'Touchy Feely': This Dramedy Has the Markings of Indie Success
The dysfunctional family has been portrayed in many different ways in film and TV, but none so quite like this.
Rosemarie DeWitt (Rachel Getting Married) reunites with director Lynn Shelton (Your Sister's Sister) for the "self-improved" comedy Touchy Feely. DeWitt plays Abby, a free-spirited massage therapist who, for mysterious reasons, is suddenly unable to make bodily contact with her customers without freaking out.
This dramedy has all of the markings to find indie success; not only does it have an experienced director of the genre at the helm, but also touts a great ensemble cast, familiar with this territory. Blockbuster babe and indie darling Ellen Page (Inception) takes on the role of Jenny, a depressed small town girl working as a dental assistant to her uptight, germaphobe father Paul, played by Josh Pais (Teenage Mutant Ninja Turtles), who is also Abby's brother. The relationships between these characters are tested when a sudden transformation occurs and alters both their personal and professional lives.
Dreamy camera work, in true Shelton fashion, adds to the film's unique concept of reality.
The once awkward, struggling dentist Paul is miraculously given the power of the healing touch; every patient he sees is suddenly cured of his or her toothaches and cavities. Though the transformation is at first overwhelming, he soon embraces his new gift, changing his life for the better. However, things don't go so well for Abby. A once sought after massage therapist, Abby finds herself quitting her job over her newfound sudden fear of human contact. This phobia also disrupts her relationship with her boyfriend, Jesse, played by Scoot McNairy (Argo), who himself finds comfort in hanging out with Abby's niece Jenny.
Dreamy camera work, in true Shelton fashion, adds to the film's unique concept of reality. In one scene, Jenny and Jesse head to a club to check out a friend's band, and the juxtaposition of the film's slow and emotional acoustic guitar soundtrack with the visual of the upbeat and grungy rock and roll club is executed perfectly.
The only off-putting quirk was the overabundant use of the "ummm" sound. Being the type of film Shelton makes, Touchy Feely allows for the occasional stutter, but at times it seems like the actors are trying to remember their lines on the spot rather than consciously making an acting choice, a possible flaw for the mumblecore genre on the whole.
With a run time of exactly 90 minutes, Touchy Feely is delivered in a neatly perfect package; solid direction from Lynn Shelton makes this one of her top films to date. The chemistry the actors have amongst each other is completely natural, which may be due to their offscreen relationships; Rosemarie DeWitt acts alongside her real-life husband Ron Livingston. So, if you're looking for a film that's part surreal, part emotional, and completely charming, check out Touchy Feely.
https://www.youtube.com/watch?v=on1F9g89rBI
'Red Obsession' is a Love Letter to Wine Enthusiasts
If the first word you associate “Chateau” with is “Marmont,” then close the TMZ tab on your computer and embrace some culture by watching Red Obsession.
The documentary, narrated by Russell Crowe, is not so much a history lesson as it is a glimpse into the wonderful world of wine. Directing duo Warwick Ross and David Roach explore the unique history and traditions of our culture's Red Obsession and the result is a film that's bound to pique the interest of any wine enthusiast.
One could make the assumption that this documentary is arrogant, or dismiss these “wine critics” as snobby and privileged, however, the film strikes a good balance between history and politics, all the while keeping true to its artistic integrity. The Bordeaux wine is described like a work of art, lasting only for a moment in time, until the cork gets pulled. This colorful imagery is a compliment to the beautiful sweeping and aerial shots of the vineyards and Chateaus by directors of photography Lee Pulbrook and Steve Arnold.
The film strikes a good balance between history and politics, all the while keeping true to its artistic integrity.
One of the many interesting facts to take away from this documentary is that China is predicted to be the biggest producer of wine in the coming years, no longer the South of France. To cope with the increasing product demand, China is now planting over 20,000 acres of vineyards every year.
