Review: 'Chappie'
Despite seeing this film on opening night, I already had caught word that it could potentially be a disaster. I otherwise saw the movie completely blind, knowing only the loose concept and the director/writer Neill Blomkamp.
Blomkamp captured lightning in a bottle in his 2009 debut feature, District 9, which remains one of the greatest modern science fiction movies in the way it serves as an allegory for the racial divide of South Africa, but also a high concept science fiction piece, not to mention a terrific action movie. Elysium, on the other hand (released in 2013), had an impressive concept but ended up as a rather hollow movie. Chappie, unfortunately, has more in common with the latter, primarily in that it never escapes the shadow of District 9. In so many elements, it feels like an attempt to recreate the wow-factor of that film.
In the end however, I did enjoy the film, knowing it was flawed beyond belief but at least it didn’t feel generic or bland.
The first confusing element is whether or not the film is supposed to take place in the future or in an alternate present day. There isn’t enough establishment of the world to verify either one. Chappie tells the story of a corporation’s brilliant young genius (Dev Patel) going rogue and making his own type of robot that isn’t the fighting machine it was intended to be. Chappie (a mo-cap performance from Sharlto Copley) is born, and must learn the nuances of humanity through the underground culture of Johannesburg. What works well are the small moments, such as Chappie learning English and early communication. But for all of those, an equal number of them feel incredibly hokey. The supporting characters are absolutely ridiculous in two different ways; The two main characters are played by rappers Ninja and Yo-Landi Visser from the South African rave-rap group Die Antwoord. Neither one has previous acting experience, which makes for brutally uncomfortable performances until finally you get used to them. The rest of the cast consists of notable actors (Hugh Jackman and Sigourney Weaver among others) who give their all toward undeveloped or misguided characters.
For what it is worth, the film is unpredictable in many ways. Especially since I avoided trailers, the story took many directions I did not expect. I was intrigued through the lengthy runtime, but also made painfully aware of its cringe-worthy bad moments. Ultimately, the film is weighed down by how implausible some of the decisions are and how little the details are developed, much like Elysium before it. If that sounds interesting to you, then by all means go see it, but if you’re looking for a well developed, quality project, you’re going to have to wait for something else to be released.
I find it interesting that this film is produced by Sony. For one thing, it means that you’ll get more blatant product placement than any film outside the Transformers series. It also feels like the type of project that is a hit on paper, but is undeveloped and misguided in its execution. In the end however, I did enjoy the film, knowing it was flawed beyond belief but at least it didn’t feel generic or bland. I hope that Blomkamp steps farther outside his safety net on the Alien franchise, which he is slated to direct next. If he takes the same approach as his last two films, it will similarly feel ambitiously interesting but hollow and misguided.
https://www.youtube.com/watch?v=lyy7y0QOK-0
Reviews: 'Da Sweet Blood of Jesus' and 'Oldboy'
Spike Lee re-entered the public eye once again just under two years ago with the bold decision to fund his next independent film by the crowdfunding website Kickstarter, and the fruits of his labor are now available for the general public to see. It’s been nearly a decade since Mr. Lee has been able to deliver a movie that was critically-approved, as his last few efforts have all been misfires for various reasons. I hadn’t seen his remake of Oldboy, a commercial flop from 2013, so I streamed it on Netflix in preparation for the film (see my thoughts at the end of the review). Unless you’re a meticulous viewer like myself, there is little to connect the two films by, other than a few signature flairs. Unfortunately, Da Sweet Blood of Jesus appears destined to join the later Spike Lee joints as another creative misfire.
Dr. Hess Green (Stephen Tyrone Williams) is a wealthy African history expert living in an isolated mansion in Martha’s Vineyard. He has but one vice: he is addicted to blood. The plot thickens when the wife of one of his associates, Ganja (Zaarah Abrahams) comes to visit, and she is brought into the bizarre and sordid world of blood addiction. Their relationship becomes the major plot point of the film.
There are a few things wrong with the film, but above all, there is a sense of pace that is completely missing from the picture. This is a slow movie, much like 2012’s Red Hook Summer, and is similarly in desperate need of a sense of forward progression and intrigue as to what is going to happen next. This is only found in a few moments, but the film suffers without a clear enough plot to drive the film forward. Even the chemistry between the two lead actors, which as you can imagine leads to romance, does not feel organic and rapidly jumps from complete strangers to timeless lovers.
For a film about blood-drinking, murder, and much more, the stakes of the film feel rather low–by the end of the first act there doesn’t appear to be anything to threaten the characters’ well being other than themselves, and it isn’t enough to maintain the movie. At a full 2 hours, this is a movie that is just too long for how empty it feels. The film is monotonous and as a viewer I lost interest quickly. Thinking to general audiences, I find it difficult to imagine any type of viewer finding enjoyment in this film. To the many who backed this film on Kickstarter (including myself), this is a huge let down.
Da Sweet Blood of Jesus is available to stream on Vimeo On Demand now and in theaters today.
https://www.youtube.com/watch?v=n739-zHeooQ
Oldboy (2013) (US)
Director: Spike Lee
Writer: Garon Tsuchiya, Nobuaki Minegishi (manga), Mark Protosevich (screenplay)
Stars: Josh Brolin, Elizabeth Olsen, Samuel L. Jackson
The first thing I read about Spike Lee’s 2013 remake of Oldboy after viewing it for myself was that the studio cut the film down from a 145 minute Director’s cut to a 105-minute movie. Hence, the film opens with “A Spike Lee Film” rather than the auteur's usual signature, “A Spike Lee Joint.” That information alone gives so much context with what isn’t working with Oldboy. The film lacks the character development and subtle build-up that is essential for any good film across all genres. All the major relationships of the film are without development or backing. For the first half of the film, this is acceptable because there is enough going on in the story to keep us entertained and intrigued. But as the film progresses and becomes more relationship-centric, it alienates the viewer.
If you’ve seen the original 2003 Korean film of the same name, then you will already know all of the major plot points of this film, which Lee does not deviate from here. Other than an obvious change of location and a few subtle differences, it is all the same story. An average man (Josh Brolin, whose character is much more of an a-hole than his Korean counterpart) is suddenly locked up for 20 years with no explanation–and then set free. He seeks revenge on his captor while searching for his missing daughter. The captor (Sharlto Copley, in an effectively weird but still underwhelming performance) challenges him with a game of asking not why he was locked up, but why he was set free.
The film does build to a twist, and it is the same as the original. In essence, there is nothing new to be gathered from watching this film over the original. The first one is more effective in all that it sets out to be: it is vile, emotional, action-packed, and has a powerful sense of style. As mentioned at the beginning, despite keeping the same story, this version can’t help but feel watered down. It’s a film very few people saw to begin with, and after viewing it myself, I can’t help but suggest checking out the original and skipping this version entirely. Both versions are available to stream on Netflix, though you only need to bother with one of them.
I am a huge fan of Spike Lee’s work prior to 2006. He was a distinct and powerful voice of independent cinema whose movies varied in quality but almost always left me with something positive. And among those many movies, a handful are absolutely phenomenal. The same cannot be said of everything since. There is very little to defend about his late filmography, and as a fan this is frustrating because I am baffled by how drastically this film along with the others have dropped off in quality.
Having now seen both the studio controlled Spike Lee film in Oldboy and the completely independent Spike Lee joint in Da Sweet Blood of Jesus, they both ended up being poor products. On both sides of the coin, there is little substance to be gleaned. I am sincerely disappointed and do not see a bright future for Spike Lee joints that match the original power of his early filmography. It appears those days are long forgotten.
