Review: ‘MADELEINE COLLINS’ overflows with complexity.

MADELEINE COLLINS

Judith (Virginie Efira)’s life is split between two households in two countries. In Switzerland, she is Margot, a translator who lives with Abdel (Quim Gutierrez) and the little girl they are raising. In France, she is known as Judith and lives a glamorous life with acclaimed orchestra conductor Melvil (Bruno Salomone) and their two older boys. This fragile balance, based on complex lies and tightly scheduled back-and-forth trips, gradually begins to crack and veer dangerously off the rails. The mysterious reasons for her lies, and the complications that ensue from her efforts to keep the two lives separate, propel the third narrative feature from Antoine Barraud anchored by a virtuoso turn from Efira in all of her character’s many guises.
 

Judith/Margot’s curated existence managing two identities and two families begins to crumble, exposing her lies, motives, and underlying trauma.

Virginie Efira wows audiences as a woman wearing all the hats. Effortlessly embodying each distinct persona, Efira proves, once again she is a star. It is a balancing act of power structures, dangerous satisfaction, and unusual sacrifice.

Antoine Barraud gives audiences a film almost best viewed without prior knowledge of the plot. Enticing the audience and challenging their sense of morality, MADELEINE COLLINS hypnotizes with twists, turns, and deep complexity. Barraud and co-writer Héléna Klotz carefully weave an unmissable commentary about beauty, unrequited male infatuation, and childhood trauma into the narrative. The film overflows with nuance, and its final reveal changes everything. It is a wildly elaborate hurricane of grief.


Directed by Antoine Barraud
Written by Antoine Barraud and Héléna  Klotz
Starring Virginie Efira (Revoir Paris, Other People’s Children, Sibyl, Elle, Benedetta)
Co-starring Bruno Salomone, Quim Gutierrez, Jacqueline Bisset, Valérie Donzelli, Nadav Lapid 
 

Opens on Friday, August 18 in NY (IFC Center) and LA (at Laemmle Royal and Laemmle Town Center, Encino)


 

A Shudder Original review: Thomas Marchese’s ‘FROM BLACK’ is a Faustian look beyond the veil

FROM BLACK

Cora is a recovering drug addict who lost her son due to her negligence five years prior. The film opens with a shocking crime scene and a traumatized, bloodied, and rambling Cora in the sheriff’s office. How did we get here? Cora spins a tale of otherworldly proportions filled with grief, regret, and chance. How far would you go to see your loved one again?

Writer-director Thomas Marchese and co-writer Jessub Flower dive into the subgenre without apology. When grief counselor Abel offers Cora the opportunity to see Noah again, her response is an immediate “Yes.” Anyone that sits in sadness understands the answer. Spellbook, chalk drawings, and salt circles in tow, Abel guides Cora on a step-by-step journey of possible redemption. The audience is smart enough to know there are stills attached. That never lessens the intensity of the plot.

Anna Camp plays Cora. She is unrecognizable in this role. Audiences usually recognize her perky personality and blonde hair. Raven-haired and emotionally battered, Cora brims with complexity. Camp allows herself to dive deep into grief and regret. It is an out-of-the-box performance for her, and she is magnificent. I’d love to see her in more dark roles. She can handle them.

The addiction and trauma allegories are particularly evident in Cora’s final moments. While I had the overall plot pegged early on, the finale surprised me. Duncan Cole’s intense cinematography, combined with Luigi Janssen’s ominous score, grabs you by the throat from the beginning. The editing is a triumph that keeps you poised on the edge of your seat. A Faustian look beyond the veil, FROM BLACK is a grief-fueled nightmare. It will satisfy every level.


FROM BLACK is now streaming exclusively on SHUDDER

Review: ‘Marevelous and The Black Hole’ is a family film with heart and pizzazz.

MARVELOUS AND THE BLACK HOLE

A teenage delinquent (Miya Cech, ALWAYS BE MY MAYBE) befriends a surly magician (Rhea Perlman, “Cheers,” MATILDA) who helps her navigate her inner demons and dysfunctional family with sleight of hand magic. A coming-of-age comedy that touches on unlikely friendships, grief, and finding hope in the darkest moments.