Red Obsession captures the acute attention to detail any good documentary needs; high-definition shots of laborers harvesting the vineyards and actually turning the freshly picked grapes into a bottle of Bordeaux are fascinating processes to watch. What’s just as interesting, however, is the grower’s connection to the wine.
The key ingredient that makes a “great” wine is the same ingredient that makes a great film: love. “It’s the human factor,” explains one grower, “you need love.” Through Red Obsession, it is evident that Ross and Roach are extremely in tune with what their target audience, aka wine enthusiasts, would want to see. Rumor has it, even Robert De Niro called the film “wonderful.”
https://www.youtube.com/watch?v=tL326WZCPSQ
Review: 'And While We Were Here'
Kate Bosworth returns to the big screen with director Kat Coiro (L!fe Happens) in the film And While We Were Here, a story about a woman's love affair with a younger man set against the romantic backdrop of Ischia, a touristic island off the coast of Italy. "Independent" doesn't even begin to describe how this film was made; a cast of four and a crew of an equal number make up the entire production team. In this regard, the execution of the film is solid. The location is beautiful and the casting choices of Bosworth, Iddo Goldberg, along with newcomer Jamie Blackley were perfect. The story itself, however, is where the film substantially weakens.
Jane (Bosworth) is an American writer who is accompanying her English viola-playing husband on his concert tour in Italy. From the onset, Jane is visibly depressed and spends most of her days alone in her hotel room, transcribing audio recordings of her grandmother (Claire Bloom) for her upcoming book. One night, Jane decides to venture out on her own and meets Caleb (Blackley), a handsome young American similarly struggling to live in the resort town. The two have undeniable chemistry and ultimately, give in to temptation. Not straying far from the "formula for romance," Jane and Caleb continue their affair for days, and this spontaneity leads Jane to forget her unhappiness and literally "let her hair down."
It would seem like the motivation of And While We Were Here was more of an opportunity to travel to Italy rather than to make a meaningful film.
Ultimately, Jane confesses her affair to her blindsided husband, who rightfully feels betrayed. He says he will do whatever it takes to maintain their relationship, but Jane's mind is made up, although the outcome of her decision isn't necessarily what you'd expect.
My biggest complaint about the film is with Jane's character, I felt absolutely no sympathy for her. First of all, she decides to follow her husband to Italy for his business trip, so, of course, he's going to be busy and not have time to hang out with you, Jane! Also, the fact that she shows no compassion towards her husband after she tells him their relationship is over makes her seem less empowered and totally selfish, which I'm fairly sure wasn't Coiro's intention when writing the script.
It would seem like the motivation of And While We Were Here was more of an opportunity to travel to Italy rather than to make a meaningful film. I personally was more interested in what Bosworth was wearing as opposed to what her character was doing. Flaws aside, I think this film has the potential to be well received in younger demographics, by teenage girls swooning over Blackley or idolizing "it-girl" Bosworth. The film is not groundbreaking cinema, although the familiarity of the storyline could be comforting. One thing's for sure, And While We Were Here will make you re-think Italy as your next vacation destination (boy-toy not included).
https://www.youtube.com/watch?v=rNk1YL9G2QA
Review: 'GMO OMG'
GMO OMG has all the makings of a crowd favorite documentary as Director Jeremy Seifert, a young dad concerned with the eating habits of his wife and their three beautiful young kids, goes on a quest to discover what exactly is the make-up of his family's daily eating habits. More specifically, Seifert targets GMOs, scientifically known as Genetically Modified Organisms.
“GMO? What’s that?” This question is asked to random people on the Venice Beach boardwalk within the first 10 minutes of the film, an obvious setup to show just how clueless mainstream America really is about what we’re eating. Although slightly insulting, this is the perfect segway into Jeremy’s mission.
Although not as captivating as other food documentaries, it will likely appeal to the eco-friendly, food conscious hipsters.