Oldboy is available to stream on Netflix now.
https://www.youtube.com/watch?v=WKz_AUF0GcU
Review: 'Racing Extinction', 'Brooklyn', 'Me and Earl and the Dying Girl', 'Slow West', 'The Diary of a Teenage Girl'
Final Days, Park City, UT: While the dust has officially settled on Sundance 2015, due to a jam-packed last couple of days capped off with a lengthy road trip home, I didn’t get a chance to write about the last few days of the festival, where I managed to see 5 of the festival’s biggest movies. Here are some thoughts on titles that without a doubt will be coming up again as they reach a US release.
Racing Extinction (US)
Director: Louie Psihoyos
Writer: Mark Monroe
Stars: Elon Musk
My final documentary comes from high profile filmmaker Louis Psihoyos, director of Oscar-winning documentary The Cove. Prior to the film’s screening, he proudly announced that since his last documentary, dolphin hunting has decreased by nearly 2/3rds, tangible evidence at the power of cinema. In his follow-up documentary, Racing Extinction, Louis takes a larger scope, discussing the endangerment and mass murder of multiple animal species all across the world. One, in particular, is the manta ray, which has become a delicacy in China and as a result, they are being slaughtered. Louis and his team infiltrate an illegal seller of these meats that are extremely expensive but remain a commodity because they are believed to cure cancer and other myths that serve as excuses for mass hunting. The reason the film excels is because it takes the micro-sized issues such as these and shows why they matter on a global scale. The extinction of species will have a drastic impact on the environment worldwide and is a metaphor for the current human behavior that is so damaging. The filmmakers do an incredible job of showing why this is happening and that, although this is by no means a quick fix, this is something we all must get involved with.
I am an environmentalist and a vegetarian so I fit squarely into the range of people who are most likely to see the film. But I recommend it to any viewers because this is not a film meant to tell you how grim the future is, it is one about showing how with the right steps we can make a difference in the world, and every single human being can help make a difference. I am inspired by this film and look forward to promoting it as the year goes on. In short, it's something that everyone should see.
Brooklyn (UK/Ireland/Canada)
Director: John Crowley
Writer: Nick Hornby
Stars: Saoirse Ronan, Domhnall Gleeson, Michael Zegen
Brooklyn was one of the premieres that generated the most hype over the course of the festival, despite a synopsis that appears rather pedestrian. Ellis Lacey, an Irish girl (played by a mature Saoirse Ronan) moves across the Atlantic to Brooklyn, New York in hopes of a better life in the 1950’s. The film is a chronicle of the challenges of leaving family and comfort behind with the lofty promise of an education and a career. Over the film’s runtime, we see Ellis go from a girl who can barely carry on a conversation to a full-fledged woman. A major part of this transformation is due to the romantic plot of the film. Through meeting Tony (Emory Cohen), Ellis finds herself able to adjust to being so far away from her family, and finally find her voice.
This is a sweeping romance in the old fashioned form, akin to something that would’ve been released in a different era of cinema. It doesn’t feel dated in its execution at all, but it feels like the type of film that seldom gets made today. In this regard, it is oddly refreshing to see a conventional drama unfold. For anyone who has ever traveled far from their family or been in a long distance relationship, this slow-burning drama will strike a personal chord. Fox Searchlight will be releasing the film later this year, and it seems destined to be a film that connects with all kinds of audiences.
*Me and Earl and the Dying Girl (US)
Director: Alfonso Gomez-Rejon
Writer: Jesse Andrews
Stars: Jon Bernthal, Nick Offerman, Olivia Cooke
On the final night of the festival, I had a ticket to the 9:45pm screening of the “Grand Jury Prize Winner” and when I got out of a film playing before it at 8:45pm, there was still no word on who the winner was. Finally, 15 minutes before the film was set to begin, thanks to Twitter, we in line were informed that the festival’s winner and the film playing that night would be the much anticipated Me and Earl and the Dying Girl. Through the entire festival, I had heard talk about how exceptional of a film it was, and now was my chance to see it for myself.
I was not disappointed. From the title you can get some sense of what you’re getting into, but Earl is a drama and a comedy about a senior in high school whose mother forces him to befriend the girl in his class who has leukemia. This is not meant to be either extreme of light-hearted or heavy-handed. Like any great film, it strikes a beautiful balance right in between.
The reason I found the film so easy to connect to all viewers is because all of the cinematic elements on this project seem to come together in a most harmonious fashion. No film element is left underutilized. We are told the story visually through the great camera work and the exceptional production design. However, these are just accentuations of what is an incredible story, a roller coaster of humor and sincerely touching moments. After seeing the film, it was so clear why this is a winner. It just delivers across the board everything you could ask for in a movie and feels so refreshing despite being a rather tried genre. As an added bonus, the film has a countless number of homages and references to classic cinema, so is especially fun for avid film-goers. Of all the films I saw at Sundance, I look forward the most to revisiting this gem: it represents exactly the type of quality films that find a path to success through the festival.
*Grand Jury Prize: Dramatic Winner, Audience Award: U.S. Dramatic Winner
*Slow West (UK/NZ)
Director: John Maclean
Writer: John Maclean
Stars: Michael Fassbender, Kodi Smit-McPhee, Rory McCann
On the final Sunday of the festival, they screen the winners of various categories, and I made sure to catch Slow West, the New Zealand film that won the Grand Jury Prize for World Cinema Dramatic. Ironically, the film is set in the United States during the classic Western era, and features a non-American but recognizable cast including Michael Fassbender and Kodi Smit-McPhee. Distributor A24 has picked the film up for some sort of release this year.
The film follows a 16-year-old boy who meets a drifter named Silas (Fassbender) on his journey across the West to catch up with the girl he loves. Over the course of the film we learn more about why his love moved out here and why he is following her. Like any Western, there are bandits and villains scattered throughout the perilous journey, and he will need all the help he can get from Silas in order to reach his destination. The film gets off to a slow pace at first, but before too long develops into an intense action adventure where there is no way to predict what will happen next. There are some brilliant moments of set-up and payoff here that are so seamless you don’t realize that they play into the story until after it has passed. It does a fantastic job of keeping with the conventional Western tropes but also feeling fresh and like something we haven’t seen before. Because the film is a brief 84 minutes, it's also difficult to find too many faults once the story really takes off. For any fans of the Western, this film can be added to the catalog of modern Westerns that are ensuring the genre and the spirit of the West lives on.
*World Cinema Jury Prize: Dramatic Winner
*The Diary of a Teenage Girl(US)
Director: Marielle Heller
Writer: Marielle Heller
Stars: Bel Powley, Alexander Skarsgård, Kristen Wiig
My final film of the festival before embarking on a 10-hour journey home was one I was rather thankful to see. Just a few days earlier, I had a chance meeting with the film’s director, Marielle Heller, and had a rare opportunity to speak with her about the industry and how she got to where she is. The film is a testament to the independent spirit, telling a story that could never have been made in a conventional studio. The story is about 16-year-old Minnie (Bel Powley), whose coming-of-age story becomes radically different than the norm when she starts sleeping with her mother’s boyfriend. As can be inferred, despite the gloss of coming-of-age comedy, this is at times a difficult film to watch with a subject matter that’s difficult to digest. However, at its core it is a universal story about learning what matters and how to healthily achieve confidence in yourself. As pointed out to me by a fellow festival-goer, it’s a rare teenage coming-of-age story that is told from the female perspective, both in its protagonist and in the writer/director. The result is another film that feels refreshing and something worth sharing with the general public. Interestingly, the film actually won the award for Cinematography, and knowing that going in gave me a special appreciation for the craft of the film, especially in the choices of lighting. The film is a 1970’s period piece which allows for a more immersive experience and helps explain the rather unconventional relationship that develops between Minnie and her mother’s boyfriend. Overall, this represents a great voice in film and shows us a story that wouldn’t normally be seen as universal, but is done in a way that we all can relate to, and the final message of the film is something that everyone should hear when they are going through the doldrums of teenage years.