After losing her mother, Sammy lashes out physically and emotionally. When her dad forces her to take a business class in summer school, she encounters a magician by happenstance. Under the guise of a final project, Sammy trades anger for magic. 

The score heightens the film’s charm. Cartoon animation and black & white fantasy sequences create playful transitions whenever Sammy feels rage. The costumes are meaningful. Sammy is in black the entire film, while Margot dons lush colors adorned with embroidery or applique. 

Rhea Perlman plays Margot, AKA The Marvelous. Perlman’s cheery disposition is a brilliant foil for Miya Cech‘s Sammy. She brings a motherly quality that Sammy so desperately needs. Cech is outstanding. She possesses a fierce attitude that’s relatable. Cech levels up the typical teenage angst with grounded sass and genuine vulnerability underneath. Together, their chemistry is like a warm hug. If I’m being honest, I would gladly watch an entire series about these two characters.

Marvelous and The Black Hole is nothing short of darling. This family-friendly flick is about navigating grief. Writer-director Kate Tsang gives audiences a sweet ode to storytelling and healing. 


MARVELOUS AND THE BLACK HOLE
Opens in Select Theaters on April 22, 2022


Written + Directed by: Kate Tsang
Produced by: Carolyn Mao
Co-Producers: Allison Avery Jordan, Christa Boarini
Director of Photography: Nanu Segal, BSC
Production Designer: Yong Ok Lee
Edited by: Cyndi Trissel, Ryan Denmark
Costume Designer: Amanda Bujak

TRT: 81 minutes


 

Review: Catherine Keener and Charlie Heaton navigate the ripple effects of addiction in ‘No Future’.

NO FUTURE

After the tragic overdose of his estranged friend, Will, a recovering addict, returns home, where he is reunited with Claire, his friend’s grieving mother, with whom he begins a secret but volatile affair.


Grief is an unpredictable monster. It manifests in ways we will understand. In the new film No Future, writer-directors Andrew Irvine and Mark Smoot give us a study of human emotions. It is a film that will hit home for many families. Addiction and its wake of destruction is something we cannot seem to escape. No Future boasts brilliant performance and a ceaselessly engrossing screenplay. It is quietly devastating.

Catherine Keener is a mother mired in grief. As Claire, she looks for answers in Will, the only remaining connection to her son. The stages are all present in her weary tone of voice and mannerisms. The justifiable anger and emptiness become a shared experience through her. Charlie Heaton, as Will, sits on the fence of morality as a former addict wracked with survivor’s guilt. He carries the burden of past transgressions in his daily struggle to stay clean. Knowing that he’s hiding the truth from Claire eats at his soul. Heaton’s vulnerability will say shake you to your core. It’s award-worthy.

Keener and Heaton’s chemistry is palpable. Their connection lands somewhere in between conceivable and inappropriate. They are using one another to process hurt. No Future speaks to the daily challenges and ripple effects of addiction. Jon Natchez‘s score of heavy strings and synth adds an unsettling hum to the entire film. It’s beautifully powerful. The script does not tread lightly, and rightfully so. The explosive and inevitable final act is a catharsis for our leads and the audience. Or so we’re led to believe. Everyone must sit in contemplative mourning. No Future will break your heart.


NO FUTURE opens nationwide on Friday, October 22nd, 2021.

NO FUTURE is written and directed by Andrew Irvine and Mark Smoot and stars Catherine Keener, Charlie Heaton, Rosa Salazar, Jackie Earle Haley, Jefferson White, Austin Amelio, Heather Kafka, Jason Douglas, Kia Nicole Boyer, Mollie Milligan, Jasmine Shanise, and Marissa Woolf.


Review: ‘MASS’ is a stunning master class in writing and performance.

MASS

Years after an unspeakable tragedy tore their lives apart, two sets of parents (Jason Isaacs and Martha Plimpton, Reed Birney and Ann Dowd) agree to talk privately in an attempt to move forward. In Fran Kranz’s writing and directing debut, he thoughtfully examines their journey of grief, anger and acceptance by coming face-to-face with the ones who have been left behind.


