MR BACHMANN AND HIS CLASS
Where does one feel at home? In Stadtallendorf, a German city with a complex history of both excluding and integrating foreigners, genial teacher Dieter Bachmann offers his pupils the key to at least feeling as if they are at home.
When children get caught in the crosshairs of sociopolitical complexities, it’s rarely a good thing. In one specialized German school, an extraordinary teacher treats his students like his own children. Through language, history, German, and music, Dieter Bachmann breaks down the walls of his classroom and the industrial landscape in which they reside. Their families mostly hail from Turkey, having left to find work at the local factories. They must learn to adapt to new languages and ideas, thus breaking a cycle for their generation.
Director Maria Speth immerses the audience in the cinema verite style, and the choice is perfection. As a former teacher, placing the camera inside the action gives the viewer a real sense of the minute-to-minute chaos of a classroom. Kids are laughing, rolling their eyes, struggling, learning, expressing opinions all at once. Their anxiety is palpable as we watch parent-teacher conferences. The heart of Bachmann is the purest. You are invested in these children as they navigate challenges in and outside of school. You get to experience the aha moments that are some of the most rewarding times as a teacher. The kids are bright and thoughtful. Their opinions often differ, but the conversations sparked from those differences are brilliant. Mr. Bachmann and His Class reminds us that the human spirit needs encouragement. We cannot do it alone. While it does take a village to raise a child, Stadtallendorf is lucky to have Dieter Bachmann.
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Director: Maria Speth
Year: 2021
DOC NYC, America’s largest documentary festival, runs in-person November 10-18 at IFC Center, SVA Theatre, and Cinépolis Chelsea and continues online until November 28.
IDA RED
Sofia Hublitz
“Traditional” relationships structures were created by, well, who knows. Love is weird and complicated, no matter how hard we try. We’re only human. We have urges that are as basic as they come. Anyone who claims to not be attracted to a person outside of their monogamous relationship is a liar. Love is messy and ever-evolving, and writer-director Hannah Marks gets that. Marks popped onto my radar with
Amy Smart
*Warning – this review contains light spoilers*
Woof. That finale would have been tough for any sequel to top, but I was comforted by the fact that many of the same players that made 2018’s entry so successful had returned for 2021’s Halloween Kills (the 2nd entry in a planned trilogy, with Halloween Ends already penciled in for next year.) And, for the first 15 minutes, Halloween Kills is up to the challenge. It doesn’t take us back to Michael in that burning building but instead flashes back to the original night of carnage back in 1978. Here, Green mirrors much of the visual norms of Carpenter’s original film to great effect. It’s a shot of nostalgic adrenaline.
What I don’t understand about this tone shift is why Green would abandon the core tenants of what made his previous film so successful. Maybe he was bored by the previous film’s pacing? Maybe he fell victim to studio pressures to continue to amp things up for a sequel. Whatever the rationale, it was a mistake.
South Of Heaven is a film that takes many unexpected turns from drama to crime thriller. Newly released from prison, Jimmy makes good on a promise to long time girlfriend, Annie. He wants to marry her before she passes from cancer, live a clean life, and then figure it out from there. Obstacles get in his way at every turn. South Of Heaven proves the old saying, “No good deed goes unpunished.” Frankly, that’s only half of it.
Jason Sudeikis‘s work in 
The film, as a whole, is uneven. Part of me believes this would fair far better in series form. The beginning is a slow-burn relationship story. The upside of that is our genuine investment in the love between Jimmy and Annie. When the crime element appears, you think you know where this is going. Suddenly, we are thrown an extreme curveball halfway through. The final 30 minutes is another entirely new act. It’s a darkness I did not see coming. If you can get comfortable being uncomfortable, South Of Heaven will be right up your alley.
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.