Believing that the American food system is destructive and unhealthy, Jeremy investigates how the loss of seeds can affect our entire diet and ultimately, the health of the planet. While it doesn't rely heavily on the nutritional facts of GMOs, Jeremy attacks from the ethical side of our global food supply. Apparently, GMOs are in nearly 80% of processed foods and with the suggestion to just “Eat organic” and “Avoid GMOs”, eating healthy feels just plain overwhelming. An effort to provide more balance between the technical, scientific side and a more humanistic understanding would have appealed to a larger audience.
A trip to Haiti reveals just how valuable seeds are to the chain of life and how the sustainability of our planet depends on them. The obvious bad guys are the corporations that take over the farmer’s seeds every year and release chemical toxins onto the food we ultimately eat. The companies Jeremy profiles are Monsanto (Agent Orange) and Dow (Napalm), agrochemical corporations that are trying to control everything we consume (according to Seifert).
Songs by Edward Sharpe and the Magnetic Zeros open the film, adding to its “indie cred.” Long sweeping shots make up most of the visual; whether they’re cornfields or a Haitian village, the cinematography in the film is definitely worth noting. GMO OMG, although not as captivating as other food documentaries, will likely appeal to the eco-friendly, food conscious hipsters and others looking for ways to better the environment and themselves.
https://www.youtube.com/watch?v=fuN09KENCHA
Review: 'My Father and the Man in Black'
Some believe that "superstars are not born, they are created." Director Jonathan Holiff explores this statement in the documentary, My Father and the Man in Black, a film about his overbearing father, Saul Holiff, and his relationship with the legendary Johnny Cash. Jonathan documents his quest to find out more about his father and his experience as Johnny's manager, revealing the ups and downs of Cash's career and the effect it had on Saul's life.
Holiff is described as the man behind the success of Johnny Cash. From day one, Holiff is shown as a natural born leader, like Cash. The two men got along so well because they were both incredibly strong, yet guarded, whose similar alpha-male nature made opening up impossible. In the entertainment industry where image is everything, Holiff wanted his to be perfect. The stress of achieving perfection while working non-stop with Johnny eventually took a toll on Holiff, who succumbed to taking his own life. On top of that, Saul didn't even leave a note for a young, hurt Jonathan.
Following the death of his father, Jonathan begins to investigate who his dad really was. The film picks up steam when Jonathan takes the audience into his family's storage unit and uncovers hundreds of never-before-published letters and audio recordings, taped phone calls, and diaries from his father documenting Saul's personal demons and troubles he had with Johnny. From Cash's pill-fueled near overdoses in 1960 to playing at Folsom and San Quentin Prison, and through his conversion to a born-again Christian in1970, Jonathan leaves no stone unturned as uncovers how his father was there to pick up the pieces.
It feels like the film was made as more of a cathartic and emotional release for Jonathan as opposed to him wanting the world to know about the life of Saul Holiff.
My Father and the Man in Black is unique in its form because it plays like more of a docu-drama; While incorporating archival footage, it also includes re-enactment scenes and voice-over narration throughout the film. This switching in direction keeps the audience engaged, although it borders on the side of slightly confusing and distracting.
As director, producer, writer, and actor, Jonathan Holiff wears many hats in this film. However, his attempt at the one-man-band approach doesn't quite hit the nail on the head. At times, the film seems to shift gears from its unbiased, historical accounts of events to obvious venting at his late father. It feels like the film was made as more of a cathartic and emotional release for Jonathan as opposed to him wanting the world to know about the life of Saul Holiff.
In any case, if you're a fan of Johnny Cash, this documentary is definitely worth a watch. Even if you're just a music buff, this film gives a further and unseen perspective into the life of Johnny Cash- the good times and the bad times, no holds barred.
https://www.youtube.com/watch?v=jtovAxxPo2Q
The Beatles' Official Secretary Shares All in 'Good Ol' Freda'
*This documentary is special to me in more ways than one; but most importantly, it was the first film I screened for CINEMACY back in July 2013. It set the bar for the type of content I wanted to cover and share with you.
