty of the island is breathtaking. Once Dr. Monier plants her feet on the icy ground, she gets to work on her research. During her weeks-long stay on the island, she will be studying predator associations between marine mammals and seabirds around the island.
It doesn't take long to see incredible and natural wonders play out in front of her and the camera. We catch glimpses of albatross soaring over the ocean's surface, with a wingspan of 12 feet, they are among the largest flying birds alive today. Another species native to this island is a carnivorous duck whose preferred meals of penguins are tough to stomach as a viewer. While the animals are charming and (mostly) cute, the landscape is dazzling in its own right. Stunning sunsets, crystal clear waters, and magnificent glaciers shine, providing a fairytale backdrop to this advanced research. However, aside from its beauty, the images also serve as a stark reminder that these elements are currently threatened by the effects of global warming.
Part Modern-Day Adventure Film, Part Visual Tone Poem
Antarctic Voyage is billed as part modern-day adventure film and part visual tone poem. Interestingly, the film does feel operatic at times, especially when leaning into the more abstract montages of birds flying overhead and water splashing below. It doesn't have the same production resources as, say, a David Attenborough documentary but the limited budget gives Antarctic Voyage a more cinéma vérité quality. Unconventionally approachable for a science-based film, the documentary proves that a good story stands out despite budgetary constraints.
Takeaway
Whether you are an avid ocean and animal advocate or just enjoy a documentary that sparks curiosity, Antarctic Voyage is a journey worth taking. It's hard not to feel inspired after witnessing the polar region's majestic wildlife, and feel gratitude for the explorers who dedicate their lives to preserving and understanding our fragile, natural world.
Kathryn Bostic Debuts Track from Hulu's 'The Supremes At Earl's All-You-Can-Eat'
Composer Kathryn Bostic brings her soulful artistry to the small screen with her score for Searchlight’s The Supremes At Earl's All You Can Eat. A prolific composer, songwriter, pianist, and vocalist, Bostic blends raw blues influences into each piece to create a cohesive 13-track album. Hollywood Records will release 'The Supremes At Earl’s All-You-Can-Eat (Original Soundtrack)' on digital platforms on Friday, August 23, coinciding with the film’s release on Hulu.
From Best-Selling Novel to Feature Film
The Supremes At Earl’s All-You-Can-Eat is a comedy/drama based on the 2013 New York Times best-selling novel by Edward Kelsey Moore. The film follows lifelong best friends Odette (Aunjanue Ellis-Taylor), Barbara Jean (Sanaa Lathan), and Clarice (Uzo Aduba) known as “The Supremes”, who share the unbreakable bonds of sisterhood from decades of weathering life’s ups and downs. Through the good times and bad, marriage and children, love and loss, unexpected circumstances threaten to shake up their dynamic as the trio faces their most challenging times yet. Directed by Tina Mabry, the film was written for the screen by Cee Marcellus and Tina Mabry.
Cinemacy is proud to premiere a three-track score sampler from The Supremes At Earl’s All-You-Can-Eat (Original Soundtrack), below:
Drawing from her jazz and classical expertise, Kathryn Bostic's score gives a unique emotional depth to the characters' backgrounds. The track "Clarice" is an uptempo piano soliloquy that elicits a tangible sense of longing. "Making Amends" has a more sweeping, cinematic flare with the inclusion of strings and bass notes. Her orchestral track "Sycamore Tree" offers a slower, more meditative, pace and poignantly reflects the characters' evolution over time.
Says Bostic of the music, “The score reflects the growing friendship of the three main characters; Clarice, Odette, and Barbara-Jean as they explore challenges and triumphs within their own lives. I chose a simple melody that grows in variations and mood to reflect their personal catharsis that inevitably tests their friendship as well. Instrumentation is primarily orchestral and piano in addition to some bluesy guitar, vocal, and bass motifs. I wanted the score to support this brilliant cast and elevate their dynamic performance in very subtle ways.”
