Review: 'Day Out of Days'
Zoe Cassavetes' latest film, Day Out of Days, is not so much a love letter to Los Angeles as it is a brutally honest slap in the face. A lofty yet realistic portrayal of trying to survive in Hollyweird, Cassavetes uses the city as her playground to tell this intimate story of an aging actress. From the Chateau Marmont, to Griffith Park, to Silverlake liquor marts, the film and its story is quintessentially LA, for better or for worse.
Taking noticeable inspiration from Sofia Coppola's pastel-colored and muted aesthetic, Days is a female driven narrative centered around 40-year-old actress Mia Roarke (Alexia Landeau), who struggles to stay relevant in a town where wrinkles are red flags and age is everything.
Seen glowing and basking in the limelight in the film's opening scene, a mock press junket interview for her latest hit film that reveals a bright future of fame and success ahead, Mia finds that 14 years after her big break, the roles are now only trickling in. With an agent (Brooke Smith) that is about ready to dump her, a famous ex-husband (Alessandro Nivola) newly remarried, and her mother's (Melanie Griffith) pill-popping disappointment of her daughter's backwards-moving career, Mia's discouragement is felt and only grows bigger.
A humiliating meeting with an eccentric filmmaker (Eddie Izard) here, an unsuccessful network audition for a "kooky mom" role there, and an unsatisfying part in a low budget horror flick with a verbally abusive director (Vincent Kartheiser) drive Mia to the point of near breakdown, which the film remains too self-composed to truly offer. However, things take a turn for the best when lo and behold, Mia is offered the role of a lifetime – and so, the superficial circle of showbiz remains unbroken.
From the Chateau Marmont, to Griffith Park, to Silverlake liquor marts, the film and its story is quintessentially LA, for better or for worse.
This story definitely doesn't win points for exploring a theme that has been seen many times over, though Cassavetes clearly is perceptive at subtly poking fun at the obvious stereotypes surrounding the self-validating struggle of the Los Angeles actor.
However, it becomes increasingly frustrating to watch Mia stand in the way of herself throughout the entire film. She is her own worst enemy and the fact that she so is woefully subjected to these constant put-downs is tiring. For the most part, our protagonist just lies down and rolls over. Some things that go against her, like her age and the roles she auditions for versus the ones that are offered to her, are beyond her control. But when she finds herself in other situations like being talked down to on a blind date and getting taken advantage of by the coke-sniffing, leather glove wearing director Dag (Izzard), she passively receives it, which successfully highlights her soft and gentle self amidst the more deplorable aspects of the city but fails to stimulate much of an impact otherwise.
Mia takes baths in the middle of the day and pawns off her jewelry for money, and one would think that if she has been out of the spotlight for 14 years and is desperate enough to sell her extensive wardrobe online, she should maybe start thinking about finding another career path. It's her portrayal of this yearning attempt at a fruitless game that comes across as foolish, and it's hard to sympathize with or feel sorry for her.
For those familiar with the cliches of being an aspiring actor, Day Out of Days may frustrate you just as much as you feel it may completely understand you. Mia's continually disappointed and dragging demeanor is the biggest distraction of the film. If it was meant to portray Mia as a role model for strong, confident women in control of their lives and unwilling to settle for expected societal norms, then there's a problem here, as Mia comes across as anything but in starring in Cassavettes' artistically made lensing of stuperficial living. Although, if you have wanderlust for LA and want a really easy way to see all of the emotionally empty, celebrity-ridden hot spots that the city has to offer, then let this film serve as your mini vacation.
Day Out of Days is playing on June 17th at 9:00 PM during the LA Film Fest. Tickets here.
[youtube height="360" width="640"]https://www.youtube.com/watch?v=xfRpI0B1XOM[/youtube]
Review: '3rd Street Blackout'
A technology obsessed, New York City dwelling hipster couple are forced to re-examine their seemingly perfect relationship when Hurricane Sandy hits their apartment and cuts off all power in the indie comedy, 3rd Street Blackout.
