Reviews

Full Listing of 2017 Tribeca Film Festival Coverage | #tribeca2017




So there we were, in New York City again, giddy and electric with excitement at the start of another Tribeca Film Festival. #tribeca2017 beckoned. Our annual pilgrimage was upon us.

Joe’s Top Three Picks – 2017 Tribeca Film Festival

After having set up base at the Battery Park area for the past several years, this year we made home in a tony Chelsea hotel. And a new ritual was set for the film festival. Get up early, get ready and dressed, grab caffeine and sunrise munchies at one of the neighbourhood establishments and head to the Chelsea Bowties cinemas (in the midst of transition to Cinepolis properties) for the 9 AM first press screening. After making agonizing decisions during the rest of the morning regarding which screenings to catch of the several that were concurrently showing, we typically made our way through four films. Then a bite to eat. Or an early dinner at a strongly recommended restaurant (Paowalla, how you filled us up!). Or a meet up with friends. Then a sundown film screening. After which we returned back sated with all manner of cinematic memories bouncing in our heads. And recorded a podcast in which we discussed all the films we had watched cumulatively amongst the three of us. And Joe, the good man, edited and published the podcast the same night.

After five days of this routine, we got bleary-eyed, as the accumulation of ever more films danced around in our brains. But it was the best kind of exhaustion for us, the kind that comes from watching too many films. As if there is such a thing as “too many movies”.

Rashmi’s Top Three Picks – 2017 Tribeca Film Festival

Before we knew it, it was time to head back to the West Coast. With another deposit to our Tribeca Film Festival memory bank. And ready and eager to back for #tribeca2018. And this year, we had seen 34 films amongst the three of us! It is the most films we have covered at Tribeca to date, and hope to best that tally next year.

So herewith is a full listing of all 34 films we covered at #tribeca2017. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival. But before the full alphabetical listing of the films we covered, here are the top festival favourites from each of us:

 

Joe’s Top Three Films at the 2017 Tribeca Film Festival

ALPHAGO
A RIVER BELOW
ROCK’N ROLL

 

Rashmi’s Top Three Films at the 2017 Tribeca Film Festival

GET ME ROGER STONE
ROCK’N ROLL
KING OF PEKING

 

Yazdi’s Top Three Films from the 2017 Tribeca Film Festival

PERMISSION
PILGRIMAGE
SWEET VIRGINIA

 

And here is a full alphabetical listing of the films we watched at #Tribeca2017 with links to the Tribeca film descriptions as well as to the specific podcast where each film was discussed:

 

  1. A RIVER BELOW, at 24:50 min, Day 3 podcast – Joe’s Top Three Tribeca Pick
  2. ABUNDANT ACREAGE AVAILABLE, at 11:00 min, Day 1 podcast
  3. ACORN AND THE FIRESTORM, at 18:57 min, Day 4 podcast
  4. ALPHAGO, at 29:21 min, Day 2 podcast – Joe’s Top Three Tribeca Pick
  5. BOMBSHELL: THE HEDY LAMARR STORY , at 29:09 min, Day 4 podcast
  6. COPWATCH, at 12:14 min, Day 4 podcast
  7. FLAMES, at 29:44 min, Day 1 podcast
  8. FLOWER, at 44:01 min, Day 1 podcast
  9. FRANK SERPICO, at 3:42 min, Day 4 podcast
  10. GENIUS (television pilot), at 15:58 min, Day 1 podcast
  11. GET ME ROGER STONE, at 7:45 min, Day 4 podcast– Rashmi’s Top Three Tribeca  Pick
  12. HOLY AIR, at 20:18 min, Day 1 podcast
  13. HOUSE OF Z, at 30:54  min, Day 3 podcast
  14. KEEP THE CHANGE, at 36:33 min, Day 1 podcast
  15. KING OF PEKING, at 25:42 min, Day 1 podcast – Rashmi’s Top Three Tribeca Pick 
  16. LITERALLY, RIGHT BEFORE AARON, at 20:14 min, Day 3 podcast
  17. MY FRIEND DAHMER, at 8:10 min, Day 2 podcast
  18. ONE PERCENT MORE HUMID, at 12:13 min, Day 2 podcast
  19. PERMISSION, at 4:43 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
  20. ROCK’N ROLL, at  44:51 min, Day 3 podcastJoe’s Top Three Tribeca Pick
  21. PILGRIMAGE, at 38:53 min, Day 3 podcast – Yazdi’s Top Three Tribeca Pick
  22. SHADOWMAN, at 23:57 min, Day 2 podcast
  23. SON OF SOFIA, at 46:25 min, Day 2 podcast
  24. SWEET VIRGINIA, at 17:31 min, Day 2 podcast – Yazdi’s Top Three Tribeca Pick
  25. THE BOY DOWNSTAIRS, at 24:24 min, Day 4 podcast
  26. THE CLAPPER, at 1:50 min, Day 4 podcast
  27. THE ENDLESS, at 41:09 min, Day 2 podcast
  28. THE HANDMAID’S TALE (television pilot), at 36:15 min, Day 2 podcast
  29. THE LAST ANIMALS, at 15:10 min, Day 3 podcast
  30. THE LOVERS, at 34:57  min, Day 3 podcast
  31. THIRST STREET, at 2:07 min, Day 2 podcast
  32. THUMPER, at 6:02 min, Day 1 podcast
  33. SAMBA, at 2:54 min, Day 1 podcast
  34. TILT, at 13:05 min, Day 3 podcast

 

Yazdi’s Top Three Picks – 2017 Tribeca Film Festival

 

Until next year, goodbye Tribeca!