Freda Kelly was your average teenage girl in 1961; she went to school, was shy around boys, and enjoyed hanging out with friends and discovering the “latest” musical talent. One night, she happened to see a band that changed her life forever. That band was The Beatles, at the time just a local Liverpudlian group hoping for their big break. Smitten with the boys, Freda literally jumped on the bandwagon and became their official secretary. As history reflects, the Beatles stayed together as a group for 10 years, although Freda was onboard for 11. In Good Ol’ Freda, director Ryan White explores the untold stories of Beatlemania, and Freda shares her personal experience for the first time in 50 years.
The transition from small town band to worldwide success is documented through Freda’s stories. She recalls working for Brian Epstein and how devastating it was to deal with his death. Her stories about Paul, John, George and Ringo are so engaging and funny; she does a great job of personifying these icons and showing that they really were just “average” boys. The archival footage paired with original recordings and songs from the group is exciting to see on the big screen, any Beatles fan would agree.
"Genuine" is the best word to describe both Freda and this film because, up until now, Freda has kept this past life a sort of mystery to her friends and even family.
Some of the documentaries’ best moments come from Freda's days at the Beatles Headquarters as she recalls outlandish requests from fans. A fan once sent her a stick of gum for one of the boys to chew on and send it back, which she did. From cutting pieces of material from their clothes to collecting their hair after a haircut, Freda did everything she could to satisfy the frenzy of Beatles fans.
"Genuine" is the best word to describe both Freda and this film because, up until now, Freda has kept this past life a sort of mystery to her friends and even family. She didn’t want her past to overshadow who she is today, which is why she kept all of her Beatles memorabilia (worth over thousands of dollars) neatly tucked away in her attic. The only reason why she even agreed to make the film, she explains, is to show her grandson one day so he knows what a full life she had “before the memory box goes completely.”
If you’re a fan of The Beatles, then Good Ol’ Freda is a must see; it's a fantastic story with heart and quirk without seeming gossipy. It highlights the evolution of the group through the eyes of the one who was there through it all; the challenges, the tours, the iconic breakthroughs and the momentum of success from the greatest band in history.
https://www.youtube.com/watch?v=LqO3DIaKTXM
Kristen Bell and Mamie Gummer on 'The Lifeguard' [WATCH]
The Soho House in West Hollywood is the location. The stars of the new independent film The Lifeguard are set up in one of the overly air-conditioned rooms, hot tea in hand and blanket in lap. We introduce ourselves and begin. Kristen Bell and Mamie Gummer are the beautiful leads in Liz W. Garcia’s feature film directorial debut The Lifeguard (review up now). We talk about working with Liz, getting into character, and the experiences of losing their childhood rooms to change or in Mamie’s case, it being kept as a time capsule.
'The Lifeguard' Review: Kristen Bell Gets Slightly Scandalous
Kristen Bell and Mamie Gummer tackle the independent genre in The Lifeguard, the feature film debut from writer/director Liz W. Garcia. The film centers on Leigh (Kristen Bell), a 29-year-old New York City girl struggling with that age-old question, “what am I doing with my life?” An impulsive decision brings Leigh to quit her job as a reporter at the prestigious AP and head back to her childhood home in Connecticut to live with mom and dad. In what appears to be a regression back to her former teenage self, she takes up her old job as a lifeguard in a gated community center, and this is when the trouble starts.
Kristen Bell and Mamie Gummer on ‘The Lifeguard’ [WATCH]
As an audience member, you wonder at what cost is she willing to hold onto her youth? Leigh’s arrested development puts her in a vulnerable position when she begins flirting with Jason (David Lambert), a 16-year-old rebel skater boy who smokes pot and ditches school. His appeal is easy to see and for Leigh, it’s just the attention she needs to feel young and beautiful.
For Kristen Bell, it’s a darker, twisted side we see as she sheds her “good girl” image to play Leigh.
