Rashmi
If you are feeling a touch of summer sequelitis and looking for something powerful and thrilling to watch then SEPTEMBERS OF SHIRAZ is an important must see movie.
Set during the 1979 revolution in Iran SEPTEMBERS OF SHIRAZ is the harrowing story of a secular Jewish family as they fight for their lives in an attempt to escape what is going on around them. Based on true events with poignant and affective performances by Academy Award® winner Adrien Brody, and Academy Award® nominees Salma Hayek-Pinault and Shohreh Aghdashloo, SEPTEMBERS OF SHIRAZ illustrates the impact of political upheaval on ordinary people and gives us an incisive examination of a troubled moment in history.
Expertly directed by Wayne Blair this movie brings droves of tension in what ultimately becomes an adrenalin charged cat-and-mouse battle of wills. SEPTEMBERS OF SHIRAZ is moving and both topical and relevant to current world events. In revealing what many families sadly encountered over 35 years ago, the genius of this movie lies in its ability to relate the events of that time to experiences that are tragically being suffered by many in a number of countries around the globe today.
The movie cleverly reminds us that the victims of one political party’s agenda versus another are the very people who are promised their protection whilst the accompanying pollution of such communities who ultimately get divided by religion, class and economic factors often end up being the casualties of promised revolutions.
Sometimes all you want to do is to settle into a film seat with popcorn in your hands, and not have to worry about life’s all too real problems. Or to have the film comment on How We Live Now. Or to have the film be a treatise on the State Of The World. Lord knows we have enough films that do that. Sometimes all you want to see is a fun, soufflé-light comedy with a good heart. And an abundance of silliness up its sleeves.
PUERTO RICANS IN PARIS (opening in San Diego, Friday June 10th) is just that film. In the inanity of its plot, it could give KEANU a run for its money. And yet, PUERTO RICANS IN PARIS resonates with a little more sincerity, a little more ballast amidst all the goofiness. And is there goofiness here! I will attempt to summarize the plot as thus: two New York detectives of Puerto Rican lineage are recruited to travel to Paris and solve the mystery of a stolen, coveted new handbag by a top fashion designer. See what I mean? I defy you to come up with something goofier. But to watch the film is to notice a smile come on your face in the first five minutes, and to have that smile stay stubbornly through the last reel. In fact if I mention the cast – Luis Guzman, Edgar Garcia, Rosario Dawson and Rosie Perez – doesn’t that alone make you smile?
We were lucky to catch this film at the Los Angeles Film Festival last year, and we covered it on our podcast at that time. You can have a listen to the podcast at:
https://www.moviewallas.com/2015/06/episode-280-2015-los-angeles-film-festival-part-1/
PUERTO RICANS IN PARIS is running an enviable 87% score on Rotten Tomatoes, and so many reviewers can’t be wrong. Go catch this film. It is the sort of small-budget film that deserves to be a breakout hit on the grounds of its easy laughs and open heart. Help it become that breakout hit. This might just be the antidote to the superhero fatigue you know you are feeling.
I LOVE conspiracy theories, Who killed JFK, Area 51 and of course one of my all time favorites The Apollo Moon Landing of 1969.
So what if Apollo 11 never actually made it and what if, in reality, Stanley Kubrick secretly shot the famous images of the moon landing in a studio, working for the US administration?
This is the premise of the totally plausible conspiracy theory movie MOONWALKERS written by Dean Craig and directed by Antoine Bardou-Jacquet that takes us to swinging sixties London, where a stubborn CIA agent played by the delightful Ron Perlman (HELLBOY) will never find Kubrick but instead is forced to team up with the ever adorable Rupert Grint’s (HARRY POTTER) lousy manager of a seedy rock band to develop the biggest con of all time, in this riotous, high-tempo action-comedy.
Of course It’s a strange set of circumstances that lead our protagonists to meet, including one of their idiot friends who has a tendency to royally screw things up but when they do, there is undeniable chemistry between the pair and a sweetness mainly with the introduction of Robert Sheehan (THE MORTAL INSTRUMENTS, KILLING BONO) as the idiot friend who is equally huggable and slappable at the same time that forms the foundation of this recreational drug-induced caper of unbelievable proportions.
From it’s innovative psychedelic titles to the groovy sixties production, MOONWALKERS is a really fun and enjoyable movie which is both silly and thought provoking at times with great action and comedy. Full of 70s clichés and nuanced yet likable bad guys on every corner, our anti-heros (complete in funky and colorful costumes), lead us from one absurd scene to another on their journey to complete an equally bizarre yet extremely important task
“The film is an action/comedy that combines what I love: fights and stupidity. I enjoy situations where two opposite characters must join forces to accomplish a common goal as it leads to the most hilarious conflicts” states Bardou-Jacquet
As trippy as the era it’s representing, this comedy of errors reminds us of the unresolved question that still plagues many of us after all these decades; was the moon landing real?
“Why would an audience be interested in a movie like this? Bardou-Jacquet continues “Google “moon landing,” and add up the viewers interested in the conspiracy theory about it, and you’ll find millions of hits. All these people deserve at last the true story of how we “never” landed on the moon”
Of course, it also had me thinking about who would actually win in a standoff between America’s supreme CIA agents and England’s finest thugs?
MOONWALKERS enjoyed it’s premier at SXSW 2015 and will be released on January 15th. Check local listings
Riot Club is no Downton Abbey however, it cleverly explores class, gender and economics in a modern-day England where the existence of a privileged “Old Boy’s Network” is often under-estimated.
Filthy. Rich. Spoiled. Rotten. A band of overprivileged rich boys run wild in this savagely funny satire of money, sex and power. In the elite realm of Oxford University, no society is more exclusive than The Riot Club, the ultra-selective fraternity for Britain’s most privileged sons. When he’s recruited to join, down-to-earth first-year student Miles (Max Irons) is at first amused—but he’s about to get a taste of upper-crust entitlement at its ugliest when a hedonistic night of drinking and drugs spins out of control. The Hunger Games’ Sam Claflin co-stars in this deliciously dark look at boys behaving badly from the Oscar(R)-nominated director of An Education Lone Scherfig. The movie is adapted for the screen by Writer Laura Wade from her play of the same name citing: “I think we are fascinated by that class, those of us who aren’t of it and I think we love watching rich people behaving badly”.
When all over the world the British Monarchy are loved and the presence of them almost envied, Riot Club explores the “Haves” and “Have little” along with the politics of the one percent in a country where young affluent boys are the heirs to debauchery, power, excess and a consequence of who they are born to vs what they will or won’t achieve; where as a result of deep routed nepotism, your family name can open up a lifetime of doors and quickly bury any of your mistakes should you make them.
Entitlement and breeding are a key theme throughout the movie as it explores rich boys behaving badly and rich boys who want to do something more than be known for who their Fathers or brothers are. Palpable tension is at work throughout as this group of would-be playboys work incredibly hard to have a good time and leave a legacy.
Riot Club starts as a smart satirical comedy but quickly gets dramatic as ideas about right and wrong are pushed to the limit. Sometimes a little tonally inconsistent, this movie does do a good job of examining what it means to belong and the limits you go to in order to protect it. A look at life behind the walls of an age-old institution with often strange rituals, ultimately what I took away from this movie is that there are no limits to entitlement and the fact that often it’s not what you know but who you know
Check local listings for show times