In Mass, indie genre actor Fran Kranz steps into the writer-director role with an ease that is mind-boggling. It’s one of the most stunning feature debuts I’ve ever witnessed. The script is impeccably researched. As a mother who shakes each time a breaking news headline pops up on my phone, as a senior in high school when Columbine occurred, Mass hits on an entirely different level. Kranz helps us see the unseeable. He carefully weaves small pieces of information into a quilt so heavy we are left breathless. There is nothing sugarcoated about Mass. It’s one of the most intimate and emotionally accosting films I’ve ever experienced.

Jason Isaacs takes a logical approach as Jay. The arc of Kranz’s writing allows Isaacs to break this role wide open. It was akin to watching a teapot slowly come to a boil. Ann Dowd plays Linda. She is gentle, hesitant, and genuine in her grief and guilt. It feels like she’s trying too hard to appease and remain compassionate. Dowd’s best moments are when she’s in tune with Reed Birney. As Richard, Birney counters Dowd’s apologetic energy. He is defensive at every turn, to the point of unlikability. It’s his survival mechanism. Birney wears an air of toxic masculinity like a badge of honor. Martha Plimpton plays Gail with thoroughly justifiable guarded anger. She is seeking ownership and responsibility from Linda and Richard. Her pointed line of questioning makes her intentions clear as day. Plimpton owns every glance, sigh, and raw syllable uttered in Mass. It’s an entire emotional journey right before our eyes. It’s a performance that captivates. The chemistry between these four actors is something so rare. They understood the assignment, as they say.

The quiet, lingering moments in the first 20 minutes of the film are meticulously crafted to keep you stewing in anticipation of the inevitable storm to come. The entire film has a low registering hum and a palpable heaviness. As the plot is slowly revealed, politics seep into the conversation. The aftermath of trauma and grief are front and center. The discussion of mental health will echo in many households. The included social pleasantries on either end establish a grounded aspect, but it is that final unexpected 10 minutes that hit hardest. It’s a visceral catharsis. This is a master class in writing and performance. I would watch this on stage in a heartbeat. Mass is a portrait of four parents dealing with unthinkable loss. The most powerful aspect is the understanding that this conversation could be happening any day of the week nowadays. This is an emotional rollercoaster you cannot be prepared for. Mass brilliantly challenges the perspectives of cause and effect, blame, acceptance, forgiveness, life and death, and what parenthood means, deep in your soul. You will walk away changed.


Written & Directed by: Fran Kranz
Starring: Reed Birney, Ann Dowd, Jason Isaacs, and Martha Plimpton


Mass is currently playing in select cities.

Review: ‘Archive’ will make you question life and death decisions.

SYNOPSIS:2038: George Almore is working on a true human-equivalent AI. His latest prototype is almost ready. This sensitive phase is also the riskiest. Especially as he has a goal that must be hidden at all costs:being reunited with his dead wife.

Archive is a visual dream for fans of A.I. related storytelling. The production design team has taken pages from sci-fi films of old while also giving the audience a completely original aesthetic. It’s almost the birth of Westworld’s technology. You cannot miss the nods to Space Odessey, Alien, and Blade Runner.

Performances are incredibly grounded. The physical isolation mixed with grief makes for a somber and ominous setup. The nuanced relationships are brilliant to watch as they evolve. You will find yourself empathizing with all the A.I. entities. Theo James gives us every beat in total honesty. Stacy Martin is a superstar in 3 very different roles. Quite impressive.

There is a lot of intrigue in this script. Moral ambiguity is a huge part of the plot. Writer-director Gavin Rothery begs the question, “How far would you be willing to go for love?” There are clues dropped in the dialogue and recalls in scenes providing clever juxtaposition that will challenge the viewer. You cannot look away. Blink and you’ll miss something that might be more important than you realize. Brimming with emotional complexity, Archive challenges what life and death will continue to mean as technology upgrades in the future.

ARCHIVE is releasing on July 10, 2020 on Virtual Cinema Screenings, on Demand and Digital.