It begins as a fun and innocent situation between bespectacled and quirky Mina (Negin Farsad) and her boyfriend, bespectacled and awkward Rudy (Jeremy Redleaf), whose cutesy selves indulge in terrible rap battles and other trite offerings of hipster conversation-ing. Besides that, she's a neuro-biologist (although all we ever see of her is gratingly overplayed Millennial slang), he's a boring hacker who doesn't even believe in himself enough to further his own involvement in a startup company with his two best friends.
Things turn serious, or about as serious as the film wishes to get, when a city-wide blackout brings to light a recent hookup with Mina and a hunky rich and British venture capitalist Nathan Blonket (Ed Weeks), who fancies Mina enough to fund her vague scientist research. The film over-cuts in non-linear time, jumping all over the place between real time events of Rudy and Mina's separate dealings of heartbreak in a darkened city, with that of the "fun times" events that led to this point. This easy digest film poses the question, is their love strong enough to withstand a national disaster and personal heartbreak?
Blackout doesn't need to rely on empty crass humor that defines this generation's smart-alecky commentary to get a laugh, as it would have still been entertaining and even funnier without the abundance of dirty jokes.
Assuming lead character roles, Farsad and Redleaf also serve as co-directors, yet this is a case where their directorial sensibilities might have been better served strictly behind the camera, or being more aware of their own on-camera performances. Audience reaction may have benefitted from a more confident Rudy while Mina should have been equally toned down, whose sing-songy Zooey Deschanel-hipster cadence wears thin the more the film rolls on.
Fortunately, the film keeps a light and fresh tone reminiscent of a sitcom TV show. It seems as if the actors, both lead and supporting, have a background in improv comedy, as their naturalness on screen is at least played casually enough that it's mildly humorous and not offensively off-putting.
Because of the film's naturalness, it seems unnecessary at how often the film indulges in casually crass conversation. The first time you hear a blue joke, it can be funny. The 25th time? Not so funny, and slightly disheartening. Blackout doesn't need to rely on empty crass humor that defines this generation's smart-alecky commentary to get a laugh, as it would have still been entertaining and even funnier without the abundance of dirty jokes.
Those who are drawn to films like Appropriate Behavior or Wild Canaries will find appeal in Negin Farsad and 3rd Street Blackout. It's a film that we can all probably relate to in one way or another. With its over-indulgence in empty moments and a mildly appealing plot, it wouldn't matter much one way or the other if someone pulled the plug on this movie.
3rd Street Blackout is playing on June 15th at 8:30 PM during the LA Film Fest. Tickets here.
[youtube height="360" width="640"]https://www.youtube.com/watch?v=NfaK9kMLXtA[/youtube]
Review: 'What Lola Wants'
Like something straight from a teenage girl's tumblr or an Urban Outfitters catalogue, What Lola Wants is an equal parts road movie and passionate romance film for Generation Z. Flamboyant colors and a genuinely good Americana score give off a Tarantino-inspired aesthetic, making this innocent crime film a rolling-fun time.
Lola Franklin (Sophie Lowe) has run away from home, under the guise that she was kidnapped. Escaping from her Hollywood producer parents, her disappearance has made the headline news. Stuck in the middle of the Californian desert, she meets a charming bad boy greaser in Marlo (Beau Knapp), with duck-tailed hair and a Matthew McConaughey-drawl.
After a quick meet in a diner, exchanging winks and heavy breathing, they're off like Bonnie and Clyde – stealing, evading authorities and living life on the run. Side road scenes lead to pick-pocketing 101, motel-stop make-outs, and impromptu convenience store stick-ups, all charged with the good fun that makes the romance heist movie such a rousing watch.
While director Rupert Glasson no doubt has an intended look in mind for the film, it's just that the mechanics of the story seem to stall out rather than race down the open highway as its lead sinning duo do.
Yet after realizing Lola's face from the news, Marlo decides to offload the unpredictable bag of trouble, unwilling to invite any further danger into his young life, as he is already trying to evade the grasp of his nasty firearm wielding "Mama" (Dale Dickey). A cool one million dollar reward for Lola's safe return only heightens the drama as Marlo is caught between love and money.