About Kathryn Bostic
Kathryn Bostic scored an Emmy nomination for her work on the documentaries Amy Tan: Unintended Memoir and NAACP award-winning Toni Morrison: The Pieces I Am. In addition to her film & TV repertoire, she has also written for Broadway, most notably collaborating with the iconic playwright August Wilson on The Gem of the Ocean. Bostic has also collaborated with many prominent orchestras. In 2019, her piece “The Great Migration—A Symphony in Celebration of August Wilson” premiered with the Pittsburgh Symphony Orchestra.
In 2016, Bostic became the first female African American composer to become a member of the Music Branch of the Academy of Motion Picture Arts & Sciences. She held the role of Vice President of the Alliance for Women Film Composers from 2016-2018. She is also a recipient of many fellowships and awards including the prestigious Sundance Time Warner Fellowship, Sundance Fellowship for Feature Film Scoring, Sundance/Skywalker Documentary Film Scoring, African American Film Critics Award for Best Music in Film, BMI Conducting Fellowship and Society of Composers and Lyricists “Outstanding Music for Independent Feature Film.” As a vocalist, she has toured and recorded with many celebrated artists including Nas, Ryuichi Sakamoto, and David Byrne.
'The Cavalry' Review: Spotlighting Israeli Police Horses Through Video Art
Premiering this week at the Locarno Film Festival, The Cavalry is a stunning experimental short documentary that plays like a modern-day Trojan horse. In the opening shot, director Alina Orlov serenades the audience with field recordings of birds chirping, waves ascending, and wind swirling throughout a picturesque seaside community. The beauty of this natural setting is amplified when the camera cuts to an outlet called the Green Mountain Stables. Here, we come face to face with a majestic Friesian horse. But this isn't any ordinary horse, this is a horse belonging to the Israeli police.
A Horse as a Political Weapon
While much of the 17-minute documentary focuses on the training of a single police horse, The Cavalry isn't a story about horses. The deeper message captures the reality of living under the separation border of Isreal and the West Bank. Masking political chaos behind the beauty of this innocent horse is a skilled angle that Orlov accomplishes artfully. Captions take the place of voiceovers and narratively move the story forward.
The film picks up as a new horse joins the Israeli police troop and undergoes training. Like boot camp for aspiring soldiers, the horse is put through drills that condition the animal to face fear. It's non-abusive and at times, even comical to witness. The horse's quiet assertiveness, even while being poked and prodded by the Israeli soldier, is admirable and cultivates a relationship built on trust. As we witness an evolving bond, it is clear that The Cavalry is a film that honors this rich history between man and mammals.
Art Film Meets Political Documentary
Director Alina Orlov takes an experimental approach when it comes to the visual aesthetic. The footage of modern, daily life is seen in kaleidoscopic colors and contrasting imagery. Mixed media is used to represent historical moments in time. Both images are stark and breathtaking. The decision to end the film with images of protests and the horses in action is a sobering reality of the many faces of war.
Takeaway
Despite being a short film, The Cavalry feels much bigger than its runtime. Part video art and part hyper-realistic documentary, The Cavalry is a stunning observation of control and oppression in our society.
'Skincare' Review: Beauty is a Cutthroat Business
Elizabeth Banks stars as a Hollywood esthetician who finds herself in the middle of a murder plot in the stylish thriller, Skincare. A fictional story inspired by true events, Skincare is a wild ride that brings out the best in its cast. Matched by a strong score and striking visuals, Skincare serves as a cautionary tale that even beautiful people can do ugly things.
From American Dream to Skincare Queen
To succeed in Hollywood means to be the best, and no one knows that better than celebrity facialist Hope Goldman (Banks). From American Dream to skincare queen, Hope's impact on the beauty industry is similar to how Rachel Zoe influenced fashion. If reputation is everything in this business, then Hope Goldman is royalty.
After working for years to build up her brand, Hope is finally ready to expand her empire by launching a namesake product line. The jars are beautifully elegant with a minimalist high-end appeal, similar to Sunday Reily. It's the moment Hope has been waiting for her entire life. Little did she know that when a competitor moves in directly across the street from her studio, her life will spiral into chaos. Never one to back down from competition, Hope knows that beauty is a cutthroat business and is willing to do whatever it takes to protect her brand.