Mamie Gummer and Martin Starr play Leigh’s childhoods friends and they become extremely uneasy about her relationship with Jason. Their disapproval causes Leigh to hit rock bottom; she moves out of her parent’s house and feels like “little girl lost,” which is something the audience can relate to in one way or another. Acknowledging that she is out of control, she realizes that maybe clinging onto youth isn’t as romantic as she thought.
The Lifeguard is not groundbreaking cinema or a heavy-handed story, but it succeeds in showcasing great performances from its actors. For Bell, it’s a darker, twisted side we see as she sheds her “good girl” image to play Leigh. Gummer impresses as high school vice principal Mel who tries to be the voice of reason while struggling with personal issues between her husband (Joshua Harto) and herself. Lambert breaks away from his “Disney” image and plays Jason with edge and intrigue. So, if you’re looking to watch an easy film with that independent flavor and slightly scandalous subject matter, The Lifeguard may be just the film.
https://www.youtube.com/watch?v=x92mfhWERew
'Abigail Harm' Review: Surreal-ness in Subtlety
If you're looking for the next surreal-indie-art film, look no further than Abigail Harm. Living in isolation in New York City, Abigail (Amanda Plummer) is a 50 something, single woman living the simple life; No husband and no children, only an ailing father and a dead mother. Reminiscent of an older looking Miranda July, Abigail makes her living by reading stories to the blind. The film opens with Abigail charismatically reading a passage from "Into the Looking Glass" to one of her clients (fitting for a woman who spends her days feeling like an outsider). With a daily routine of going to and from clients' homes, she is never seen by anyone- literally, all her clients are blind- and she longs for love and companionship.
One night, a wounded man (Will Patton) appears in her apartment. After dressing his wounds, he repays her by offering her the chance to not only be loved, but fall in love. Intrigued by his claim, the man continues to explain to Abigail the secret. Based on the Korean folklore "The Woodcutter and the Nymph," the man explains that if Abigail was to take the robe of a man, he will follow her forever. That man would hypothetically be a "victim to love." Cut to- Abigail entering an abandoned building and finds a man (Tetsuo Kuramochi) bathing. Seizing her opportunity, she takes his robe and sure enough, he becomes hers.
With a daily routine of going to and from clients' homes, she is never seen by anyone- literally, all her clients are blind- and she longs for love and companionship.
Abigail Harm is, at the core, a story about loneliness and the humanistic desire to be loved. Cinematically, it has that beautiful Terrance Malick look of surreal-ness in subtlety. Multiple long takes enhance Plummer's incredible raw talent, she plays Abigail with such heart. Director Lee Isaac Chung is a genius in creating this fairytale-like world in a seemingly realistic environment. For a woman who reads to people for a living, the film is overly quiet; there is not a lot of dialogue, mostly ambient sounds and score.
With roots deep in folklore, it could have been easy to pass this story off as cheesy or insincere, but it's not. It's a thinker, which is the only way this film could have been done successfully. Abigail Harm is more than just a film, it's an art piece and an experience.
https://www.youtube.com/watch?v=_jJfumiMcZo
'Spark: A Burning Man Story': An Insider's Look at This Festival Phenomenon
Imagine suddenly realizing that every decision you've ever made in your life could be wrong. By the “default” world’s standards, the subjects in Steve Brown’s documentary have seemingly lost it all; from day job to life partner, these people come across as social rejects. But imagine going to a place and discovering your true self and purpose on earth, realizing that art, self-expression, and music are the true ethos of existence.
This place is Black Rock City, NV, where thousands gather every year to experience a life free from the confines of the “real world.” In Brown’s documentary SPARK: A Burning Man Story, he captures the intense journey of three artists each struggling with their own challenges and triumphs during the 2012 Burning Man festival.