*U.S. Dramatic Special Jury Award: Excellence in Cinematography
And with that, so ended my experience as a volunteer at the Sundance Film Festival. In total, I managed 25 films and saw a film at every single venue of the festival. For anyone who is a lover of independent cinema, Sundance is a true haven and a place to surround yourself with like-minded people. I'll also add that part of what makes it both special and daunting is that no two experiences are alike and that everyone who comes here will see a different set of movies and have a different experience. I've been very happy to share mine here at CINEMACY, and down the road hope to find myself at the festival again!
Review: 'How To Dance in Ohio', 'The Chinese Mayor'
Day 9: Park City, UT: Hard to believe that it’s been this long here! Today I went after some of the more low profile documentaries that I chose due to interest in the subject manner over the buzz they’re receiving. Normally, I’d be after another movie tonight, but it’s rather quiet here. I wasn’t sure why until I saw Col Needham’s Facebook page with the view from the judge’s roost, and it hit me: they don’t screen anything major tonight because the judges are all deliberating to announce the winners of the festival tomorrow. Admittedly, and with no disrespect to the crop that I’ve seen, I don’t think I’ve seen too many of the winners, so I’ll plan on using the final 2 days to hit any of the top movies I can see.
How to Dance in Ohio (US)
Director: Alexandra Shiva
High school and college are challenging times to read social cues and deal with all kinds of emotion, but can you imagine those experiences on the Autistic spectrum? This documentary follows 3 women from ages 16-22 who are on the spectrum and go to the same center run by Dr. Amigo to help people learn how to read social cues, and carry on lives that aren’t disrupted by their disability. With all of his patients, he organizes a prom as a sort of culmination and an opportunity to put what they've learned at school to the test.
While the film lacks the production value or scope of some of its documentary stablemates here at the festival, it is successful because the story is so touching and the practice is incredibly effective. Thanks in part to a great community but also due to these individual’s determinations to lead prosperous and independent lives, they become people we root for. It’s a tad too long and might not be as strong as it could be, but it remains a very touching piece and demystifies Autism and those whose lives are affected by it. The film has been sold to HBO and so will play there sometime this year.
The Chinese Mayor (China)
Director: Hao Zhou
Writer: Hao Zhou, Zhao Qi
After taking a quick break in the Yarrow lobby and casually sitting next to John Cho for a hot minute, I watched my first film in the World Documentary competition, a category that is generally the least likely to ever be released stateside. One of the most powerful films I saw last year, We Come As Friends, takes a harrowing journey into South Sudan and takes a brilliant experimental approach, yet has only been released in festivals and two countries: France and Austria. So while I could have seen another documentary in the US competition, I chose this as it might be my last opportunity to catch it.
From text at the beginning we learn that Datong, China is the most polluted city due to years of coal production, and now is trying to save face and create a place that is welcoming to visitors. At the forefront of this initiative is the titular mayor, who is attempting to create a city center that is welcoming to tourists and enhances the ancient parts of the city. The trouble is that this vision means displacing over 100,000 people! The filmmakers followed mayor Geng Yanbo for a year and a half to complete this film, and while not every piece of footage hits the mark, we see the conflict firsthand through the view of its lead character. At times he seems to be doing the best thing for the people, but other times he seems to be creating the problem. The question then arises of how much power he actually has: is he calling the shots or is he just a bureaucratic puppet? The film gets started slowly, and relies too much on text for a modern documentary, but still lands a strong finish as the story gets more complex. The story at first seems irrelevant, but ends up representing all that is wrong with what is going on in China today.
While I may not have seen as many of the buzzed about films here at Sundance, I continue to be thankful for the number of intriguing documentaries that, regardless of their craft, have each given me a greater depth of knowledge. Here’s to two big final days and then a trek home after an incredible festival!
Review: 'People Places Things', 'Don Verdean', 'Songs My Brother Taught Me', 'Z for Zachariah'
Day 7: Park City, UT– On Day 7, I inadvertently did a Jemaine Clement double feature, to drastically different results. The last few days I've been catching up on some of the US Dramatic films, like below:
People, Places, Things (US)
Director: James C. Strouse
Writer: James C. Strouse
Stars: Jemaine Clement, Stephanie Allynne, Derrick Arthur, Celia Au
People, Places, Things covers a comic book artist dealing with midlife challenges of fatherhood, teaching college students, and exiting a relationship with his ex-wife. Clement is funny and engaging in the lead role, and his New Zealand flair plays extremely well. It’s a clever script and well-made all around. The most comparable film in terms of tone is Richard Ayoade's Submarine, except that this is a more adult story. The film has a great message and while it isn’t a laugh out loud comedy, it’s charming and a worthwhile watch.
Don Verdean (US)
Director: Jared Hess
Writers: Jared Hess, Jerusha Hess
Stars: Sam Rockwell, Amy Ryan, Jemaine Clement
From Jared Hess, director of Napoleon Dynamite, is the premiere of his latest comedy, Don Verdean, another attempt at creating an iconic comedy character. Sam Rockwell in the titular role is an archeologist looking for the next great biblical artifact but to no avail. Unfortunately, the film does not know exactly how to utilize its humor or place its jokes and ends up feeling very empty. After a promising start, the film gets bogged down in flat sequences and some unimpressive, offensive humor that isn’t forgiven because it isn’t clever. Jemaine Clement plays the Israeli assistant Boaz, and you can guess how much they try and make a laugh out of the Middle East through his character. I am sorry to say that this was not something I could recommend and, for as iconic as Napoleon Dynamite became, I expect this one to quickly slip away.
Day 8: Park City, UT–
Songs My Brother Taught Me (US)
Director: Chloé Zhao
Writer: Chloé Zhao
Stars: Irene Bedard, Dakota Brown, Cat Clifford
Sundance has been especially strong in curating American Indian culture, and this film continues that tradition. Taking place on the Pine Ridge Indian Reservation near the Badlands in South Dakota, Songs is the story of two siblings growing up “on the rez” looking for role models and deciding their future. Their stories are incredibly similar to the actual stories of the reservation, and many of the actors are playing characters based on themselves. The film takes a slow pace that gives a slight sense of meandering, whereas the primary conflicts could be stronger if they remained the primary focus. I am very happy this film exists because without it, these stories wouldn’t be told (and they’re incredibly underrepresented), but the film itself is not as strong or innovative as it could have been. The Q&A following the screening was extremely powerful, especially seeing the actors and director in real life. Surprisingly, director Chloé Zhao is actually from Beijing, China, and having grown up feeling without an actual home, she was fascinated by a group of people whose lives are so connected to their land and home. I believe the concepts and principles will lead to even more nuanced filmmaking ahead.
Z for Zachariah (US)
Director: Craig Zobel
Writer: Nissar Modi
Stars: Margot Robbie, Chris Pine, Chiwetel Ejiofor
In the vein of other “last man on Earth” films, this takes place after an ambiguous apocalyptic event and a woman (Margot Robbie) appears to be the last person on Earth, until she meets Loomis (Chiwetel Ejiofor) who is ecstatic to come across another person. For the first half of the film we see their relationship develop, and their major conflict is that she is a woman of faith and that he is not. However, being the last two people alive, they begin to develop feelings for one another, and slowly become closer, until the stakes raise when a younger man who is also of faith (Chris Pine) enters the picture. The film excels at developing the tension between the characters, and since these are the only three people we see onscreen it has the luxury of finding the gaps and subtleties between their interactions and the high level of tension. It leaves a lot of elements ambiguous, making the end result a little less memorable because so much is left unsaid. In the end, it’s a great change of pace for the post-apocalypse genre and ends up being something very different and hard to predict compared to the conventional fare. I will be curious to see how it is marketed and sold to the general public due to its unusual nature.