Marlo wishes to wash his hands of Lola, but the two can't help but fall ever-more in love with each other. Unfortunately, the mystery of Lola and her running away from home is given the back seat when "Mama" comes back in to play, and the reveal is far too late and diluted to keep the initial electric intrigue of it all alive.
Lola wants to be edgy, and with its intensely pop-y color grade and teen magazine looking lead actors Lowe and Knapp, those who relate to the film will most likely be found within the younger generations of movie goers.
While director Rupert Glasson no doubt has an intended look in mind for the film, it's just that the mechanics of the story seem to stall out rather than race down the open highway as its lead sinning duo do. And while its outcome was a successful one, it's hard to know if this is truly his own voice as a filmmaker, or if this style was highly influenced by other cinematic works.
Playing in the Zeitgeist category of the fest, and in competition with other hard-knock, coming of age films, it's hard to say what lasting impression What Lola Wants will have past its festival run besides being a stylish re-work of a story we've seen many times before.
What Lola Wants is playing on June 17th at 3:05 PM during the LA Film Fest. Tickets here.
[youtube height="360" width="640"]https://www.youtube.com/watch?v=UXs1Nccj638[/youtube]
Review: 'Catching The Sun'
A startling boom coming from the Chevron refinery in Richmond, CA opens the film. This explosion of smoke and fire seems frightening, but to residents of the economically desperate Northern Californian town, this disaster is all too common due to the country's ongoing dependency on coal and oil.
Catching the Sun, executive produced by Entourage's Adrian Grenier, is a new documentary that uses this occurrence in Richmond to promote the larger, environmentally-friendly issue of using clean energy, both nationally and globally.
Just a short drive over the bridge from Richmond is Marin County, where organic food is abundant and a focus on green living is at the forefront. The subjects in this documentary are shown as just beginning to discover alternative energy, by way of enrolling in job training classes that focus on solar installation.
Unlike many social/environmental documentaries out there today, Catching the Sun does a good job of breaking down the issues and explaining in welcomed, simple terms, how solar energy works and benefits the average American.
This leads to a conversation about the benefits of solar energy and how switching to natural resources would result in less dependence on coal and big refineries. The bigger picture to this community means no more explosions and a better quality of life all around.
One of the spearheads of the movement, and our enthusiastic guide throughout the film, is civil rights activist and New York Times Bestseller Van Jones. Jones' non-profit organization, "Green For All," is located in Oakland and operates on the slogan of "The greenest solutions for the poorest people."
Unlike many social/environmental documentaries out there today, Catching the Sun does a good job of breaking down the issues and explaining in welcomed, simple terms, how solar energy works and benefits the average American. Footage of Van Jones and other companies explaining the theory behind clean energy to its trainees also educates the audience without random facts and numbers being thrown up on screen, making us interested and engaged the entire time.
Directed by award-winning filmmaker and activist Shalini Kantayya, Catching the Sun inspires the environmentalist in all of us; by teaching a group of people a skill that betters the community and the planet, everyone wins. The Beatles' ever-optimistic "Here Comes the Sun" plays us out, a very fitting and uplifting last note.
Catching the Sun is playing on June 15th at 3:15 PM during the LA Film Fest. Tickets here.
[youtube height="360" width="640"]https://www.youtube.com/watch?v=0FzqgS-M5Eo[/youtube]
THE 7 BEST THINGS HAPPENING AT LAFF 2015
74 feature films. 60 short films. 50+ new media works from 35 countries. This year's Los Angeles Film Festival is about to get real.
Dope. Courtesy of Open Road Films.
1. Dope.
Monday's pre-festival screening of Dope kicked off the Los Angeles Film Festival, setting the bar high for the rest of the week. The Rick Famuyiwa-directed, Shameik Moore-starring high school comedy not only continues to draw praise from the critics- it premiered at Sundance- but it also drew a large number of celebrity attendees. And despite what you've read on gossip sites, it was not all about Kylie Jenner.
Coffee Talks. Courtesy of Twitch Film.