The film follows Katy Boynton, a former nanny who has a change of heart after attending a previous Burning Man festival. Even though she was being evicted from her apartment and making extra cash by cleaning out garages on the side, Katy realizes her true passion is welding. She has no regrets about quitting her day job as she sets out to create her own piece of art for Burning Man 2012. The process of constructing the 12 foot tall piece, and leading up to it's eventual installation, is a great story of perseverance and humbleness.
Chances are, I may never make it out to an actual Burning Man event, however, this documentary makes me feel like I’ve already been there.
Enter- Otto von Danger, a former marine, who feels betrayed by the “institutions” he risked his life to defend, and in turn, expresses his anger and frustration through art. The doc shows the construction of his brainchild, “Burn Wall Street”- large wooden buildings meant to replicate New York City’s financial district, (ex. “Bank of Un-America”) which eventually burns to the ground during one of the nights at Burning Man.
Finally, Jon La Grace is a Burning Man organizer who left his wife a few years back when he accepted that he was gay. He realized that material things in life were meaningless to him after attending Burning Man for the first time, and it's changed his life for the better. Since then, he’s become one of the lead organizers of the theme camps as well as a fan favorite.
Brown and co-director Jessie Deeter do a great job of capturing the spirit and phenomenon that is Burning Man in SPARK: A Burning Man Story. The artists we follow along the way were perfectly selected, each are unique characters that bring to light something we as an audience member can take away once the movie’s over. Chances are, I may never make it out to an actual Burning Man event, however, this documentary makes me feel like I’ve already been there.
https://www.youtube.com/watch?v=V4ZNUZDuaH4
'Prince Avalanche' Shows There’s Always a Chance for New Beginnings
Director David Gordon Green made a very interesting decision when making Prince Avalanche- he gambled. After previous successes with major studio films like Pineapple Express and The Sitter, Green wanted to get his "indie-cred" back, and so he made Prince Avalanche in secret. On his own, Green contacted his actor friends Paul Rudd and Emile Hirsch, and with their blessing, Prince Avalanche commenced production. In fact, no one knew about the project until it had already wrapped.
Rudd (This is 40) and Hirsch (Into the Wild) play Alvin and Lance, respectively, two men struggling with individual emotional issues. Alvin is high-strung and stuffy while Lance is immature and reckless and throughout the film, the guys discover that they can learn from each other. The film opens on a deserted highway, miles from any city or town, with its surroundings burned to the ground. Alvin and Lance appear with equipment geared to paint traffic lines down the interstate highway and from there, the film takes off.
The roles of Alvin and Lance forced Rudd and Hirsch out of their comfort zones, which was appreciated by the audience. Both characters were written as performance-driven pieces and are engaging to watch on-screen. This "Odd Couple" dynamic between Rudd and Hirsch is, I believe, some of their best work as actors. There are only four speaking parts in the entire film and about 90% of them come from Rudd and Hirsch, which would have made the film incredibly painful if they were not being 100% genuine.
I have to hand it to Green: the way he executed the film, this "slow and steady wins the race" mentality gives this indie drama its niche.
The story takes it's time to develop and while it's not the most energizing film to watch, it is visually striking. The camera acts as the audience, the shots are not contrived or forced, but rather simple and melodic. It's as if the camera is purely observing the moment as opposed to creating it. The beautiful cinematography by Timothy Orr should win awards- it makes even the most barren landscape look desirable. Aided with the perfect soundtrack from Explosions in the Sky, Prince Avalanche can be regarded as a visual work of art.
Prince Avalanche would have made a fantastic short film, but as a feature, my only critique is that it seemed to drag a bit. Although I have to hand it to Green: the way he executed the film, this "slow and steady wins the race" mentality gives this indie drama its niche. The slow storyline also works with the environment of the film, a burned down forest in the middle of Texas is going nowhere fast, just like Alvin and Lance. As the forest begins to bloom again throughout the film and nature rejuvenates, it's a reminder to the characters that no matter what loss or devastation one faces, there's always a chance for new beginnings.
https://www.youtube.com/watch?v=gJGEu268KvI
'I Give It A Year' is Not Your Average Romantic Comedy
Boy meets Girl + They fall in love + They get married= Happily ever after. This is the formula many romantic comedies use when writing a screenplay, and for the most part it works. But when the screenwriter's past work includes Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan and Bruno, you know this is not going to be your average romantic comedy.