Born in 1980, my entire childhood revolved around Ghostbusters. Ecto-cooler was in my lunchbox. Ghost traps were created from tissue boxes. When I received the elusive Ecto 1 for Christmas, I was the envy of the neighborhood. The extended version of Anthony Bueno’s documentary Cleanin’ Up The Town: Remembering The Ghostbusters takes you into the minds and personalities that created the iconic film. It is overflowing with behind-the-scenes footage and stories, and it’s all to die for. When you find out who the original cast was meant to be, your head will spin.
The film utilizes animation to illustrate what these first ideas and meetings looked like. The sketches of the ghosts are insanely impressive. We’ve got the standard talking-head interviews, but it’s a franchise fan’s dream. The late, great Harold Ramis is included, in all his glory. Ghostbusters was made with a group of the most elite talents of the time. The photos of the team building the technology to create the film are pretty amazing. The FX from Steve Johnson gave us the iconic characters of The Librarian, Slimer, and The Stay Puft Marshmellow Man.
When Sigourney Weaver landed the role of Dana, it changed everything. She pushed the boys to not only be better actors, but she is also responsible for a huge aspect of Dana’s arch. Weaver and Ivan Reitman discuss her audition, which will forever remain unseen by the public. Ernie Hudson’s role looked very different from the original script to the final incarnation. He talks about the dynamics of the entire cast. Even with a runtime of 2 hrs, you won’t want the film to end. It’s a cinephile’s dream. The wealth of information, the access to cast and crew, and the sheer love that emanates from everyone involved make Cleanin’ Up The Town: Remembering The Ghostbusters a nostalgic joyride.
Walt Disney Animation Studios’ upcoming feature film “Encanto” tells the tale of the Madrigals, an extraordinary family who live in a wondrous, charmed place called an Encanto. Each child has been blessed with a magic gift unique to them—each child except Mirabel. But when the family’s home is threatened, Mirabel may be their only hope.
The voice cast includes Stephanie Beatriz as Mirabel; María Cecilia Botero as Mirabel’s grandmother Alma aka Abuela; John Leguizamo as Bruno; Angie Cepeda and Wilmer Valderrama as Mirabel’s parents, Julieta and Agustín; and Diane Guererro and Jessica Darrow as Mirabel’s sisters, Isabela and Luisa. Also lending their voices are Carolina Gaitán and Mauro Castillo as Mirabel’s aunt and uncle, Pepa and Félix; and Adassa, Rhenzy Feliz and Ravi Cabot-Conyers as Mirabel’s cousins Dolores, Camilo and Antonio, respectively. 
Playing like a graphic novel, with characters’ names scrawled next to their introduction, the gunfire is chaotic and aplenty. I watched this a 2-hour film a second time to make sure I wasn’t missing anything. I think I still am. Even after my second viewing, American Night remains confusing in its non-linear storytelling. Listen, I wanted to love this film. The potential is there.
Jonathan Rhys Meyers does his best to make American Night engaging. His character, John, attempts to make amends in love and begin an honest career. He’s strong as ever, in true neo-noir fashion. Though try as he might, he cannot hold up an uneven narrative that relies on cliché over concept. Jeremy Piven steals the show. The seriousness in which his character desires to be a ninja becomes the much-needed levity in all these convoluted shenanigans. I would happily watch an entire film about him. Emile Hirsch is the son of a New York City Mafia boss Michael Rubino, whose love of art plays above all else. That, and perhaps, his ego and an incredibly random love for scorpions. The performance goes from levelheaded to absurd based on the script. Hirsch takes it all in strive with 100% commitment.
Here’s what doesn’t work for me; it takes 1 hour and 25 minutes for the stories to finally overlap after living them from different perspectives. The runtime would benefit from a 20-minute shave. Some of the delivery from ancillary characters reads as hokey. Okay, a lot of the dialogue does. The film includes one of the most ridiculous sex scenes ever. It seems like a laughable excuse to have Paz Vega appear naked onscreen.
Writer-director Potsy Ponciroli‘s screenplay harkens back to classic westerns. There’s plenty of gunslinging, horseback, and trouble, for genre fans. It’s ceaselessly engaging, overflowing with slick writing, striking natural lighting, and insanely fantastic performances. There’s an underlying complexity that history fans will fawn over. Ponciroli has given audiences something special.