Review: 'The Stanford Prison Experiment', 'Ivy', 'Welcome to Leith', 'Most Likely to Succeed', 'Zipper'
Day 5: Park City, UT–The festival is starting to move quicker and now it’s all about staying healthy and pacing myself throughout day. It’s been a great time with the first group of Chapman students who came, and I look forward to seeing a second group tomorrow. I’ve also thoroughly enjoyed getting to know the volunteer team at the Prospector Theater who now have become a miniature posse of our own. I even had the privilege of meeting Jacques, a graduate of Chapman/Dodge’s graduate program who is also a volunteer. As it turns out, he was the one who told my friend Almog about volunteering, and Almog was how I heard about volunteering here! In other words, without this guy I would not be here today!
Another fun tidbit: in the mens’ bathroom stalls of the Yarrow (I can’t speak for the women) a desperate screenwriter has printed out a letter asking for producers to consider his screenplay along with contact information. He gets points for creativity. I guess the logic applies that no matter who you are, everybody has to go! Anyway, onto the latest films I’ve seen:
The Stanford Prison Experiment (US)
Director: Kyle Patrick Alvarez
Writer: Tim Talbott
Stars: Olivia Thirlby, Tye Sheridan, Ezra Miller
Only my second narrative that’s in the competition, this film is a dramatic retelling of the infamous 1971 experiment that taught people worldwide about situational behavior, and the importance that authority and roles play into decision making. I knew quite a bit about the experiment going in, but was still enthralled by how it played out on screen. An all-star, almost all-male, cast includes Billy Cudrup, Nelsan Ellis, Ezra Miller, and Tye Sheridan, and over 2 hours you begin to feel how the prisoners and the guards may have felt. This is a successful film all around and may give more publicity for those who weren’t aware of this experiment and how much knowledge was then gained from it afterward.
Ivy (Turkey)
Director: Tolga Karaçelik
Writer: Tolga Karaçelik
Stars: Osman Alkas, Kadir Cermik, Hakan Karsak
My first in the World Dramatic competition turned out to also be my first experimental and truly non-traditional piece. The coolest part for me was that I got to sit next to the producers (one is German and one is Turkish) and chat with them before the film started. The film itself is in Turkish and tells the story of 5 seaman on a freighter boat that has been marooned due to lack of funding. The film is incredibly psychological and each of the characters can be seen as representations of types of Turkish beliefs and backgrounds. It is a bit slow and takes a sharp magical realism turn in the last third, and as mentioned, this feels like a film where I may not have a grasp on the culture that created it and therefore, may not understand all of the conventions at play. Regardless, it was nice to see something that pushed me out of my comfort zone quite a bit.
Welcome To Leith (US)
Directors: Michael Beach Nichols, Christopher K. Walker
Writers: Michael Beach Nichols, Christopher K. Walker
Stars: Craig Cobb
This is a documentary I was curious about due to similarities toward last year’s The Overnighters, which many people know is a favorite of mine. This time we are back in North Dakota for a straightforward documentary about a town with a population of just 24 residents that finds itself slowly attempting to be taken over by menacing White supremacists from around the country. Tensions ensue as some of the most disturbing individuals I’ve seen onscreen spout their beliefs and rightfully are met with great resistance by the small community. In an era where students are taught in schools that “racism is over” and multiculturalism is still a difficult dream to fully realize, it is radical to think that there are people who believe that there is a supreme race and that others need to be eradicated. One particular shot juxtaposes the main white supremacist with a shot of a TV in the background covering the Donald Sterling scandal: this is one of the most brilliant juxtapositions I have ever seen in a documentary. In this one image, we see the range of racism and the lack of progress across the United States. The film’s story continues the notion of how different certain places in the US truly are, and that North Dakota may be the closest we have to the Wild West today.
Day 6:
Most Likely To Succeed (US)
Director: Greg Whiteley
Writer: Greg Whiteley
Stars: Scott Swaaley
In the Documentary Premieres category, this is a film that questions if the educational system is still relevant in the United States today. The doc starts with an analysis of why the current system came into place, and how the work force it was created for is certainly not the same one it was when it was created. Think about this tidbit: the US educational system has not been altered in 125 years! The system was designed to train people who would work in hard labor or factory jobs, and many of the conventions (ringing bells for example) were created to prepare people for factory work. Today, this is all done by computers. Is the education we needed then, the same that we need today?
The film then explores High Tech High, a San Diego charter school that defies all conventions of a typical school. Instead of books, tests, and grades, students create projects that blend all subjects into one. Learning is more focused on collaboration with other students and learning soft skills instead of facts. It is radical, but the results are stunning. The students are empowered and challenged in ways that never would happen in a conventional school setting. Watching the film feels like watching the school of the future. I was reminded of all of the brilliant professors and teachers who have inspired me, many of whom broke conventions and didn’t abide by traditional principles.
As someone who never particularly fit into the conventional high school or education system, I found the film gratifying in how well it debunks what makes our system so outdated. It doesn’t take into account that students learn in different ways and that memorizing facts is something that doesn’t need to be done in the era of a computer. The film’s runtime flew by as I was riveted by the information about schools, the stories of students and teachers at High Tech High, and the optimism for the future of education as a place where a real learning instead of a massive memorization is created. I believe this is another film that is relevant to everyone, and fit perfectly with where I was because just before the film, I was carrying on a conversation about post-graduation plans and what I wanted to do to continue to improve and educate myself. Due to its relevance and ability to hold attention and tell incredible information and story, this is now my new favorite film of the festival so far.
Zipper (US)
Director: Mora Stephens
Writers: Mora Stephens, Joel Viertel
Stars: Lena Headey, Dianna Agron, Elena Satine
The title will lead you exactly where you think it's going, as it focuses on a District Attorney Sam Ellis (played by Patrick Wilson) dealing with his addiction to sex and it's slow escalation that matches his political gains. The all-star cast includes Dianna Agron, Lena Headey, Ray Winstone, Christopher MacDonald, and Richard Dreyfuss. Movies about adultery are easy to find and this one fits in just fine with the rest of them. It’s beautifully shot and captures the slow erotic build of Sam and his need for companionship. There is nothing completely revelatory and you will not walk away from the film with any new insight on why politicians cheat on their wives or get caught up in scandals. Regardless, this is a film with a sublime cast and gives a good fix of dirty politics like the way that The Ides of March did a few years back. Since this film is a premiere, it will be headed to theaters sometime this year, and then you too can get a fix of watching inner desire unfold.
Review: 'Hot Girls Wanted', 'It Follows', 'White God'
Day 3: Park City, UT– By this point, having been in Utah for 6 days, I’m already beginning to forget what regular life is like outside of the film festival world. It’s been a bustling last 48 hours so here’s my best stab at summarizing everything that has happened.
My Saturday morning shift remained smooth and those 4 hours are getting easier by the day. The only real surprise was giving walking directions to Kristen Wiig, who I didn’t recognize at first, who was avoiding taking the bus to keep a low profile. Shortly after lunch I made my way over to the Temple, which is a great theater aside from the fact that it is far away for my first movie of the day.
Hot Girls Wanted (US)
Directors: Jill Bauer, Ronna Gradus
Writers: Jill Bauer, Ronna Gradus
It wasn’t until the movie began that I realized I’ve created my own theme of documentaries involving exploitation of women. Hot Girls Wanted is another exposé, focusing on the modern Internet porn industry and the women, most of whom are barely 18 and are being lured into stardom. The documentary dances between being a social commentary on young people’s obsession with fame fueled by pop culture, combined with some personal stories of a few girls. Personally, I found the social commentary elements more poignant than the individual stories, but their stories do add a human element. A lot of questions that people have about porn and the girls that are in it are answered in this film, especially their relationships with family and even boyfriends. Like my other two docs that I’ve seen this year, regardless of the artistic prowess, these are films that are telling important stories that otherwise wouldn’t be discussed. A major revelation that fits with The Hunting Ground is that so much of porn being created includes violent behavior toward women. The material of the film is something that I would like to see explored and discussed much more.