Review: ‘PREVENGE’ takes killer kids to the next level.

presents

PREVENGE
Written and Directed by Alice Lowe

**Official Selection: 2016 VENICE INTERNATIONAL FILM FESTIVAL**
**Official Selection: 2016 TORONTO INTERNATIONAL FILM FESTIVAL**
*
*Official Selection: SOUTH BY SOUTHWEST 2017**

Sometimes, when it’s 3 am and my unborn baby girl decided it’s an awesome time to do a dance instead of letting me sleep, I become, shall we say, a little grumpy. 3 weeks away from my second child, I’m freaking tired and sore and over being pregnant. Don’t get me wrong, I’m thrilled for this peanut. My soon to be two children will be less than 16 months apart. Yup, two under two. I shudder to think about the amount of rest I will not be getting for the next 18, nay, 19 years. All that being said, I’ll have my perfect little salt and pepper set, all we need is the dog. There will be days I will want to flee, I’m sure… but I cannot imagine a day where the acts of my kids will compel me to start, let’s say, murdering people. Though, it’s early and who am I to judge. In Alice Lowe‘s directorial debut, PREVENGE, Ruth’s unborn child is telling her to murder a very specific list of people and perhaps for a good reason.

Synopsis:

A pitch black, wryly British horror comedy from the mind of Alice Lowe (“Sightseers,” “Hot Fuzz,” “Paddington”) that’s as funny as it is vicious,  PREVENGE follows Ruth, a pregnant woman on a killing spree. It’s her misanthropic unborn baby dictating Ruth’s actions, holding society responsible for the absence of a father. The child speaks to Ruth from the womb, coaching her to lure and ultimately kill her unsuspecting victims. Struggling with her conscience, loneliness, and a strange strain of prepartum madness, Ruth must ultimately choose between redemption and destruction at the moment of motherhood.

Written, directed and starring Lowe while she was actually 7 1/2 months pregnant, Prevenge is savage and wickedly demented. Sharp British humor heightens this in-your-face rampage. As much as you attempt to figure out the actual reason for the string of murders, you won’t until very late into the film and thus a sign of great writing. Lowe’s portrayal of Ruth is frighteningly grounded and wonderful. The cast is filled with familiar faces and the chemistry between Lowe and her (mostly) victims is perfection. The colors are vibrant and the jarring jump cuts interspersed are incredibly effective. The film is weird and gruesome and unlike anything you’ve seen before. It’s just plain cool.

Check out a clip from the film below.

PREVENGE opens theatrically in New York and Los Angeles and will be available nationwide on Shudder, on March 24th

About SHUDDER:

Shudder is a premium streaming video service, super-serving fans of thrillers, suspense, and horror. Backed by AMC Networks, Shudder has a growing and dynamic selection of thrilling premieres, originals, and exclusives, which complement its impressive library of international and independent films, gripping TV series, and Hollywood blockbuster favorites.

TRT: 88 min
Director: Alice Lowe
Writer: Alice Lowe
Cast: Alice Lowe, Gemma Whelan, Kate Dickie, Jo Hartley
Distributor: Shudder

 

Review: ‘CLAIRE IN MOTION’ stars Betsy Brandt in a desperate search for her missing husband.

Breaking Glass Pictures will release the upcoming psychological drama/thriller 

CLAIRE IN MOTION

 in theaters and On Demand January 13, 2017. 

CLAIRE IN MOTION is the second feature film by filmmaking team Lisa Robinson and Annie J. Howell (Small, Beautifully Moving Parts) and stars Betsy Brandt (CBS’ “Life in Pieces,” AMC’s “Breaking Bad”) in a breakthrough performance that twists the missing person thriller into an emotional take on uncertainty and loss.

Three weeks after Claire’s husband has mysteriously disappeared, the police have ended their investigation and her son is beginning to grieve. The only person who hasn’t given up is Claire. Soon she discovers his troubling secrets, including an alluring yet manipulative graduate student with whom he had formed a close bond. As she digs deeper, Claire begins to lose her grip on how well she truly knew her husband and questions her own identity in the process.

Playing the convincing role of math professor and mom comes so naturally to Betsy Brandt, one might actually think this film was based on a true story. With facts and figures guiding her everyday life, she quickly learns they aren’t going to help figure out who she really married. The plot moves swiftly. There is no lag time between the opening scene and transitioning entering the mysteries. The pace and editing are such that you can feel the immediate push from the outside world on both Claire and her son to accept the fact that husband and father are not coming back. It is the quintessential, “You think you know someone,” piece. It lends you to wonder who your significant other is when they’re not with you. Work friends, hobbies, the gym, lunches, seemingly mundane moments impact us each day so why would they not impact your partner in the same profound way? But, the torturous unanswered questions left in the wake of any ended relationship are the ones that stick with us. Claire In Motion is a quiet and yet profound look into reaching beyond yourself and into the lives of those around us.