Watch the Skincare trailer here.
"Shimmer by Angel" is Hollywood's newest skincare boutique helmed by rival facialist Angel Vergara (Luis Gerardo Méndez), and he quickly outshines Hope Goldman. Angel claims that his products can reverse the effects of aging, and the Hollywood elites flock to his studio in droves. As her competitor is gaining traction in their shared niche space, Hope can't help but wonder what devilish games Angel is playing. Ever since his presence in her life, Hope has been stalked, harassed, and catfished. Each incident becomes increasingly more threatening and Hope doesn't know how to stop it. Enlisting her friend and confidant, Jordan (Lewis Pullman), Hope is determined to solve this mystery and take back control of her life, no matter the cost.
A New Musical Discovery
Skincare marks writer/director Austin Peters' first narrative feature film. A successful music video director prior, Austin infuses the same gusto and energy into his feature. Skincare is clever, aesthetically bold, and an all-around fun watch. The cast, led by the always-excellent Elizabeth Banks, embrace their roles as morally ambiguous characters. Dark humor is infused with villainous acts, making for an engaging and unique whodunit.
Music also plays a big part in creating the changing atmosphere of the story. The soundtrack by Senegalese-born Kuwaiti musician and conceptual artist Fatima Al Qadiri is a standout, a fiery discovery. Fatima starts with a spa-inspired dreamlike score comprised of flutes and harps, before moving into heavy metal as the film's tonal shift takes place. It works so well and compliments the visuals perfectly. Every so often, I find myself so moved by a piece of music that I seek out the composer's personal work. I immediately connected with Fatima's sound and recommend you check her out as well.
Takeaway
Dynamic and memorable, Skincare is an engaging watch from start to finish. Not only did it leave me with a newfound appreciation for Elizabeth Banks as an actor, but I also came away with a new music discovery in composer Fatima Al Qadiri.
'Last Man Standing' Review: The Last "Real" Jewish Gangster
Last Man Standing: The Chronicles of Myron Sugerman is a heartwarming retrospective of the life of Myron Sugerman, the last "real" Jewish gangster. Listening to Myron, who is 83 years young at the time of production, is like witnessing your grandpa tell tales from his childhood in colorful detail. Last Man Standing is a bit of a slow-burn but that only reaffirms director Jonny Caplan's commitment to methodical storytelling and giving space to let Myron tell his story in his own words.
The Last "Real" Jewish Gangster
Myron was born in the 1930s in Newark, New Jersey. His father, Barney "Sugie" Sugerman, was involved in the mob scene, yet was also regarded as a respectable figure in that community. Despite being in a gang, his father was not a gangster, and Myron differentiates between the two labels. Regardless of his father's actual involvement, one thing is clear. Myron was born into a life of crime, but he chose to exercise his influence by following in his father's footsteps. Taking on the family business, Myron sold and operated slot machines, jukeboxes, and more for over 50 years.
From Mobster to Family Man
Dealing with the machinery wasn't all fun and games. In this line of work, Myron did business with top-ranking gang members. They included the Gambino crime family, the Colombian Cali Cartel, and the Japanese organized crime syndicate called the Yakuza, among others. Myron recounts his life as an outlaw living outside the law, traveling worldwide, and making business deals with dangerous men. He even talks about helping a famous Nazi hunter track down the Angel of Death, Josef Mengele, in Paraguay. His exciting life has since been tamed as a now-married father of three, with Myron humbly reflecting on his riskier moments. He has no complaints and few regrets, he admits towards the end of the film. One thing is for certain, Myron Sugerman led a fascinating life.
Takeaway
Director Jonny Caplan doesn't stray far from the traditional interview-style documentary in Last Man Standing. The archival images are abundant and the modern-day footage, which shows Myron attending weekly lunches with his old gang pals at an Italian restaurant or Jewish deli, is intimate and heartwarming. As he's matured, Myron candidly speaks about his contributions to history. And despite his questions about the relevance of his legacy, Myron's contribution of sharing his story with the world is an incredible gift. The film had its World Premiere at the Miami Jewish Film Festival.