Full listing of 2016 Tribeca Film Festival Coverage

 

Day 1, Tribeca 2016

Day One, 2016 Tribeca Film Festival

What joy it was to watch film after film at the 2016 Tribeca Film Festival #Tribeca 2016. Sometimes five, six films in a day. We were happy as pigs in mud. Rolling around in the excellently curated selections at the festival. Our third consecutive year covering Tribeca proved a dizzying blast as between the three of us, we saw 27 films in four days at the festival. These films were all discussed on our five ‘live from New York’ podcasts devoted to the festival.

Day 2 Tribeca 2016

Day Two, 2016 Tribeca Film Festival

Day 3 Tribeca 2016

Day 3, 2016 Tribeca Film Festival 

 

 

 

 

 

 

 

 

 

 

 

Here is a full alphabetical listing of the films we watched at #Tribeca2016, with links to the podcast where each film was discussed:

  1. AFTER SPRING, at 31:06 min, Day 2 podcast
  2. AWOL, at 12:38 min, Day 3 podcast
  3. BAD RAP, at 10:10 min, Day 5 podcast
  4. THE BANKSY JOB, at 2:03 min, Day 5 podcast
  5. DETOUR, at 5:45 min, Day 4 podcast
  6. THE DEVIL AND THE DEEP BLUE SEA, at 1:45 min, Day 2 podcast
  7. DO NOT RESIST, at 7:27 min, Day 2 podcast
  8. DON’T LOOK DOWN, at 25:20 min, Day 2 podcast
  9. ENLIGHTEN US: THE RISE AND FALL OF JAMES ARTHUR RAY, at 28:56 min, Day 5 podcast
  10. THE FAMILY FANG, at 14:40 min, Day 1 podcast
  11. THE FIRST MONDAY IN MAY at 4:30 min, Day 1 podcast
  12. HERE ALONE, at 30:17 min, Day 3 podcast
  13. HOUSTON, WE HAVE A PROBLEM, at 11:14 min, Day 4 podcast
  14. HUNT FOR THE WILDERPEOPLE, at 27:59 min, Day 1 podcast
  15. I’LL SLEEP WHEN I’M DEAD, at 24:00 min, Day 3 podcast
  16. JEREMIAH TOWER: THE LAST MAGNIFICENT, at 24:54 min, Day 5 podcast
  17. KEEP QUIET, at 12:34 min, Day 2 podcast
  18. LITTLE BOXES, at 33:57 min, Day 3 podcast
  19. LIVE CARGO, at 9:16 min, Day 3 podcast
  20. THE LONER, at 17:20 min, Day 5 podcast
  21. THE MEDDLER, at 4:48 min, Day 1 podcast
  22. MOTHER (EMA), at 21:58 min, Day 1 podcast
  23. PARENTS (FORAELDRE), at 19:12 min, Day 3 podcast
  24. PISTOL SHRIMPS, at 18:45 min, Day 2 podcast
  25. SHADOW WORLD, at 15:24 min, Day 4 podcast
  26. WOMEN WHO KILL, at 2:00 min, Day 3 podcast
  27. YOUTH IN OREGON, at 1:20 min, Day 4 podcast
Day Four Tribeca 2016

Day Four, 2016 Tribeca Film Festival finds

Day 5 Tribeca 2016

Day Five, 2016 Tribeca Film Festival finds

 

 

 

 

 

 

 

 

 

 

 

Until next year, goodbye Tribeca.

 

 

Best of 2014 | Yazdi’s Favorite Films

Why do we watch films?

I tend to get introspective this time of year when starting to think about the best films of the past 12 months. I am a listomaniac so I relish coming up with the films; that is not the problem. It is the paring down to come up with the top ten, or even the top fifteen that is excruciating. I have never understood those who bemoan that there are hardly any films worth celebrating from the past year. For me this is akin to those who complain that there is never anything good to watch on Netflix; I do not know what to tell them when I have more than 200 films on my Netflix queue.

This year I am more list-happy than usual. So apart from the list below of my overall personal favorites of the year, I will also be posting a list of the top mainstream films, as well a list of the best films watched at film festivals in 2014.