Narrative Spotlight Audience Award – SXSW Film Festival 2016

Official Selection, New American Cinema – Seattle International Film Festival 2016

TITLE: CLAIRE IN MOTION
IN THEATERS AND ON DEMAND:  January 13, 2017
DIRECTOR:  Lisa Robinson, Annie J. Howell
WRITERS:  Lisa Robinson, Annie J. Howell
CAST:   Betsy Brandt, Anna Margaret Hollyman, Chris Beetem, Sakina Jaffrey
GENRE:  Psychological Drama, Thriller
DISTRIBUTOR: Breaking Glass Pictures

Review: ‘JACK GOES HOME’ proves that Rory Culkin is terrifyingly good at his job.

jackgoeshome_theatrical_27x39They say you can never go home again. Maybe some of us should heed this advice depending on the skeletons in our closets. In Thomas Dekker‘s new film JACK GOES HOME, Rory Culkin finds himself playing the title character whose loss might be his greatest gain. Or maybe it’s the other way around.
r1I’ve see a horror film or two in my day, but I’ve never seen anything like Jack Goes Home. The story appears to be straight forward: Jack’s parents are in a car accident. His father dies and he goes home to take care of his mother, who has survived. When something goes bump in the night, he is compelled, by his father’s own words, to explore his childhood like never before. It doesn’t take too long before things get weird. Grief can make people act in funny ways, but this film takes it to a whole other level. Dekker’s script is off the hinges with scares both physically and emotionally. You’re never quite sure who is fooling whom. rl1With genre veteran Lin Shaye as Jack’s mother, you’re immediately thrown for a loop. Her presence is this insane mix of calming and unnerving. Each scene she appears in makes your skin crawl. Rory Culkin is more intense with each role he takes on. Following up on his fierce performance in Gabriel, there is no doubt this young man is a star. Jack is one hell of a character and when the film has the balls to open by having him break the fourth wall, you know you’re in for a ride. Each scene tops the next in mystery and fear and Culkin is the driving force behind your unease. As the credits rolled I thought, “What the hell did I just see?!” Then in watching the trailer again, I had so many more questions and theories. This is a film I’ll be speculating about for some time. It begs for multiple viewings.

JACK GOES HOME hits US cinemas and VOD on Friday, October 14th, from Momentum Pictures.

Motion Picture Rating (MPAA) Rated R for disturbing violent and sexual content, language throughout, and drug use.

NYFF54 Reviews: ‘SIERANEVADA’ & ‘THE REHEARSAL’

nyff54-banner

SIERANEVADAnyff54-sieranevada-mimi-cornel-branescu-valer-dellakeza_courtesy-elle-driverSieranevada takes a peek inside a grieving family and the reality of being stuck in a small space with the people you love and hate. Days after the death of the family patriarch and the recent Charlie Hebdo attacks, we find our cast gathered together to honor their beloved father. While they wait for the priest to arrive, we discover, little by little, the chaos, the meddling, the selfish, emotionally unstable ways that only your own family can throw at you all at once. Director Cristi Puiu, makes us, the audience, a fly on the wall for 3 solid hrs. This might pose a challenge for some viewers. The camera, mostly stationary, pans back and forth in place for extended periods of time, catching whispers, shouts, and much chain smoking predominantly from a hallway position. While the actors try desperately not to step on each other or wake the baby while they wait to eat once the elusive priest finally arrives. The dialogue is a beautiful mix of over the top arguments, manic bereavement, and laughter at internet conspiracy theories. It’s undeniably relatable. Only a big family dynamic can get your blood boiling and creative juices flowing for that long. nyff54-sieranevada-2_courtesy-elle-driver