After the film, it was time for a quick rest and some dinner. Next I headed to try and catch Z for Zachariah, and despite getting there an hour early, I was not able to get in. That’s the first film I haven’t been able to get into as a volunteer. However, it ended up being the best thing that could happen: instead of going to the movie, I headed to Main Street to see Park City in its full action. I met up with a friend of mine Meredith Stewart, who acted in a project of mine set for an April finish, and we visited a few different venues including BuzzFeed, the North Carolina Film Commission, and one unnamed one. Of course, the party scene at Sundance is an experience difficult to describe and constantly overwhelming, but coming back this year I felt much more comfortable. Like the volunteers, these parties are full of people who are genuinely interested in hearing about you and sharing their talents. Over food and drinks, I managed to meet a handful of other directors, songwriters, actors, and more.
The highlight of my night would be meeting Col Needham, creator and CEO of IMDb. I recognized him immediately and struck up a conversation, star-struck at meeting the individual who played such a massive role on the way I have viewed and researched films for my entire life. I can’t imagine being a film buff without the website and was incredibly grateful to meet him and his wife Karen. Among all the people I have met so far, this has been the most exciting.
It Follows (US)
Director: David Robert Mitchell
Writer: David Robert Mitchell
Stars: Linda Boston, Caitlin Burt, Heather Fairbanks
A midnight movie following a night of socializing isn’t the best way to internalize a film. Overall, It Follows is a solid modern horror film but I definitely was not as engaged as I was in other scary films I’ve seen. It’s more of a mood piece than a pop-out horror and focuses on teenagers and their anxieties regarding their sexual experiences. It takes some risks in cinematography and has a great soundtrack, but is otherwise a niche film good for horror audiences but not something that transcends the genre.
Day 4: Park City, UT–Another similar day of volunteering and socializing (including a Chapman University party), and managed to see one great film, the Hungarian film in Spotlight called White God.
White God (Hungary)
Director: Kornél Mundruczó
Writers: Kornél Mundruczó, Viktória Petrányi, Kata Wéber
Stars: Zsófia Psotta, Sándor Zsótér, Lili Horváth
Objectively the film sounds preposterous, but believe me it works. A young girl’s pet dog is scorned for being a mutt in Budapest, and finally, the dog is sent away. From the dog’s perspective, we see it endure a variety of abusive owners in what seems like a cross between Oliver Twist and Rise of the Planet of the Apes. Eventually, the dog retaliates, along with hundreds of other poorly treated dogs, and things escalate as they seek out their revenge.
They say the greatest films transcend genre, and White God with its balance of drama, action, and comedy, can be marked as such. Considering the protagonist of the film is a dog, it is a directing feat that this character brings out a real performance that varies over the course of the film. The soundtrack is absolutely phenomenal, adding so much heightened tension to the film. Music plays a crucial role in setting the tone and adding character – even the main girl is a trumpet player. On top of the music, the cinematography manages to capture so much.
There are so many layers on this film worth discussing it is difficult to capture it in writing. For this reason alone, it might even be worth a second viewing. The primary theme is the relationship between humans and animals, and the strange, master-pet relationship that occurs between us and them. How does one draw the line between loving an animal and controlling it? There are hints toward other themes, such as human consumption of animals, that are also poignant and relevant. As a warning, this film does feature some dog fighting that is difficult to stomach (enough that a few people left the theater), but it is made clear in the credits and hearing the director speak that no dogs were harmed in making the film. The other theme that the film builds to is compassion. It’s a criticism of our abrasive and often violent interactions both with animals and with other humans, and how this is not the way to reach success.
Hearing director Kornél Mundruczó speak after was just as interesting, and the dog star of the movie was present as well! First, all of the dogs used in the film were from shelters, and after filming was completed each of them found a home! He also had some poignant comments on the title, which is abstract: he said he wanted a title that was contrasting the movie not just illustrating the movie. A pretty incredible concept, and after seeing the movie and hearing his reasoning, it’s a brilliant title. White God is not in the competition but rather in the Spotlight category because it played at Cannes earlier this year. Regardless, due to its depth and poignancy and masterful use of craft, this is currently my favorite film I’ve seen at the festival.
Review: 'The Hunting Ground', 'Black Panthers: Vanguard of the Revolution', 'Ten Thousand Saints'
Park City, UT- While technically Day 2, today truly felt like the first day in action, since it is both the first full day as well as the day that I start my shift for the rest of the festival. From here on out, I’ll be posted up at the Prospector Bus Stop every day from 9:30-1:30. Stop by and I’ll help make sure you aren’t lost! I can’t even begin to say how much warmer and more fun volunteering during the day is as opposed to last night – I’ll be very happy to keep this shift every day for the rest of the fest. Tomorrow, I’ll be sure to bring more snacks though!
After my shift, I booked it over to the MARC theater to take my first stab at getting volunteer tickets for regular movies, and to my delight, it is rather easy! I was there an hour early and was first in line for my first movie, The Hunting Ground.
The Hunting Ground (US)
Director: Kirby Dick
Writer: Kirby Dick
Stars: Diane Rosenfeld
My first documentary could not have been a better choice to start with. The title might not mean anything now but believe me by the end of the year it will be one that is long remembered. The film’s director, Kirby Dick, has tackled numerous hot-button topics and is a master at using documentary as an exposé to current problems in our country that are hidden in plain sight. His last film, The Invisible War, focused on the US military’s problem with sexual assault (available to stream on Netflix). He also directed a personal favorite doc of mine called This Film is Not Yet Rated.
The Hunting Ground tackles sexual assault in college campuses nationwide, and specifically why they are being covered up more often than properly prosecuted. I am still in college and sincerely believe this is something that anyone in college needs to see. While most people are aware of the high number of sexual assaults that are committed, the real shock factor of the documentary is how little the schools are doing to help victims, and that in many cases it is in the university’s best interest to not help the victim at all. These are the types of documentaries that have made Sundance a mecca for films that cover such poignant topics, and reveal more details on something that people need to know. It’s undeniable how important this film is, especially for people my age and younger, and I look forward to championing it for the rest of the year. The one area that I would like to see get more emphasis is not only on helping the victims but on changing the institutionalized culture that has indirectly encouraged rape. The film could have easily been incredibly depressing and morbid, but instead is actually optimistic about potentially making an impact in the future. Ideally, all documentaries on a subject this important would have this type of positive message.
This was also my first world premiere at the festival this year, so the energy in the audience was palpable and not only were all the filmmakers present but many of the subjects of the documentary were present as well. I sat next to two women who work for CNN films, the company that will be releasing the film. Unfortunately, the Q+A was cut short because the film got a late start, and one woman wasted a question to platform herself. Otherwise, the film is truly remarkable and I hope that other people get to experience it soon.
Black Panthers: Vanguard of the Revolution (US)
Director: Stanley Nelson
Writer: Stanley Nelson
Because the screening went late and bus traffic back to Prospector was bad, I honestly wasn’t sure I was going to make it back in time for this one, but fortunately I made it with just minutes to spare! I chose the film because of my interest (and lack of knowledge) on the subject and because I had seen one film by director Stanley Nelson – Jonestown: The Life and Death of People’s Temple.
This documentary style represents something very different than my previous film. Using entirely historical footage mixed with interviews, Black Panthers is more similar to something you would watch for historical information than for current events. It attempts to tell the entire journey of the Black Panthers from beginning to end, starting with an analogy showing that everyone has their own view of how the events transpired. There is no doubt that I walked away with an entire piece of US history that I otherwise would have never learned. Indeed, these documentaries are crucial in telling the parts of American history that we aren’t taught in schools, often because they aren’t pretty or because they were the stories of minorities. So for that alone, this was a worthwhile film to view for anyone interested in the subject. However, because the film follows multiple protagonists over the course of ten years, the information is not always as concise as it could be, and at times this gave the film a disjointed feel. Unlike Jonestown, which worked well in this format because it escalated to a shocking conclusion, Black Panthers doesn’t have as clear of a through-line in the story. The one area that needed more explanation was how the Panthers jumped from being just in Oakland to being a nationwide party – this happens very fast in the film. However, it is fortunate the film was made when it was, because as a result there are many interviewees who witnessed it firsthand. It’s a long documentary, and I can imagine there is enough material to make a mini-series, but just know going into the film that this one is a more conventional historical documentary than some of the more modern styled ones that also play at the festival.