I think we watch film because film is the great equalizer. Once the lights go down and it is dark in that theater, it puts us all at the same station. All the inequalities of our each individual real worlds, those inherited and those thrust upon us, dissolve away. Social, economic, professional and physical labels all look the same in the dark; they are invisible. And for a short while, we can get lost uniformly in someone else’s world.  Which is why my criterion for picking movies for the year-end list has remained the same year after year: that each movie should have altered something within my emotional circuitry.But let me come back to my original question. Why do we watch films. Why should film matter. This year, being in India during the last week of the year, these questions became somewhat irrelevant. Because film in India is so intricately woven into the fabric of what makes this country what it is, that to isolate cinema and ask of its meaning is purposeless. All those who bemoan the death of publicly screened movies should book a plane ticket to Mumbai and walk into a theater here. And watch how the masses consume film. How they truly lap up film. Like a child consuming a ripe mango. With an almost obscene relish. With an abandonment of the real world that is at first embarrassing, and then unexpectedly comforting. Families come, hand in hand and filter into rows like ants. They jump out of their seats with righteous pride when the Indian national anthem is played before the start of the film, waiting until the last note is played before settling back. They squeal with glee. They talk at the screen. They warn the characters of impending danger. They openly cheer at the protagonist. They talk to each other.  They clap. They eat: covertly brought snacks from home as well as foods purchased during the intermission (yes, there is an intermission, if not formally built into the movie in Indian films then forcibly and often ineptly cleaved into American films). If I sound nostalgic it is because this is how I consumed cinema growing up and I now miss this reckless embrace of cinema, this utter surrender to the joy of it, that is somehow absent in the West. Just this year I shrugged off threats of bodily harm received when I asked someone to stop talking during a screening in San Diego. And yet, and yet, during a screening in India this week, I did not have the heart to ask the same of the audience here; besides it would have taken me the full running time of the movie to make my way through to everyone who was talking during the movie.

What does it say that my top four films (and five out of the top fifteen) are foreign movies. Only that the best in cinema, as always, comes from everywhere, and those who willfully choose to watch only American/English movies do so to their great detriment.

And so here are my personal picks for the best of the year:

  1. THE LUNCHBOX:This film excels at the one thing that often evades Indian cinema: subtlety. A neglected young housewife builds a connection with an older widowed man when lunches she packs for her husband mistakenly get delivered to the other man. The film’s accomplishment is in how deftly it transcends the cliché of two strangers helping each other out. It does so by avoiding a face to face meeting between the two; much of their interaction occurs through handwritten notes accompanied with the lunchbox. The delicate tone so wistfully maintained early in the movie is ruined in the last act when the script tries, very unwisely, to force a romantic beat to the interplay between the two, but when you have as fine an actor as Irrfan Khan at the peak of his abilities it pulls the film through.
  1. ENEMY:What a glorious mind-fuck this film is. A man becomes aware of another who looks exactly like him; even as he tries to reach out to him, the lives of the two start to bleed into each other. Are the two doppelgangers the same person? Is the entire film a documentation of a mind coming undone. Or is it about the necessary duality in each of us. Based on the book by Jose Saramago, the film has no interest in providing easy answers; those insistent on a FIGHT CLUB like reveal should look elsewhere. But the stories of the two men (played with impressive dexterity by Jake Gyllenhaal) play out with a pleasing directness that it should remedy concerns about the film being too opaque. Extra credit: ENEMY will easily make it on any list of movies with the most shocking/perplexing/WTF endings. ENEMY is currently streaming on Netflix
  1. LOCKE: Like BOYHOOD and BIRDMAN, detractors have called LOCKE a gimmick. But what you might call a gimmick is to me the cinematic equivalent of jumping off a cliff without a safety net. All three films could have fallen flat on their faces on the basis of their innovation. All three are on my best of the year list. The entirety of LOCKE is filmed around a single character driving a car over the course of one night. That is it. As the night wears on, we realize this is a story about a man having arguably the worst night of his life. Tom Hardy plays this individual with slippery insight and writer director Steven Knight takes time to peel away at his motivations. We know the crises this man is facing and has to necessarily resolve while he is driving, but we do not know if he has had these coming to him. Not everything about the film works, but I will never begrudge a film that is able to commit original sin.
  1. A MOST VIOLENT YEAR: What richness of contradictions we have here. In a film called A MOST VIOLENT YEAR, you will find very little blood. For a film set in the late 70s, it easily speaks to contemporary themes of corporate greed and responsibility (which is not surprising considering this is from a filmmaker whose first film was MARGIN CALL). And for a mobster crime drama, it is surprisingly moody, some might say glacial even. I believe it is this slow burn that turned off many reviewers. But the simmer pays off as the movie builds a genuine sense of unease, of impending doom. Not interested in indulging in the conventions of the genre this film belongs to, J.C. Chandor instead has crafted the film as a character study of a man trying to do right. In an inherently criminal playing field. Two years in a row now, Oscar Isaac has provided indelible portrayals of men undone by self-destructive behavior that is inseparable from who they are (with FINDING LLEWYN DAVIS and A MOST VIOLENT YEAR).
  1. THE THEORY OF EVERYTHING:Much attention has been given to this handsome biopic about Stephen Hawkins, based on a memoir written by his wife. To the handsome cinematography and exacting recreation of a time and place from the past. To the handsome love story of a man many consider more intelligent than any that lived and the woman who stood beside him through his cruelly unimaginable physical deterioration. In fact there is a burnish of handsomeness through much of this film, a sense of rigorous craft with which the film has been put together. I will not begrudge any of those things. But that is not the reason this film is on this list (when say, THE IMITATION GAME is not). The film’s great accomplishment in my mind comes from its second act, when it follows Hawking and his wife through their latter years, much after the moony romanticism from their early years has faded. And it is the unflinching, level-headed honesty with which it regards these characters through the passage of time that the film rises above genre biopic conventions. The script’s refusal to readily submit to pat moral judgments about the two or to obviously tip its sympathies toward one or the other in the couple makes for the best part of this film. The most robust of loves are vulnerable to the cruelties of everyday happenings and it is a wise film that is able to go deep into these murky waters and come out with integrity.
  1. NIGHTCRAWLER: A man trains himself to be a crime photographer in Los Angeles and shows uncommon acumen in negotiating the use of his footage to the local television news stations. There is always something a bit off with the title character, masterfully played by Jake Gyllenhaal, but one of the joys of the film is to realize with sinking fear that there is no line this man will not cross to capture newsworthy crime footage.A film free from moral tether is a film liberated. And Dan Gilroy uses this setting to provide commentary on much of our contemporary mores. In its final act the film descends into a rarified other dimension of queasy disquiet, where you start at the screen the way you cannot look away from a road accident. What great, twisted fun this movie is. This film should have been celebrated at year end as this generation’s NETWORK. And yet it got precious little love. In fact the San Diego Film Critics Society was the only reviewing group to lavish awards on the film.
  1. MR PEABODY AND SHERMAN:The most intelligent individual on the planet, who just happens to be a dog named Mr Peabody takes a human kid (Sherman) through several adventures by way of a time-travel machine. This first feature film based on the Peabody and Sherman television shorts from several decades ago is frankly a minor miracle. It is giddily, wonderfully alive. It is cunningly devious in pulling in history lessons in the guise of time-travel adventure. It is visually as glossy and gleaming and wondrous as any film released in the year (animated or otherwise). But the greatest reason I consider this film a minor masterpiece is the slyness with which it slips in its message of acceptance. When late in the film, strangers in a crowd start saying, one after another, “I am a dog” in defence of Mr Peabody’s right to keep Sherman as his son and family, it was one of the most emotional cinematic moments for me all year. MR PEABODY AND SHERMAN is currently streaming on Netflix.
  1. BOYHOOD: A boy grows up and a film for quietly observes him. It observes him and it observes those around him including his separated parents. Much has been made of the fact that director Richard Linklater had his camera watch the same actor over a period of 12 years, and many have brushed this aside as a gimmick. And yet no one had thought to do this until now. But set aside the thrill of watching the contours of a face change on screen, watch hair bow to the wind of contemporary styles. Even if Linklater had hired separate actors of different ages to play this role, this would still be a great film. Because he makes the brave choice on every page of his script to avoid epiphany, to steer clear of melodrama, to have this be a story of banal everyday happenings. But isn’t that the nature of memory, a series of disconnected unremarkable personal remembrances. Having a film be able to capture the inscrutable and to do it with grace and understatement and to have it mean something is no small accomplishment.
  1. BIRDMAN:This film could have been insufferable. But instead it becomes the cinematic equivalent of jumping off a cliff without rope or safety net. It is the story of a has-been star of superhero films who makes one last ditch effort at being relevant by taking on a role in a Broadway play. That is nominally the synopsis of the plot. But I see the film as a study of a person slowly coming undone. A study of a person trying to handle demands both professional and personal, and losing control of the real from the imagined. We could be far more mentally unhinged than our self perception, this film is trying to tell us. And then there is the part about how the film has been shot: Alejandro Gonzales Inarritu, known until now for films with disparate story lines that converge together (AMORRES PERROS, 21 GRAMS, BABEL) does the exact opposite with this film. Oh, and the one thing that there is universal agreement on, is that nobody knows what to make of the ending.
  1. PRIDE:This is the epitome of the feel-good movie. That nobody saw. Why this film didn’t get more love at the box office is baffling. The film carries a 92% rating on the Tomatometer, and the movie all but guarantees that audience members will leave the theater in a cloud of elation. So write the name of this this film down for the next time you are at a loss of what film to rent. The film is based on the real-life events surrounding Welsh mineworkers on strike during Thatcher-era UK who got unexpected and unsolicited support from a gay and lesbian activist group out of London. At first the mineworkers wanted nothing from this group, but gradually warmed up to how they might assist their cause. This film is a case study on how to avoid the sentimental, the hackneyed and the contrived. Every scene here rings with authenticity. And the film pulses with a hard-earned and quiet combination of dignity and anger. Even as it gets to dismal and dark places, the film ultimately demonstrates, with enviable subtlety that the disenfranchised are all the same. Seek out this film at any cost.