THE REHEARSALnyff54-the-rehearsal-actors-kieran-charnock-james-rolleston-michelle-ny-alice-englert-and-scotty-cotte-courtesy-of-matthew-klitscherHaving graduated drama school only blocks from the NYFF, I can relate to The Rehearsal on a very personal  level. Based on the novel Eleanor Catton‘s debut novel of the same name. Director/writer Alison Maclean‘s film version is slightly different but the themes remain the same. Teachers taking advantage of their students. It was lovely to see the authenticity of a performing arts school portrayed on the big screen. It’s been a while since both the discipline and seemingly ridiculous have been combined to give the viewer a slice of life in a conservatory style education. No one is nice to you. everyone is competition. The teachers are their to teach you with hard life lessons. But this story is also about the emotional responsibility of not only the teachers, but the students as they grow into mature adults. Our main plot revolves around the lives and work of the kids. More specifically, their final project. The dialogue is evenhanded in humor and drama. The performances are extremely solid.The final scene is cinematic perfection. nyff54-the-rehearsal-actors-michelle-ny-and-kerry-fox-courtesy-of-matthew-klitscher

 

Review: ‘THE VESSEL’ is a struggle between grief and belief.

sheen-face-theatrical-1-sheet

In Theaters September 16, 2016

Starring:

Martin Sheen (TV’s “The West Wing,” Apocalypse Now)

Lucas Quintana (Wing it, Death of an Ally)

Jacqueline Duprey (Under Suspicion, Entre Nos)

Aris Mejias (Gabi, “Incógnita”)

still_5

Lucas Quintana; Credit: Courtesy of Outsider Pictures

When tragedy strikes, your universe can crumble. Everything you know can seem confusing or useless. Darkness takes hold. We search for the smallest meaning to turn our sadness into joy once more. In THE VESSEL, one man is burdened with being the guiding light for a small coastal town, following the sudden death of all its elementary aged children.

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Aris Mejias; Courtesy of Outsider Pictures

Martin Sheen‘s performance as a well-meaning priest is genuine and grounded as always. The Vessel was filmed in both English and Spanish, which is an incredible feat for any American actor. Once again teaming up with Terrence Malick (executive producer), the two would have the opportunity to seemingly readdress a series of meaningful conversations in Paris in 1981 in which Sheen’s Roman Catholic faith was restored. Playing our other leading man, Leo, is Lucas Quintana. His strong but never forceful presence is the perfect companion character for the audience to follow. We are 100% on his intellectual journey throughout. Both Jaqueline Duprey and Aris Mejias, as Leo’s Mother and Soraya respectively, give heart-rending performances as two women whose grief controls their daily lives and sanity.

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Lucas Quintana; Courtesy of Outsider Pictures

One thing that must be mentioned is the ethereal score of this film. It is, in itself, an entire character. The music is emotionally entrancing, at moments giving me chills. The Vessel presents a world in which religion and the supernatural collide. A town frozen in time and mourning experiences a miracle that breathes new life into its people. But disappointment leads to anger and hysteria. It’s a visually lovely film in which color plays a huge role. Bravo to director Julio Quintana for assembling a masterful piece of work.

Music, Dancing, Fireworks, Childbirth. In an unnamed coastal town somewhere in Latin America, these are just a few things that vanished from a small fishing village after a massive tidal wave crushed the local elementary school, washing forty-six children out to sea.  Father Douglas (Martin Sheen) urges the grief-stricken mothers to have more children, but they refuse, locked in a state of perpetual mourning. Until one night when a local young man slips off the pier and drowns, only to mysteriously waken three hours later.  “Could this be a sign from God?” the townspeople wonder.

[FLASHBACK] Tribeca Film Festival review & podcast: TUMBLEDOWN will win hearts and fans. Including the audio from our roundtable interview with Jason Sudeikis, Dianna Agron, Director Sean Mewshaw, and Writer Desiree Van Til.