Ten Thousand Saints (US)
Directors: Shari Springer Berman, Robert Pulcini
Writers: Shari Springer Berman, Robert Pulcini
Stars: Ethan Hawke, Hailee Steinfeld, Asa Butterfield
Lastly, I caught a third straight world premiere at the Eccles theater (the massive 1200 person theater for anyone reading from home) of Ten Thousand Saints, a high profile film in the "Premieres" category. Again, one of the joys of Sundance is seeing a film without any idea where the story is going, and this one was especially good for that because it ends up being a film about something much different than one would initially expect. The drama features a high profile cast including Ethan Hawke, Asa Butterfield (Hugo), Hailee Steinfeld (True Grit), Emile Hirsch, and Emily Mortimer among others. The first thing I’ll say (and Ethan Hawke said something similar in the Q+A after) is that it is very clear this dramatic story came from a book because the characters are each rich and flawed individuals who I can imagine are given a lot more time to learn about in the book. I will also say that from the beginning I sincerely expected to dislike the film, which begins as a rather typical teenage angst and family drama, but builds into a more layered story. The fact that it overcame an initial distaste and ended up being a somewhat emotional film is pretty remarkable. The closest comparable film is The Wackness, which similarly deals with a pot-dealing teenager in New York, but this film has a larger cast of protagonists which gives it a different flavor. I will also say that the film’s story is risky and not something you’d see in mainstream Hollywood, and is a reminder of why we need film festivals because otherwise stories with more controversial subjects won’t get proper treatment. Overall, it’s a very solid film with some great performances and a pleasant surprise all around.
An especially busy day of movies kept me away from Main Street and all the socializing amongst insiders, but perhaps that can happen tomorrow. Now we’re getting into the swing of things!
Review: 'The Witch'
Park City, UT – It’s finally here! Last night, I attended the legendary Volunteer and Staff party which did not disappoint. Within seconds of entering I had the privilege of meeting one of the festival’s Senior Programmers John Nein and it wasn’t too long before we were comparing our top 10 films of 2014. To put things in perspective, the programmers see every film that is screening here before the festival begins! That’s over 200 films, not to mention the ones that aren’t accepted to the festival. In other words, these people see a lot of movies, and the way in which they digest them must be completely different than any other moviegoer. Shortly after I bumped into a friend of my mom’s who I hadn’t expected to see, and over the course of the 4 hour event, I met countless other people who I will likely cross paths with again. I am continually impressed with the friendliness and outgoing nature of every volunteer. It is a great group to be surrounded by.
Today, the rest of the festival crowd slowly made their way in and tonight everything took off. I was thankful to part ways with my accommodation at the Chateaux Dorms, which is the most affordable place to stay in Park City, but definitely not somewhere ideal for the entire festival. I gave a ride to a volunteer at the Temple Theatre a ride to his job since the buses haven’t completely started running yet. Afterward, I ventured toward Main Street for the first time this year, and in typical Sundance fashion, I met three volunteers in the corporate section on the bus and joined them for lunch! With all the volunteers I meet, you never know if you’ll see them again, but in the meanwhile it is great company, and in the likelihood that we do see each other again, it will certainly be serendipitous.
After lunch, a group from Chapman University who I’ll be spending a lot of time with arrived so I met up with them and showed them around a bit. This place is certainly overwhelming at first but after you’ve gotten your bearings it’s fun to master.
Because Day 1 is nearly impossible to see movies at for non-ticket holders such as myself (and other volunteers), we volunteers were treated to another screening, this one in the US Dramatic competition: The Witch. My thoughts:
The Witch (US)
Director: Robert Eggers
Writers: Robert Eggers
Stars: Anya Taylor-Joy, Ralph Ineson, Kate Dickie
Set in 1600’s New England, a devout Christian family settles in the wilderness and slowly finds their lives torn apart by witchcraft coming from the nearby woods. If the description didn’t make it already clear, this is a horror film, and may be one of the scariest movie experiences I’ve ever been in. If I find myself saying, “It’s only a movie,” I know I’m really getting scared! Going into the movie we were told how much the first time director had painstakingly researched this time period in order to maximize historical accuracy. Sure enough, the film truly looks like it is that old, and the time period makes the movie what it is. These characters are devout Christians and their strong sense of duty toward God and belief that He is doing what is right is brought to the test when a witch may be among them. It seems like every horror film has to bring in some religious element, but never before has it felt so essential to the storyline than here. While the story itself is a little confusing at times (it is taken from an old New England tale), everything the film does to set up the fear and suspense is beyond effective. Almost the entire film takes place with just the family members, and no character is left undeveloped or underutilized. There are two technical standouts. First, the cinematography, which often lingers on shots but never loses interest and delivers some really powerfully composed imagery. Secondly is the musical score, which isn’t even in a lot of the film but maximizes its potential every time it is used. It is my understanding that all of the instruments that were used on this film were from the time period or older, another example of the powerful measures the filmmaker took to ensure a sense of historical accuracy.
Again, this is a film that I would only recommend to someone looking for a horror film, and it is without question one of the most effective horror films in recent memory. But for those who get scared easily, stay far away from this picture. The film officially premieres next week, and I look forward to seeing how it gets released (I have no doubt it will). This is the type of film that generates buzz at Sundance because it evokes such a visceral reaction from the audience (I may or may not have said ‘What the f*ck?’ out loud during one scene). Therefore, it was a great choice for a volunteer screening and I am grateful to have seen it.
Immediately following the film screening, I finally took my first shift as a Sundance volunteer! One word: cold. Admittedly I’ve been spoiled the last couple days with indoor training and screenings, but I will definitely be earning every film I see with standing in the cold. I love when people are there and I can actually help them, but there is a lot of time in between screenings and buses when people aren’t around. After my phone died, I had to start being creative, and that meant reading the film guide thoroughly. Fortunately, from here on out all of my shifts are in the morning, meaning my friend the sun will be there to keep me company. Tomorrow will be the first full day of the festival, so sleep will be imperative and slowly will become more difficult to acquire. The best still lies ahead!
Review: 'Digging for Fire', '71'
Park City, UT – Festival volunteers arrive at Sundance two days before Opening Night, so yesterday, I embarked on a 700-mile road trip from Southern California to Park City. What a drive it was – I could easily write a blog post just on the drive itself. But alas, that isn’t what you’re here to read about. After making great time and settling into my accommodation, I headed over to festival headquarters to get geared up with a Sundance volunteer coat and festival pass. If one thing is persistently true about the festival, it is the abundance of free stuff! For volunteers like myself, this stuff is currency for the next twelve days.
As the first night's evening began, I was already enjoying what drew me to the festival in the first place: the movies. When asked how many volunteers were passionate about independent film, everyone present raised their hands. Like everyone else I am in company with, working in exchange for seeing movies is an offer too good for any of us to pass up. While I still do not know what I will be seeing once the festival is underway, they programmed a double feature for volunteers, much to my delight!