  1. THE EDGE OF TOMORROW:This is a fully realized piece of science fiction that is thrillingly alive. How many films about man versus aliens have we seen by now, and frankly what more is left to say? It turns out, plenty. In the hands of Doug Liman, this movie gets shot by shot, scene by scene, component by component, everything right. The movie takes a simple doozy of a premise (based on the book ALL YOU NEED IS KILL) – that of a reluctant soldier caught in a time-loop in which he keeps dying again and again and looping back through the same few days before his death until he is able to find a way to prevail during the alien warfare – and builds a funny, richly executed narrative around it. Say what you will about Tom Cruise but he never phones in a performance, and Emily Blunt has never been better playing a fully convincing badass sergeant. There is an obvious homage to GROUNDHOG DAY with Blunt’s character named Ritam and the battle scene that plays again and again in France is meant to evoke the Normandy invasion. But forget all that and just enjoy what is the best action film of 2014. The film understands that the best sci-fi stories are about ideas, and not about spaceships and aliens. It is blissfully good.
  1. THE WAY HE LOOKS;This film (HOJE EU QUERO VOLTAR SOZINHO) was Brazil’s submission to the Best Foreign Film category at the 2014 Academy Awards. It tells the story of Leo, a somewhat shy teenager. He is blind and aware of his place in school due to his disability. Leo’s best friend since childhood has been Giovana and the two are inseparable; in many ways he sees the world through Giovana’s eyes. Enter the unreasonably amiable new student at school, Gabriel and Leo and Giovanna’s friendship will need to be redefined. Who hasn’t experienced the dynamics with a friend change due to the necessary introduction of a new person Nothing in this film is what we haven’t seen before. And yet, the film is written, acted and played out with such a matter of fact honesty and simplicity that it rises up to be one of the better films of the year. The Way He Looks makes its observations without fuss, without drama, and without prurience. So what if the lead character is blind. So what if he happens to fall for another guy. Without tilting into caricature, the film strikes authenticity while never submitting to melodrama. One The Way He Looks can do. more good than a hundred after-school specials about tolerance. Yes The Way He Looks may just be a teenage love triangle set in Brazil, but it is the best example of its kind to make you realize that sometimes a truthful story told with a good heart is all it takes. When films these days are seemingly only interested in hipster posturing and cynicism, the most provocative thing of all may be a film that gifts viewers with genuine sweetness. THE WAY HE LOOKS is currently streaming on Netflix
  1. LIKE FATHER LIKE SON:Two couples find out that their five-year old sons had been switched at birth.Think about this premise, and then imagine what most filmmakers might have done with it. To see what Hirokazu Kore-Eda does with this story is to recognize why he is one of the master filmmakers. The film presents a fascinating moral quandary. The discovery of a son you weren’t previously aware of is one thing. But that still cannot match the anxiety of knowing that the child you did rear as your own now legally belongs to other parents who could forcibly take him away. This story could have lent itself to any manner of tonal or stylistic construct. This might have been a bitter, angry film. It might have been a legal procedural. It might have been a deep, soggy wallow of a movie. But LIKE FATHER LIKE SON is none of those things.  Instead the film is elevated because the treatment given to this material is one of quiet observation. Kore-eda has been called an heir to Ozu for reason, not least because of his ability to watch his characters from afar without judgment. And this movie is no exception. It has no interest in melodrama; you will not find a shrill note here. And then there is the one thing about Kore-Eda’s work that makes him one of my favorite filmmakers: he refuses to create villains. There isn’t a mean character in any of his films.  How easy it would have been for this film to tip over, if even very subtly, with its sympathies toward one of the two couples. It would have been easy to call the rich couple out for their patronizing, intellectual detachment, or call the other couple out for being irresponsible and crude. But the film resolutely does not. It quietly makes it clear that each set of parents are well-meaning and generous in their love for their children.  They may be flawed, but both sides are inarguably decent. It is in this recognition of the decency of those who love a child that the film ultimately provides an abiding definition for family; the only one that matters.  That it does so apolitically, unemotionally and with authenticity, is cause for gratitude. LIKE FATHER LIKE SON is currently streaming on Netflix
  1. TWO DAYS ONE NIGHT:Are there more humanist filmmakers working right now than the Dardenne brothers? They have been making exceptional films for a long time, but with TWO DAYS ONE NIGHT they hit a perfect stride, bringing forth a clear, focused story with uncanny insight. And empathy. A woman who returns to work after a long break due to illness finds out that her job has been eliminated and her salary will be distributed as bonus amongst the 16 workers who covered for her during her absence. When she pleads to have her job back, she is told she can have it if she can over the course of a weekend, convince each of her coworkers to give up their bonus. Presented as a simple ethical quandary, this story is about all of the issues that matter today: the crumbling economy, people losing jobs, and the increasing loss of humanity in the great industrial shuffle. This film has one of the best depictions of a functioning clinically depressed individual on screen. And Marion Cotillard, in an Oscar nominated lead performance, breaks your heart. Each time she rises above everything that is pushing her down: her crippling depression, the loss of her job, the pain of having to asking another economically strained colleague to give up their bonus for her sake, every time she smiles in spite of all of that, it is an inconsequential victory. But it breaks your heart. Cotillard plays this character as a broken person. But she never strains for audience sympathy. And in a key scene toward the end of the film, her immediate reaction to a situation quietly demonstrates that she may be emotionally broken, but she has all the strength of character where it matters most. In all the films in all of 2014 that I saw, this is the only one with a fully, acutely human character. The only one breathing the warm exhale of life.
  1. FORCE MAJEURE: What a film this is. Pushing all the right buttons for me, I watched it with rapturous wonder. At different times, somber, probing, achingly funny, wise and damning, this is cinema for those who love cinema. What is it about? Conceptually, oh about a hundred things, but it is nominally about a seemingly perfect young family that completely unravels when they are presented very suddenly with a life-and-death situation. One spouse reacts a particular way and will not be forgiven for that by the other spouse. The most pervasively dominant of all human instincts, the one that prevails even over the basic instinct to protect our own is that of survival of the self. The film’s principal moral inquiry is whether we as a society are less forgiving of men than women when faced with such situations. First of all, FORCE MAJEURE is majestic from a technical standpoint. Some filmmakers have a spark to their work; you can sense a grandness, a flourish to every scene in their films. You can sense this in the films of Fincher, Nolan, the Coen brothers, and Welles. Writer-director Ruben Ostlund is a master aesthetist and earns the right to be compared to those filmmakers. There is an obvious pivotal scene in FORCE MAJEURE around which the entire film pivots and that alone is worth the price of admission for its technical grandeur. But set that money shot aside; even then, the film is remarkable for how neatly and studiously the shots have been culled together, with beautiful long, long takes that both present as challenges to the actors, some of them kids, and at the same time allow them to do remarkable work. The script here makes wry observations about the the soft, vulnerable, unexamined, scrupulously ignored underbellies of relationships as it focuses its gaze on several couples. And even when the gaze is terse, there is an intelligence to the examination that is exacting, precise. And lest this sound too lofty, I want to assure you that there is easily earned humor at every turn in this film. And wit. At one point, upon returning to their room after a testy dinner conversation, the wife tells her husband: “What’s wrong? That’s not us!” It is a marvelous way to think of one’s relationship. This is the quintessential film that will trigger intense debate after viewing. FORCE MAJEURE is currently streaming on Netflix