Tumbledown

Music is part of our souls. It can heal, it can hurt, it’s like a sense memory. We’ve lost great artists in their prime like, Leonard Cohen, Kurt Cobain, and Elliot Smith. The impact of their death is felt each time we hear one of their songs. Imagine, for a moment, that your very favorite artist suddenly dies. Now imagine you were married to them. This is the very premise of TUMBLEDOWN. Hannah is the widow of indie folk singer Hunter Miles. She is hounded by gossip seekers on a daily basis. When Hofstra professor and true fan Andrew tries to get in touch with her, she brushes him off… and brushes him off again… and again. Only until realizing that her dream of writing Hunter’s story is one she cannot accomplish on her own, does she let her highly guarded heart open just a crack. Andrew and Hannah strike a deal; Andrew writes a biography on her terms for $50k. With the encouragement of his music industry girlfriend Finley, Andrew drives from NYC to Maine and moves into Hannah’s guest bedroom. He is then exposed to a world a true fan can only dream of, with one massive catch. Hannah will not stop mourning her late husband. Can fan and family see eye to eye. Can trust break down the walls of Hannah’s suffering? Will intellect stifle healing. In a film where it’s head vs heart, who wins?

Tumbledown_Press_1 TribecaRebecca Hall is flawless as Hannah. Witty, independent, strong headed, Hall plays a woman unwilling to move on with her life. Jason Sudeikis as Andrew is unstoppable. Smart, and quippy as ever, this role is something new for Sudeikis. I love this side of him and hope that the industry, and more writers, take note of his innate ability to be funny in a non-slapstick kind of way. These two are an absolute powerhouse as they match wits with one another in each scene. Rounding out an incredible cast is Dianna Agron as Finley. Life after GLEE fame should treat her well if she keeps up such a strong, believable presence on the big screen. Blythe Danner and Richard Masur play Hannah’s parents. Deeply supportive and yet totally realistic, these two are the perfect counter balance to Andrew’s inability to let go of presumption. Finally, Griffin Dunne plays Hannah’s editor and owner of the town beloved book shop. He brings warmth and charm only a small town holds.tumbledownjasonsudeikisrebeccahall

The film was 8 years in the making. Writer Desi Van Til thoughtfully crafted this story partly as a personal healing piece for a lost friend. She skillfully captures the heart of New England, the desperation of grief, and the hold that music has on everyone’s heart. For Director Sean Mewshaw, his first feature length film is a total success. It’s shot in such a way that truly shows the quaintness of the area. Finding “Hunter Miles” or singer Damien Jurado was one of his triumphs. He perfectly encapsulates the feel of the character that was created by Desi, Rebecca, Jason, and Sean. Coming in after the film was already in the can, with his music and lyrics, he “created” a musician we’re all discovering for the first time, but feel like we’ve now lost as well. It might also help that Sean and Desi are husband and wife! This team is a real tour de force and without any solid knowledge (only mere mentions) I predict many captivating projects coming down the pipeline from these two.

Grief is something so personal. No matter how big the hit we feel, it still leaves a hole in our hearts and souls. Sometimes music helps. Sometimes it’s a trigger. Either way, the songs live on long after we’re gone. So sing, I say. TUMBLEDOWN is easily in my top three narrative selections to come out the this year’s festival. It is a must see and definitely a must hear.jasonsudeikistumbledownrebeccahall


I was fortunate enough to attend a roundtable interview with Dianna Agron, Jason Sudeikis, Desi Van Til and Sean Mewshaw. We talk issues from the film, insight into the project’s journey, as well as Jason and Dianna’s other releases at the fest. Take a listen to the absolute joy around the table: *You can hear me ask a question about journalistic responsibility and one about Dianna’s similarities to the character of Hannah.* Enjoy the voices of TUMBLEDOWN!

Originally posted April 20, 2015

Tribeca Film Festival review & podcast: TUMBLEDOWN will win hearts and fans. Including the audio from our roundtable interview with Jason Sudeikis, Dianna Agron, Director Sean Mewshaw, and Writer Desiree Van Til.

Tumbledown_Press_1 Tribeca

Music is part of our souls. It can heal, it can hurt, it’s like a sense memory. We’ve lost great artists in their prime like, Leonard Cohen, Kurt Cobain, and Elliot Smith. The impact of their death is felt each time we hear one of their songs. Imagine, for a moment, that your very favorite artist suddenly dies. Now imagine you were married to them. This is the very premise of TUMBLEDOWN. Hannah is the widow of indie folk singer Hunter Miles. She is hounded by gossip seekers on a daily basis. When Hofstra professor and true fan Andrew tries to get in touch with her, she brushes him off… and brushes him off again… and again. Only until realizing that her dream of writing Hunter’s story is one she cannot accomplish on her own, does she let her highly guarded heart open just a crack. Andrew and Hannah strike a deal; Andrew writes a biography on her terms for $50k. With the encouragement of his music industry girlfriend Finley, Andrew drives from NYC to Maine and moves into Hannah’s guest bedroom. He is then exposed to a world a true fan can only dream of, with one massive catch. Hannah will not stop mourning her late husband. Can fan and family see eye to eye. Can trust break down the walls of Hannah’s suffering? Will intellect stifle healing. In a film where it’s head vs heart, who wins?