Digging for Fire (US)
Director: Joe Swanberg
Writers: Jake Johnson, Joe Swanberg
Stars: Jane Adams, Steve Berg, Mike Birbiglia
First up was the briskly lengthed mumblecore-comedy from director Joe Swanberg. Having seen Swanberg’s last two films (Drinking Buddies and Happy Christmas), I had a very good idea of what I was in for with this film. Love it or hate it, his films are easily identifiable in their simplistic filmmaking and heavy reliance on improvisation. He also has a returning cast of actors who appear in all these films: Jake Johnson, Anna Kendrick, Melanie Lynsky, and Ron Livingston. The simple style of all his films seems a little under-ambitious for film and personally makes me wonder what kind of audience these films are made for. I am happy to say that Swanberg’s latest, Digging For Fire, is actually his most successful to date, in that it has the most-clear story without losing his trademark style. The primary concept explored here is the marriage of two people (played by Johnson and Rosemare Dewitt) and how they keep their relationship strong even after having children and beginning the slow descent into domestication. Again, although this is the most structured of Swanberg’s films, it still retains its trademark looseness, letting improvisation and antics drive the movie forward as opposed to conventional narrative. In this regard, it works well, but still asks the question of “Is this a strong voice in independent film?” Not only does Swanberg’s film premiere at Sundance but his wife, Kris Swanberg, also has a film in the US Narrative competition (Unexpected). Digging for Fire officially premieres on January 26th.
‘71 (UK)
Director: Yann Demange
Writer: Gregory Burke
Stars: Jack O’Connell, Sam Reid, Sean Harris
The second film is ’71, taking its title from the year in which its' story takes place. Jack O’Connell, the recognizable young star from Unbroken, stars as Gary Hook, a young solider deployed into Belfast, Northern Ireland, at the height of the “troubles” and the horrific violent riots that were happening then. Taking place almost entirely in one day, ‘71 is a film built around suspense and never lets the audience get too comfortable once it gets underway. It aspires to be at the level of Black Hawk Down or even Saving Private Ryan, and for a film of its size it never feels constricted by budget. The camera work is a primary highlight, featuring rich color and composition in nearly every shot, and one ambitious and effective continuous take midway through the film. O’Connell still has a long way to go on the road to becoming a movie star, and neither of his high profile films so far have shown much range. I hope in his next projects he is able to show some more variety in performance. While the film’s action and high tension moments are effective, the storyline is often difficult to follow (partially due to Irish accents so thick that I would’ve used subtitles had I been watching at home), and also due to a lot of similar looking characters (with no hope of remembering any of their names), the film also has multiple false endings which detract from the eventual final shot. It is a directorial debut from Yann Demange whose previous work is in television, and based on this project, it appears he has the potential for even better material ahead.
After a 10 hour drive then a double feature, I embraced having a low key day today as excitement builds with the festival starting tomorrow. After volunteer training this afternoon, tonight I will be attending a volunteer and staff party, which has had hype building since the moment I’ve arrived. I’ll be writing about more of the festival and the films as it unfolds, and for quick reactions follow @DrivingNelson on twitter.
Oscar Nominations 2015: Snubs and Surprises
There is a lot to take in this year, as is the case usually, and Oscar nominations are proof that you never know exactly what to expect from this morning, no matter how much thought goes into predictions. Here goes:
-The best surprise far and away was Marion Cotillard getting nominated. Talk about an incredible performance worthy of recognition that I'm stoked got in. A great film (Two Days, One Night) and a great performance being recognized.
Read our interview with Marion Cotillard and our review of Two Days, One Night (Deux Jours, Une Nuit).
-Foxcatcher becomes the first film since they expanded the number of nominees to get a Best Director nomination without a Best Picture nod. Very interesting, kudos to Bennett Miller for being so well respected. I am very excited that both Steve Carell and Mark Ruffalo found their way toward nominations. It’s clear that this film was incredibly well received, and it is surprising that it didn’t land Best Picture considering this.
Read our interview with director Bennett Miller, Steve Carell, Channing Tatum, and screenwriters Max E. Frye and Dan Futterman, as well as our review of Foxcatcher.
-With that in mind, this is the first time since the Academy changed their rules that there are 8 nominees. All the past years have 9. The films that suffered: Nightcrawler and Foxcatcher
Read our interview with Jake Gyllenhaal and our review of Nightcrawler.
-Best Actor shook things up by bringing in Bradley Cooper for his 3rd straight nomination. Considering it was only a few years ago that The Hangover surged his career, the guy has done quite well for himself. While it’s his gain, unfortunately David Oyelowo and Jake Gyllenhaal really missed out as a result, leading up to the next point…
-Selma managed to only get a Best Song nomination and Best Picture. That's pretty insane objectively. I am very happy the film got recognized, but it definitely should've made its way into other categories. If anything, this is an indication of how important the screeners are and long term campaigning. If Selma had joined the party earlier, it may have been looking at a few more. But it’s also not worth ignoring that controversy hindered its success as well, which for anyone who enjoyed it (like myself), is a real shame. We still live in a world where no non-white female director has ever been nominated (and this year, Ava Duvernay really deserved it).
-The Lego Movie got snubbed big time for Best Animated feature. That is so disappointing on a multitude of levels. It did manage Best Song, but that’s hardly compensation. Personally, this is the biggest snub.
-Looking further afield however, the Documentary category really let a lot of people down. Overlooking Life Itself and The Overnighters is pretty unforgivable. I’m not even a huge Life Itself fan, but overlooking a Roger Ebert tribute is a really sad decision. A strong year of documentaries is not well reflected in the movies they selected.
Read our reviews of The Overnighters and Life Itself.
-A quick rundown of all the other surprise nom's: Laura Dern for Wild, Beyond the Lights for Song, and Inherent Vice for Screenplay and Costume Design. These are all nominations that few people actually saw coming, and it has to be quite exciting for all of those represented films.
-Lastly, I’ll talk about who can win. There is an unbroken rule that no film has ever won Best Picture without an Editing nomination, and Birdman missed that one. Admittedly, the film is an exception in that its style masked the editing, but that certainly didn’t mean there wasn’t any. With that being said, I don’t see any film winning at this point other than Boyhood, with The Grand Budapest Hotel and The Imitation Game being the only major vote stealers.
Read our review of Boyhood.
Much more discussion lies ahead. Awards season Phase 1 is officially over–bring on Phase 2!
trace102@mail.chapman.edu
Review: 'American Sniper'
At the ripe old age of 84, director Clint Eastwood still managed to pump out two movies this year (including June's Jersey Boys). American Sniper, the second of the two, was finished at breakneck speed to qualify for Oscars awards consideration. Eastwood’s last few movies have tarnished his once flawless reputation, so he is no longer guaranteed the critical acclaim that he was just a few years back. Despite some of the usual pro-American themes, American Sniper doesn’t feel as reminiscent of Eastwood’s previous work, and, therefore, it is easier to forget any baggage that may come with it and see it as its own project.
Bradley Cooper plays Chris Kyle, or “Legend” as he becomes known shortly into his career. As the title suggest, he is an all-American hero (from Texas I might add) who, over the course of the War in Iraq, becomes the most utilized sniper in the military. The film does take the more conventional biography approach to depicting his life, but, fortunately, the time span is short enough that it works well, and more importantly, there is enough of a recurring plot that my attention was held through the entire film.
What the film does best are the action sequences, which immerse the viewer into the war. The film is also completely dependent on Bradley Cooper, who is truly at the top of his game here. He can and does immerse himself without being showy or attention-grabbing. Eastwood knows that Cooper is the strength of the picture, so we get a lot of focus on him (maybe one too many slow zoom-ins), leaving the rest of the characters not as well developed.
Eastwood knows that Cooper is the strength of the picture, so we get a lot of focus on him, leaving the rest of the characters not as well developed.
While the first two-thirds of the movie focus on Kyle’s tours of duty, in the end it transitions to grappling with coming home, and his inability to reintegrate into society. I would say that the film perfectly balances the amount of time spent in both places. The PTSD elements are solid, but I can still remember The Hurt Locker achieving an even more powerful effect with even less.