SXSW 2014 IS IN FULL SWING AND I’M LOVING IT

SXSW is now in full swing and as a result, we have been soaking up atmosphere, good barbeque and above all else MOVIES!!!

sxsw logo

SXSW Film has grown year-upon-year and this year over 130 movies were on offer to us.  Expertly chosen and programmed, the festival brought together small and large studios, independent and mainstream films, first time directors and seasoned veterans of the industry. To be honest, it was difficult to choose what to see, but I’m happy to say of the Seventeen movies I watched, all offered something unique and memorable. One of the most memorable things for me though is always the opportunity to interact with the moviemakers themselves which always provides depth and dimension to what you’ve just watched

WILD CANARIESWILD CANARIES: When their elderly neighbor suddenly drops dead, a newly engaged couple investigates signs of foul play.

Barri (Sophia Takal) and Noah (writer-director Lawrence Michael Levine), a newly engaged Brooklyn couple, are disheartened by the death of their elderly downstairs neighbor, Sylvia. Though Noah sees nothing unusual about the old woman’s death, Barri suspects foul play and sets out to investigate, enlisting her roommate Jean (ARRESTED DEVELOPMENT’S Alia Shawkat) to join her on a reconnaissance mission to trail a possible suspect. Tensions mount, however, when the investigation uncovers unsettling secrets throughout the building—including in their own apartment—and suddenly everyone seems like a reasonable suspect. Boasting a stellar supporting cast including Jason Ritter (PARENTHOOD), Kevin Corrigan (THE DEPARTED), and Annie Parisse (THE FOLLOWING), WILD CANARIES is a freshly comedic take on classic film noir. This movie had a lot of promise that didn’t unfortunately deliver. Disappointing for a number of reasons including a confusing and overcooked plot made this difficult to watch and follow. The tonality changed from scene to scene giving me whiplash at times and the hammy dialogue and rather poor overacting made me feel like I was watching a first year film school project.
You know you should leave the theatre when one of the main protagonists wears a large hat and even larger sunglasses and thinks they are unrecognizable in modern day New York. Woody Allen’s Manhattan Murders did this way better and testament to the fact that if you can’t do it better, leave it alone.