2. Coffee Talks.
From actors such as Bryce Dallas Howard (Jurassic World, The Help), Kathryn Hahn (We're the Millers, Afternoon Delight), David Koechner (Cheap Thrills, Anchorman), Mae Whitman (The Duff, The Perks of Being a Wallflower), and Alfre Woodard (12 Years a Slave, Passion Fish) to directors Anne Fletcher (Hot Pursuit, The Proposal), Colin Trevorrow (Jurassic World, Safety Not Guaranteed), Paul Weitz (Grandma, About A Boy), screenwriters and composers, the Coffee Talks are always a highlight of the festival. Plus, who doesn't like free coffee?
3. LA Muse Category.
This is the second year this category has been included in the festival, and it continues to contain some of the most buzz-worthy new films. LA Muse films are those that capture the spirit of Los Angeles, focusing solely on the vibe of the city. Zoe Cassavettes' Day Out of Days is on our radar, about an aging Hollywood actress struggling to stay relevant.
The cast of Dope. Courtesy of Variety.
4. Red Carpet Fashion.
While this event does not require ladies to wear heels (a lá Cannes), there is no shortage of inspiration walking down the carpet. Shameik Moore donned a three piece suit, Pharrell arrived in an explosion of color while Seraya kept it classy with a subtle reptilian feature. With one red carpet over, we can't wait to see what the rest of the fest brings.
Courtesy of Daniel Rensch.
5. After Parties.
Ah yes, the after party. This is the time when filmmakers and actors and industry people alike drink and dance their stresses away. Mingling with peers and making new friends, we're looking forward to enjoying all of what LAFF has to offer. Wine and popcorn included.
Elvis Mitchell. Courtesy of Variety.
6. Elvis Mitchell.
The host of KCRW's "The Treatment" is curating this year's film roster as the artistic director of the LA Film Festival. He brings his unique eye and exquisite taste to the fest, and will even appear at various screenings during the week.
Fast Times at Ridgemont High. Courtesy of Drafthouse.
7. The Closing Night Live Read, Directed by Eli Roth.
This just in: For the first time in the history of the festival, Eli Roth will direct a live read of Fast Times at Ridgemont High to close the LA Film Fest. Apparently, Fast Times is one of his favorite films, and what a perfect film to represent the heart and spirit of Los Angeles!
To follow our LAFF adventures in real time, be sure to follow us on twitter (@cinemacyspeaks) and instagram @cinemacy!
Review: 'Heaven Knows What'
By now, you may have heard about Arielle Holmes and her unconventional rise to indie-darling fame in the Safdie brothers drama Heaven Knows What. For those who haven't, take a seat– things get interesting real quick. As a 19-year-old vagrant junkie, Holmes was spotted on the street by directors Josh and Benny Safdie in New York. Her unique beauty caught their attention, and her story of a failed suicide attempt, psych ward stay, abusive boyfriend, and all around dramatic life gave the brothers an idea. They convinced her to write a memoir of her life, and her writings are the basis for the film Heaven Knows What.
Holmes plays herself under the character Harley, reliving the most traumatic moments of her life. The film begins during a fight between Harley and her boyfriend Ilya (Caleb Landry Jones), where she threatens to slit her wrists to prove her love to him. He taunts her, egging her on to just do it. She gives in and, in graphic imagery, slits her wrist. Covered in dirt and blood, she screams in pain. After a hospital visit and temporary psych ward stay, she takes to the streets once again, falling into the same dysfunction she was in when we first met her.
Reminiscent of Larry Clark's Kids, watching Heaven Knows What will make you uncomfortable at times, but you welcome the discomfort and trust that the directors will guide you through the thick of it relatively unscathed. Unlike straightforward narratives, this film is a unique blend of fiction and raw cinema vérité that is graphic, gritty, and extremely real. Sean Price Williams’s cinematography is lofty and dreamlike, a beautiful juxtaposition to the actual bleak events taking place onscreen.
Reminiscent of Larry Clark's Kids, watching Heaven Knows What will make you uncomfortable at times, but you welcome the discomfort and trust that the directors will guide you through the thick of it relatively unscathed.