I don’t necessarily think that American Sniper is Eastwood back in his groove. I am also left unsure about how pro-war the film intends to be: Chris Kyle certainly is, but the message of the film itself may vary depending on the viewer. In telling a compelling action-biography rooted in a great performance, the film is a success. My last thoughts: like this year's Foxcatcher and other movies based on true stories, you will enjoy the film more not knowing how the true events unfolded. So go see the movie without any knowledge, then do your research afterward for maximum enjoyment!
American Sniper is in theaters today.
https://www.youtube.com/watch?v=99k3u9ay1gs
Review: 'Unbroken'
An extended opening sequence launches the journey that is Unbroken. Rather than starting from the beginning, we are dropped right in the middle of a WWII air battle, and while this technique certainly isn’t new, thanks to stunning craftsmanship, this opening scene is a reminder of what makes movies great.
Even going into the film without seeing the trailer, it’s household knowledge that this is a true story of survival. Olympic runner turned solider Louis Zamperini (Jack O’Connell) lived an incredible life, and the movie is a sincere tribute to his spirit, which carried him through some truly grueling experiences. It cannot be ignored that World War II movies are churned out nearly every year, and, therefore, finding original spins on the subject is a daunting challenge. We see glimpses of true originality in Unbroken, especially in the visual and sound elements, but overall, the result is underwhelming.
Is it awful and inhumane? Yes. Can the human spirit overcome it? Yes. Did anyone need to watch this film to discover this? No.
Because this is a true story and one about survival, the film is not plot driven. Instead, it explores the entirety of his experience. We’ve seen this type of film dozens of times (including last year’s masterpiece 12 Years a Slave), but in order to pull it off there needs to be something for the audience to learn or take away. The latter half of the film involves Zamperini’s experience as a prisoner of war, which is harrowing and brutal, and automatically brings out emotional reactions from everyone. At the same time though, I am left with no new revelation as to the POW experience. Is it awful and inhumane? Yes. Can the human spirit overcome it? Yes. Did anyone need to watch this film to discover this? No.
My frustration may stem from the fact that there are places where the movie has the opportunity to give us some kind of intriguing new revelation, but it doesn’t. The flashbacks are done extremely well (and there’s a brilliant decision as to when to stop using them), but they don’t give us enough information about any other important people in Zamperini’s life. Later, a major story element is the relationship between Zamperini and his cruel tormentor at the camp, nicknamed The Bird (Miyavi in a debut performance). Their relationship is compelling and Miyavi shows restrained brilliance, but he is not given enough material for us to fully understand his character. There are hints at the internal struggle that make The Bird sympathetic, but not nearly enough to get inside of him and wrench in his emotions the way we have in some of his comparable villainous roles. Personally, I see this as the biggest missed opportunity.
There are tangible places where this could have been a richer, more powerful film. I am excited that Angelina Jolie is moving into directing, this being her second picture behind the camera, and because the craftsmanship is so strong, this movie makes me excited for what will come next. For now, however, there is a lot left to be desired, and as I watched the film, my personal rating for it progressively declined. You will enjoy learning a story that you might not otherwise know, but when compared to iconic films dealing with similar material, Unbroken is comfortably in the middle and not outstanding.
https://www.youtube.com/watch?v=kk1M_HwmFMM
Review: 'The Immortalists'
The New Yorker is known for articles that highlight unique individuals whose careers or life stories are bizarre and otherwise unknown to the general public. The subjects of the documentary The Immortalists are reminiscent of these eccentric characters: two scientists determined to find a cure for aging, or in other words, a way to stop death from being inevitable. As bizarre as it may seem, there is real science to back these guys up, and over the course of the film’s runtime, they’ll both make a compelling case for what they are doing.
As intriguing and as bizarre as these characters are, the film is little more than a series of episodes related to their lives and discoveries in anti-aging. Along the way we meet their lovers, doctors, and fellow scientists, and everyone in their circle is on board with their ambitious and bizarre aspirations. The film is challenging purely because of the topic manner, as immortality is something most would not want to believe is plausible. This documentary makes anti-aging seem so simple that everyone should be on board with it, yet while watching, every instinct tells you that something isn’t right. By the time a counter argument does make an appearance, a welcome relief, it needs only a little to convince you how ludicrous these people are.
This documentary makes anti-aging seem so simple that everyone should be on board with it, yet while watching, every instinct tells you that something isn’t right.
As fascinating as the subject matter is, the documentary’s linear construction does not enhance the topic in any particular way. Plot elements are thrown in casually as they come (polygamy makes a cameo about an hour in) without being developed properly. With this subject, the film could take an existential approach and defy convention to match the unconventional subject, but instead everything is played straightforward.
To make matters worse the characters do not progress or change in any way, so we just follow them around. Even in the ending, when there is an opportunity for some real discussion on the magnitude of death (the film’s looming antagonist) it is brushed over and hastily wraps up. The Immortalists is without a doubt intriguing, but it has a long way to go to achieve the levels that contemporary documentaries are reaching.
The Immortalists is in theaters this Friday.
https://www.youtube.com/watch?v=wY4LL0UAZUg
Review: 'The Retrieval'
The best part about Netflix’s selection of streamable movies is that it allows for obscure, micro-budget films to find an audience that would otherwise unknowingly opt for something more commercial. This Cinemacy Select, The Retrieval, is a prime example of this phenomenon.
In an unspecified American South location in 1864, Will (Ashton Sanders), a free black child no older than 12, works with his Uncle Marcus (Keston John) to help a group of bounty hunters catch runaway slaves. Immediately, the staged moral conflict is immensely high since Will uses his race to catch the slaves, not by choice but with the hope of earning a decent living. Will and his uncle are assigned to hunt an especially dangerous runaway slave and lure him back under the false pretense that his brother is sick and needs his help. It doesn’t take them long to find the runaway, Nate (Tishuan Scott), but bringing him back without him catching on to their real objective is a much longer journey.
As their journey continues, Nate and Will form a father-son type bond as they learn to trust each other. This relationship puts Will in a morally impossible situation since the bounty hunters promise that if he doesn’t bring Nate back, they will kill him. Young actor Ashton Sanders carries most of the film in what he doesn’t say, and as the audience we see how much guilt he is internalizing. This internal conflict is much more fascinating than a typical slavery or Civil War film because it is about someone outside the system still being oppressed by it, and unlike Marcus, who attempts to justify their behavior, Will is young enough to not be corrupted.
Considering this is such a small movie, the fact that it can stand shoulder to shoulder with much grander period dramas is an accomplishment on its own.
The film’s scale is incredibly intimate, focusing mainly on the protagonists' conversations, and with just a few action sequences and subplots added into the mix. At times, the dialogue is a little direct, and characters expose themselves in a way that feels more written than authentic. That being said, the characters are developed well enough that their performances transcend the dialogue, and we believe them based on how well they are conveyed. Considering this is such a small movie, the fact that it can stand shoulder to shoulder with much grander period dramas is an accomplishment on its own. The last thing I will say is that because of the well established ticking clock that Will and Marcus are bound by in bringing Nate back, there is a continuous sense of doom and suspense on the journey to the inevitable climax that makes even the film’s smallest moments completely engaging.
It may not interest everyone, but the film’s path to release makes watching it all the more compelling. First, the film’s budget is minuscule, especially when compared to any other Civil War film that you’ve seen, yet it makes the absolute most of what it has. After debuting at South by Southwest in 2013, the film saw a tiny theatrical release but still managed to get recognized by the Independent Spirit Awards (announced earlier this week) with the “Someone to Watch Award,” given to a filmmaker whose work shows great promise. If writer/director Chris Eska can pull off the same intrigue and intimacy with a larger budget and a more nuanced script, then the future of cinema is definitely in good hands. The Retrieval is now available to stream on Netflix.
https://www.youtube.com/watch?v=_dDtnZvur8M