VESSELvessel: A fearless sea captain sails a ship through loopholes in international law, providing abortions on the high seas, and leaving in her wake a network of emboldened activists who trust women to handle abortion on their own terms.

Vessel begins with a young doctor who lived by the sea, and an unlikely idea. Rebecca Gomperts, horrified by the realities created by anti-abortion law around the world, felt compelled to challenge this issue; her method: provide abortions on a ship in offshore waters.

Her project, Women on Waves, begins as flawed spectacle, a media frenzy, faced with governmental, religious, and military blockade. But with each roadblock comes a more refined mission, until Rebecca has the revelation that she can use new technologies to bypass law – and train women to safely give themselves abortions using WHO-sanctioned protocols with pills.

From there we witness her create an underground network of emboldened, informed activists, working at the radical cutting edge of global reproductive rights, who trust women to handle abortion themselves. Vessel is Rebecca’s story: one of a woman who heard and answered a calling, and transformed a wildly improbable idea into a global movement.

This is a must see documentary not only because the subject matter is so polarizing but because this really is about a remarkable woman who wants to change the world and is doing so for the thousands of women who she provides assistance to. A well-made account over a period of years, Rebecca Gomperts resolve is unfaltering and enviable. In person, she is as enigmatic and convincing and received a standing ovation at the end of the movie. I’m not sure that the movie will change your mind or position on abortion, but it will prove to you the difference that one person can make and the lengths that people will go to in order to stand up for what they believe in. What I liked most about this movie was the fact that people on both sides of the argument chose to march to the steps of Austin’s parliamentary building following the movie

print the legendPRINT THE LEGEND: 3D printing is changing the world – from printing guns and human organs to dismantling the world’s industrial infrastructure by enabling home manufacturing. It’s “the next Industrial Revolution.”

For the first time in history, the stories of the human beings building an industry have been filmed. The result: Print the Legend which follows the people racing to bring 3D printing to your desktop and into your life. For the winners, there are fortunes – and history – to be made.

Print the Legend is both the definitive 3D Printing Documentary – capturing a tech in the midst of its “Macintosh Moment” – and a compelling tale about what it takes to live the American Dream in any field.

Hands down, this was one of my favorite documentaries of the festival. It even feels strange seeing that in print (uh no pun intended). No really, who thought that a documentary about 3D Printers would rise to the top of my must see list? Well, its because Print the Legend is more than just a movie about the 3D printer itself, this documentary expertly explores a number of themes like friendship, the race for market domination and what happens when a bunch of enthusiastic young extremely clever young men become poisoned by investors and narcissism and we are able to watch the pollution of an American dream. I’m not sure any of us could imagine what it feels like to have to fire your best friends and former co founders, yet we follow this very thing happening and the impact it has on all of those involved. Better than most soap operas, this documentary really will have you on the edge if your seat wondering which company and technology will reign superior in the end. Add to this a charming and controversial fellow who creates videos showing step-by-step instructions to print your very own 3D gun. An explosively smart and engaging look at an industry that is still in it’s infancy and the way in which it may change our world forever with a colorful and entertaining cast of characters who are forerunners in the race. It’s true, Nerds will rule the world but whilst we wait for that to happen watch Print the Legend which will be available on Netflix in 2014. In addition this movie won the 2014 SXSW Film Festival’s special jury recognition award for editing and storytelling in the documentary feature category.

unicornsI BELIEVE IN UNICORNS: Davina is an imaginative and strong-willed teenage girl who often escapes into a beautifully twisted fantasy life. Having grown up quickly as the sole caretaker of her disabled mother, she looks for salvation in a new relationship with an older boy. Davina is swept into a whirlwind of romance and adventure, but the enchantment of her new relationship quickly fades when Sterling’s volatile side begins to emerge. I Believe in Unicorns takes us on a road trip through the stunning and complex landscape of troubled young love.

It would be easy to dismiss this movie as yet another coming of age movie but there is a tragedy and sweetness about the way in which this particular coming of age movie is executed that I haven’t seen often and a depth that is seldom seen as we follow a young girl caring for her very disabled parent. The movie is elevated by two great performances by the two main protagonists played by mesmerizing Natalia Dyer and Peter Vack who capture the impetuousness of young love so perfectly. Yes, there are some huge plot holes and we are asked to take some huge leaps of faith in order to make it to the end of the movie but I think this movie will stay with you long after the credits have run

Chef | SXSW 2014

SXSW 2014 is underway and this evening we were treated to the headline movie of the day Chef written, directed and starring the extremely talented Jon Favreau.