I Give It A Year tells the story of Nat (Rose Byrne) and Josh (Rafe Spall), a newlywed couple who are beginning their transition into married life. What starts out as a promising future quickly goes downhill. The couple lives in London: Nat works at a PR agency and Josh is a freelance writer. A wandering eye from Nat leads to romantic love interest Guy (Simon Baker), her American client who also shows signs of liking her. While Nat spends her days removing her wedding ring to work (read: flirt) alongside Guy, Josh works (read: hangs out) with his friend, and ex-girlfriend, Chloe (Anna Faris).
Clearly a struggle between thinking with one's heart vs. one's head, Nat and Josh both agree to try to make their marriage last for one more year. While working on their relationship, the humor comes into play in the way these characters are so obviously in love with another person. In a failed attempt, Guy tries seducing Nat during a business meeting by filling the conference room with white doves and a single violinist. The doves poop on her blouse, and while she is upset on the surface, it's obvious that she wishes she could just rip off her blouse off and jump his bones.
We all saw it coming, but it still makes for a laugh or two.
Meanwhile, Josh takes Chloe with him to get a girl's perspective on a set of lingerie he is planning to buy for Nat. The awkwardness that ensues is classic; Chloe tries on a sexy pink and orange lace set and Josh can't help but stare at her boobs. We all saw it coming, but it still makes for a laugh or two.
I Give It A Year is a very mainstream film for director Dan Mazer, which was his intention. "I wanted to do something that was a bit more mainstream and yet which still had the ability to be edgy and a bit shocking," he says. "I am getting older... there comes a point where you don't want to be shocking for shocking's sake. Funny is funny." While I agree with Mazer's logic, I can't quite commit to saying this film is a comedic milestone. It does push the envelope at times- Anna Faris's threesome sex scene was completely awkward and one of the best scenes in the film. The ending seemed to be a varied version of that "Happily Ever After," but unique in it's own way. I Give It A Year may not be that "summer fun for the whole family" type of movie, but if you're looking to break the ice on a first date, I'd say it's the perfect film.
https://www.youtube.com/watch?v=Od8DhL1hyfw
David Gordon Green and Emile Hirsch on 'Prince Avalanche' [WATCH]
Prince Avalanche is the newest film to come from director funnyman David Gordon Green (past credits include Pineapple Express, Your Highness). Part surreal/indie, part comedy/drama, Prince Avalanche paves the way for that new genre of the "hipster film." Cinemacy talks to Green and Emile Hirsch (Into the Wild, Lords of Dogtown) about the making of the film, the food catering on set in Texas, and the infamous scene that didn't make it in the film.
'The Spectacular Now' is a Classic Coming of Age Tale Mixed With a Shot (or Two) of Whiskey
Cinemacy got an exclusive look at The Spectacular Now during the film’s cast & crew screening this past Tuesday. Hosted by A24 and Flux, the Vista Theater in Los Feliz was transformed into a red carpet affair. Hollywood stars and the "Who’s Who" of industry hipsters packed the vintage theater for an intimate look at the film. Addressing the audience, director James Ponsoldt thanked the crowd for coming and supporting the “little film that could.” He went on to say that The Spectacular Now is not your average coming of age film; in fact, he quoted Pretty in Pink and The Breakfast Club as inspiration for the project.