Holmes' lack of acting experience is a good thing in this case– her ability to conjure up raw emotions that powerful is one of the film's strongest qualities. The intensity that comes from her tiny frame and strong New Jersey accent has the ability to put you in a trance. Hands down, this is a strong breakout performance, but whether she has any future as an actor aside from playing a junkie remains to be seen.
Enlisting her street kid friends as the supporting cast, the Safdie brothers selected Caleb Landry Jones as the sole professional actor in the film. As Harley's boyfriend Ilya, Jones immerses himself into the life of a junkie with such a fierce portrayal, he is almost unrecognizable. His relationship with Harley is passionate and raw, a dysfunctional relationship if there ever was one. His previous credits include X-Men: First Class, Antiviral and Contraband, a far cry from his performance here.
My biggest criticism can be said in three words: no plot evolution. The film begins just the same as it ends, Harley has not grown as a person, no arch has been reached, and basically no development has happened. The most interesting part of the film is its backstory, not necessarily the film itself. This slow burn is most likely attributed to its vérité style, but that is no excuse for a dehydrated story. While it is easy to get caught up in the vibe of the film early on, it becomes clear halfway through that nothing has progressed and that lack of progression becomes annoying the second half of the film when the uniqueness spark starts to fade.
This is a film for the cool kids; its premiere in New York saw the likes of Chloe Sevigny, Robert Pattinson, Dree Hemingway, and Greta Gerwig grace the red carpet. It's one of those films you will feel cool saying you've seen, nodding along when the other hipsters in the room sing its praises, and whether or not you actually liked it is irrelevant. While I can't say I enjoyed the storyline, I was left impressed by Arielle Holmes, her performance and confidence the Safdie brothers had to create such an artistically satisfying film.
Heaven Knows What opens at the Arclight Hollywood this Friday, May 29th.
https://www.youtube.com/watch?v=zxWMc7iHt8Q
Review: 'Club Life'
Jerry Ferrara, best known for his role as "Turtle" in HBO's Entourage, is back as another party-loving, girl-chasing dude in the drama Club Life. Ferrara takes the lead as "Johnny D" in this high-energy film; as a limo driver turned club promoter, his desire to make money to support his struggling family relies on his presence in the ever-growing Manhattan club scene. His relationships suffer as he becomes more entrenched in the nightlife, and he is faced with the realization that "club life" isn't all that glamorous, forcing him to make some tough, life-changing decisions.
For fans of The Wolf of Wall Street's Jordan Belfort's climb to the top of the social ladder, Club Life has the same underdog perseverance. Inspired by true events, Johnny D's story starts in New York City, 2008. While driving a client around in his limo, he gets a phone call about his father's sudden stroke. Barely getting by as it is, Johnny is forced to make some major cash and fast. While out at a club with his girlfriend Tanya (Jessica Szohr), he suddenly finds a mentor in club promoter Mark (Danny A. Abeckaser) and begins working side by side with him. And "working" means Johnny D is now responsible for bringing hot girls to the club, which can earn him up to $3,000 a night.
For fans of The Wolf of Wall Street's Jordan Belfort's climb to the top of the social ladder, Club Life has the same underdog perseverance.
From that point, it's easy to see where the film is going, and its conventional plot doesn't make for much of a surprise. For someone who is personally not "all about the club life," the film's tone can be rather laughable at times. Director Fabrizio Conte gives the impression that running a club is on par with competing in the Olympics, and while I don't doubt the realistic stresses of that kind of job, I rolled my eyes when Mark tells Johnny D, with true non-sarcasm, that bringing pretty girls to the club is not just a job, but a cultural movement.
While Conte's directorial debut is thematically hard to digest, it's worth noting that the performances really make the film watchable. Ferrara turns to his former Entourage swagger to give Johnny D the lovable wiseguy personality. As his girlfriend, Szhor's brief appearance in the film stands out and left me wishing she had more screen time. Abeckaser, who also co-wrote the film, plays Mark with the perfect balance of scummy nightclub lord and sweet-talking debonair, making his character my favorite to watch.