Rebecca Hall is flawless as Hannah. Witty, independent, strong headed, Hall plays a woman unwilling to move on with her life. Jason Sudeikis as Andrew is unstoppable. Smart, and quippy as ever, this role is something new for Sudeikis. I love this side of him and hope that the industry, and more writers, take note of his innate ability to be funny in a non-slapstick kind of way. These two are an absolute powerhouse as they match wits with one another in each scene. Rounding out an incredible cast is Dianna Agron as Finley. Life after GLEE fame should treat her well if she keeps up such a strong, believable presence on the big screen. Blythe Danner and Richard Masur play Hannah’s parents. Deeply supportive and yet totally realistic, these two are the perfect counter balance to Andrew’s inability to let go of presumption. Finally, Griffin Dunne plays Hannah’s editor and owner of the town beloved book shop. He brings warmth and charm only a small town holds.

The film was 8 years in the making. Writer Desi Van Til thoughtfully crafted this story partly as a personal healing piece for a lost friend. She skillfully captures the heart of New England, the desperation of grief, and the hold that music has on everyone’s heart. For Director Sean Mewshaw, his first feature length film is a total success. It’s shot in such a way that truly shows the quaintness of the area. Finding “Hunter Miles” or singer Damien Jurado was one of his triumphs. He perfectly encapsulates the feel of the character that was created by Desi, Rebecca, Jason, and Sean. Coming in after the film was already in the can, with his music and lyrics, he “created” a musician we’re all discovering for the first time, but feel like we’ve now lost as well. It might also help that Sean and Desi are husband and wife! This team is a real tour de force and without any solid knowledge (only mere mentions) I predict many captivating projects coming down the pipeline from these two.

Grief is something so personal. No matter how big the hit we feel, it still leaves a hole in our hearts and souls. Sometimes music helps. Sometimes it’s a trigger. Either way, the songs live on long after we’re gone. So sing, I say. TUMBLEDOWN is easily in my top three narrative selections to come out the this year’s festival. It is a must see and definitely a must hear.


 

I was fortunate enough to attend a roundtable interview with Dianna Agron, Jason Sudeikis, Desi Van Til and Sean Mewshaw. We talk issues from the film, insight into the project’s journey, as well as Jason and Dianna’s other releases at the fest. Take a listen to the absolute joy around the table: *You can hear me ask a question about journalistic responsibility and one about Dianna’s similarities to the character of Hannah.* Enjoy the voices of TUMBLEDOWN!

You can still catch a screening of TUMBLEDOWN at the fest this Thursday!! I cannot imagine this film not getting distribution. We will most certainly keep you updated here at RND.

3:30 PM – THU 4/23  REGAL CINEMAS BATTERY PARK 11-11Icon-fg-map ADD $13.50
To find out more about TUMBLEDOWN in the Tribeca Film Guide 2015

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‘The Sublime and Beautiful’- Liz’s interview with writer/director/star Blake Robbins

SUBLIMEBEAUTIFUL

Grief is a very personal experience. Some of us cry, some lash out at loved ones, some shut down. A few even look at a loss as an excuse to reassess their lives. Either way, it is a loss. Five years ago yesterday, I lost someone very special to me. I had experienced the loss of family members before, but this, this was something altogether different. Tyler was a beloved friend. I guess I never actually knew how close we were until after he was ripped from my life without real explanation. The hole gets smaller each day but just barely. There are moments, songs, pictures, that still take the wind out of me. It’s the most horrible feeling. Grief owns me at times. It’s still a process. In Blake Robbins new film, The SUBLIME and BEAUTIFUL, all those feelings rush back into my brain and heart. Read More →