The film comes from the same writers as (500) Days of Summer and immediately picks up on that indie rom-com formula that has garnered previous success. Shailene Woodley (The Descendants) plays Aimee Finicky, the Animé loving, naive high school student with dreams of attending college out-of-state and starting over. When she finds her classmate Sutter Keely, played by Miles Teller (Project X), drunk on her lawn one morning, the two spark up a friendship. That friendship quickly turns into a relationship and it is the chemistry between these characters and their own coming of age lessons that the film so skillfully captures.
In keeping with Ponsoldt’s vision of the film, being "not-your-average teen movie," Woodley plays Aimee in a completely natural way. Minimal to no makeup on the lead actress is something most studios typically wouldn’t embrace. The fact that we can see imperfections, the pimples, and the sweat, was a personal touch that is very often overlooked in films, especially those set in high school where the “high schoolers” are in their 30’s and look abnormally polished and put together.
I appreciated the realism of the character's appearance, but I did notice that a lot of the scenes were driven by alcohol- whiskey in a flask, to be specific. Most of the film’s dramatic scenes were because alcohol was involved; the first time Aimee and Sutter meet, their first kiss, prom night, and even when Aimee gets hit by a car were all circumstances which may not have happened without the liquid courage. The undercurrent of this constant drunken state can make it a bit hard to sympathize with these characters if they’re acting out of inebriation as opposed to raw emotion.
The Spectacular Now is a heartwarming film, the visuals of shooting in Georgia translated well, as did the soundtrack with music by Kurt Vile and Ariel Pink. What sets this movie apart from other indie romances is the intention behind the scenes, which could be felt on-screen. This wasn’t the typical “Hollywood” film with character stereotypes or even a storybook ending. Ponsoldt’s vision of keeping the film organic is evident throughout the entire story- from casting choices to wardrobe and makeup, The Spectacular Now may very easily join the ranks of those classic John Hughes “coming of age” tales.
https://www.youtube.com/watch?v=XDTBLSkUmYk
'Two: The Story of Roman & Nyro' Review
When I was first asked to cover this documentary at Outfest (the LGBT-oriented film festival in Los Angeles) I had made up a certain expectation of the film already. I’d heard the positive buzz surrounding the doc, of course, I would try to go into the screening with an open, unbiased mind. Sometimes we get caught up in what’s “popular” at the moment, whether it’s social issues, Amanda Bynes’ latest tweet, or the newest film. Although I have to say that after watching TWO: The Story of Roman & Nyro that day, I find myself among the ranks of positive voices when I say although not ground-breaking filmmaking, this documentary is equal parts uplifting and emotionally resonant.
TWO: The Story of Roman & Nyro documents the story of Hall of Fame songwriter Desmond Child and his life partner Curtis Shaw as they struggle with finding a way to conceive a child as a gay couple. Desmond, who is best known for writing Bon Jovi’s “Livin’ on a Prayer,” Sisqo’s “Thong Song,” Katy Perry’s “Waking Up in Vegas,” and Ricky Martin’s “Livin’ la Vida Loca,” (among countless others), is in a committed relationship with Curtis when they meet a woman named Angela on a trip to India. The doc goes into detail about the immediate spiritual connection the three had and ultimately, they ask her to carry their baby.
Since the idea to create this film started with a clear-cut vision, there were ample amounts of home videos and picture slideshows to last the entire 90 minutes.
TWO: The Story of Roman & Nyro is a glimpse at one of today’s “Modern Day” families. The way Desmond and Curtis react to the news that they are having twins could bring a smile to anyone’s face; in the same way that their boys Roman and Nyro talk about their life with two dads. This documentary is completely relatable to its audience with its message of love and family.
Whereas some documentaries happen organically, like being at the right place at the right time, this doc has a plan of attack; TWO: The Story of Roman & Nyro was 12 years in the making, which is a pretty incredible amount of time to devote to one project. Since the idea to create this film started with a clear-cut vision, there were ample amounts of home videos and picture slideshows to last the entire 90 minutes. I did appreciate the film and its message, and even though it wasn’t necessarily edgy or boundary-pushing, overall I found the film to be original and genuine.