If bottle service and dirty dancing are your things, then you will probably enjoy this movie. At the end of the film, the credits roll next to a slideshow of New York City Night Life Legends, reminding the audience once again that this is based on a true story and people like Mark and Johnny D actually exist.
Club Life opens in theaters on May 29th, and on iTunes and VOD May 26th.
https://www.youtube.com/watch?v=eTk6k9BEyrc
Review: 'Sunshine Superman'
Mankind may institute the laws of the land, but gravity is the law of the universe, and those are the only rules Carl Boenish abides by. The father of the BASE jumping movement, Boenish’s story and the extreme-sport culture at large is examined in the euphoric documentary, Sunshine Superman.
This film is so much more than watching people jump off mountains and buildings; director Marah Strauch finds a goldmine when talking to Carl’s family and friends as we discover just who this fearless man was. It will no doubt leave you with chills, and maybe a few tears.
Growing up in Hawthorne, CA (shout out to my hometown), Carl worked as an electrical engineer, amateur filmmaker, and skydiving enthusiast. The film takes us through his early years, his law-breaking shenanigans and meeting the love of his life, Jean, whom he later married. Everyone who knew him all said the same thing, Carl had “Peter Pan” syndrome and he was just a big child at heart who never really grew up.
The little things excited him, and his energy was contagious. His enthusiasm for life, exploration, and nature’s miracles knew no bounds. Perhaps that’s why it was seemingly so effortless for him to dangle 3,000 ft off of El Capitan mountain in Yosemite National Park on a bicycle seat while BASE jumpers lunged off cliffs to ensure the best aerial footage for his ever-growing video library.
This footage proves to be some of the film's most rewarding moments, the candidness of their relationship personifies not just a love story between an man and a woman, but also a man and nature.
The genesis of BASE jumping, which is actually an acronym for Building, Antenna, Span, and Earth, started with Carl in the 1970s. In order to call yourself a BASE jumper, one must have jumped off of each of the fixed objects. His obsession with the sport took him all over the world, and he was finally able to share his experience with someone special when he married Jean.
Well before the days of the Go-Pro camera, Carl and Jean strapped large cameras on their heads and documented all of their conquests. This footage proves to be some of the film’s most rewarding moments; the candidness of their relationship personifies not just a love story between a man and a woman, but also between man and nature.
Sunshine Superman is so uniquely powerful because its story is told through both Boenish’s old 16mm archive footage of his jumps, as well as Strauch’s vision for state-of-the-art aerial photography. The naturalness of weaving footage from past to present is effective in giving the story its euphoric vibe. Not that it needs any special effects, but I can’t even imagine what this film would look like in 3D.
It hits you about a quarter through the film that Carl is noticeably absent during interviews. Since this a historical documentary, there are no real spoilers here. In fact, the image above is the Norwegian “Troll Wall” mountain, the location where Carl and Jean jumped off of to claim the Guinness World Record in 1984 for the highest BASE jump, two days before his ultimate death.
As charming as Carl was, his naivetés to human limits was his critical downfall. Claiming the angel wings on his back (AKA his parachute) would always guide him to safety, Carl jumped from a cliff that was just days before deemed “suicidal.” Tests proved that no one could safely jump from that area of the mountain, but Carl liked a challenge, and ultimately that cliff claimed his life. This moment in the film is sobering, and will no doubt leave you with chills.
Jean knows her reaction to his death is weird, and the way she deals with the loss seems odd. But to Jean, a stoic woman who suppresses her feelings as opposed to wearing them on her sleeve, this is only natural. She goes to the spot where Carl took his last jump just a short time before. She jumps, and lands, only to be greeted by a throng of onlookers inspired by her bravery. “It’s what he would have wanted,” she says.
Sunshine Superman is more than just a documentary about the BASE jumping movement or Carl Boenish; it’s a testament to the human spirit and nature’s infinite beauty. Marah Strauch captures here not only arresting visuals, she effortlessly sums up emotions, and extremely inspiring ones at that.
Sunshine Superman opens in LA at The Landmark and in NY at the Sunshine Cinema 5 this Friday with a national rollout May 29th.
https://www.youtube.com/watch?v=3CsJW3_NqJ4