Chef tells the story of Carl Casper who suddenly quits his job at a prominent Los Angeles restaurant after refusing to compromise his creative integrity for its controlling owner (Dustin Hoffman). As a result, he is left to figure out what’s next. Finding himself in Miami, he teams up with his ex-wife (Sofia Vergara), his friend (John Leguizamo) and his son to launch a food truck. Taking to the road, Chef Carl goes back to his roots to reignite his passion for the kitchen and zest for life and love.

chef poster

With Food trucks ever popular these days, this is an interesting story about a disillusioned chef at the top of his game who takes to the road to find his mojo again and although the film is very sweet at times mainly due to the wonderful relationship and good acting by the youngest cast member Emjay Anthony who plays Favreau’s son, the flavor of this movie at times is rather confused and overdone. A good example of one too many ingredients that leaves you feeling like you couldn’t manage another spoonful.

Jon Favreau deserves props however for capturing the essence of the quintessential chef, tattooed arms, large frame and a brusque Emeril type character whose kitchen is a delight of plastic bottles filled with exciting colorful concoctions. This along with large amount of food porn that is amazing to watch for those of you who are food lovers keeps you entertained for most of the movie.

Short appearances which feel like amuse bouche by Scarlett Johansson, Dustin Hoffman and Oliver Platt are like visits with old friends that whet our appetites but it is a great performance (although not long enough) by the ever talented Robert Downey Junior which is the cherry on the cake in my opinion.

Overall the message of the movie is a worthy one that reminds us to be true to ourselves and that success will come to those of us that work hard and care about what we do. Unfortunately for me however, this didn’t satiate my appetite overall, and left me feeling like I’d chosen the wrong entree

Open Road will release Chef on May 16.

Episode 214 – The Hunger Games: Catching Fire / The Broken Circle Breakdown

It’s Episode 214 of Moviewallas!  In this episode we discuss:

hr_The_Broken_Circle_Breakdown_4 jennifer-lawrence-catching-fire-poster-610x903

– The Hunger Games: Catching Fire

– The Broken Circle Breakdown

Play

– Email us: mail@moviewallas.com
– Join the Facebook community: facebook.com/moviewallas
– Follow us on Twitter: @moviewallas
– Subscribe to the Podcast: iTunes Store / Other Podcast Clients 
– iPhone App: iTunes
– Android App: Android Market
– Get free email updates Sign-up form

 

Episode 193 – Mud / The Reluctant Fundamentalist / Iceman

Too many movies, too little time.  It’s one of our mottos here on Moviewallas and it has never been truer.  Here is a catch up Podcast where were talk about a few of this summer’s releases:

mud reluctant iceman

 

– Mud

The Reluctant Fundamentalist

– The Iceman

Play

Visit www.moviewallas.com for reviews, articles, film festival coverage and more!

– Email us: mail@moviewallas.com
– Join the Facebook community: facebook.com/moviewallas
– Follow us on Twitter: @moviewallas
– Subscribe to the Podcast: iTunes Store / Other Podcast Clients 
– iPhone App: iTunes
– Android App: Android Market
– Get free email updates Sign-up form

Episode 190 – Frances Ha / Before Midnight

In Episode 190 of Moviewallas we discuss the delightful Frances Ha and the sublimely brilliant Before Midnight.

before-midnight-poster francesHA

– Frances Ha

– Before Midnight

Play

Visit www.moviewallas.com for reviews, articles, film festival coverage and more!

– Email us: mail@moviewallas.com
– Join the Facebook community: facebook.com/moviewallas
– Follow us on Twitter: @moviewallas
– Subscribe to the Podcast: iTunes Store / Other Podcast Clients 
– iPhone App: iTunes
– Android App: Android Market
– Get free email updates Sign-up form

Episode 185 – Trance / Evil Dead / The Company You Keep

In this Episode of the Moviewallas Podcast, we talk about:

trance_ver5_xlg-728x1080 MV5BMTQ0NDQxOTY3M15BMl5BanBnXkFtZTcwNTE0MTExOQ@@._V1_SY317_CR0,0,214,317_ images-1

– Trance

– Evil Dead

– The Company You Keep

Play

Visit www.moviewallas.com for reviews, articles, film festival coverage and more!

– Email us: mail@moviewallas.com
– Join the Facebook community: facebook.com/moviewallas
– Follow us on Twitter: @moviewallas
– Subscribe to the Podcast: iTunes Store / Other Podcast Clients 
– iPhone App: iTunes
– Android App: Android Market
– Get free email updates Sign-up form

 

Episode 184 – The Host / The Place Beyond the Pines / Starbuck

In Podcast episode 184 of Moviewallas we discuss:

The_Host_Poster MV5BMjMyMDczMzU1OV5BMl5BanBnXkFtZTcwMzMwNzk1OA@@._V1_SX214_The Place

– The Host

The Place Beyond the Pines

– Starbuck

Play

Visit www.moviewallas.com for reviews, articles, film festival coverage and more!

– Email us: mail@moviewallas.com
– Join the Facebook community: facebook.com/moviewallas
– Follow us on Twitter: @moviewallas
– Subscribe to the Podcast: iTunes Store / Other Podcast Clients 
– iPhone App: iTunes
– Android App: Android Market
– Get free email updates Sign-up form