Trace Adkins, as Henry’s brother-in-law, Al, is a wonderful balance of welcoming and spitfire. He owned every moment of screen time. Stephen Dorff is an unmistakable villain. You’ll loathe him. That’s a compliment to the work he does. Scott Haze plays Curry with confidence that counters Nelson to a tee. He shared the screen with Nelson in his breakthrough role in 
There is a smartly laid-out trail of clues, so keep a sharp eye out. Old Henry has a climax so legendary you’ll want to watch it again. It’s destined to be a classic. You can find Old Henry in theaters, beginning today. And, if you’re in the New York City area, our colleague, Joey Magidson at 
There is underlying violence that feels inevitable as Joseph begins to break. There may be a suggestion of hidden trauma. Ben Whishaw plays every beat with his whole body. His minute idiosyncrasies create an entire backstory. Compounding micro-aggressions lead to ticks, and then ultimately, a total breakdown in civilized behavior. He becomes manic. This is the epitome of base instinct. Whishaw will have you teetering on the brink of terror and awe. He is sensational.
Featured clips span generations, directors, and co-stars. Karloff’s prodigious work ethic seemed to rival Alexander Hamilton’s, only they weren’t all winners worthy of a musical. It sure felt like a stretch to watch contemporary directors compliment Karloff’s 1932 portrayal of Fu Manchu, a deeply racist film I’ve only run into at the $5 bin at Target. But there are gems to be found even in these lesser-known films – I was stunned and a little charmed to see a young Jack Nicholson co-starring with Karloff in 1963’s “The Terror” (all of Karloff’s scenes were filmed in 2 days).
Judy Greer, as Lady Elizabeth, is hilarious. The huffy delivery of her over-the-top dialogue is laugh-out-loud funny. The chemistry between her and Lynsky is magic. Her arch is increasingly delicious. Greer gives into the joy of the role. Melanie Lynskey, ladies, and gentlemen. This is a wildly fun performance. She will induce fits of giggles. She’s crass and sloppy and I loved every second. Justin and Christian’s script lets these two actresses be playful and ridiculous. I cannot imagine a better duo.
One of the funniest running gags has to be Hannah’s awkward run-ins with Marcus, another employee, and resident of Wadsworth Manor. This gives actor Wallace Jean solid moments to shine. You’ll remember those scenes. You get a little bit of everything in this script. It’s a stoner comedy, it’s a mystery, and it’s a unique relationship film. When I say relationship, I mean between our two female protagonists. They learn to cooperate and break down barriers in communication in silly and honest ways. Lady Of The Manor is goofy fun, and you can’t go wrong with it this weekend.
Aubrey Plaza plays against type as Lucy. She’s a type-A editor on the verge of bankruptcy. She’s got a lot to prove. On the surface, this is the least brooding role she’s ever played. Unsurprisingly, that’s all a rouse, and Plaza is up for the challenge. Lucy is given a beautiful arch. Her backstory, like Harris’, is slowly revealed. This allows us to fall in love with both of these characters. Sir Michael Caine gives one of his career’s best performances. As curmudgeonly and reclusive writer Hariss Shaw, he has settled into a lifetime of secrets and sadness. At times, Caine is raucous and crass. Others, he is docile and pensive. The chemistry between Plaza and Caine feels like an honest-to-God mentorship onscreen. This is generational genius, and we are the witnesses.
Voracious readers will connect with this script. The film flows like a novel with its complex characters and ever-evolving nuance. The screenplay unfolds in three distinct chapters, befitting the subjects and full story. Both Lucy and Harris straddle the line between saving face and redemption. The passages from Harris’ fictional work touched my soul. I could feel my chest well up hearing them read by average folks along the book tour. By the finale of Best Sellers, I was in full tears. The totality of Anthony Greico‘s award-winning script has so much heart. It’s incredibly cathartic. These two people were meant to change each other. The messaging of identity and grief are undeniable. In the words of Harris Shaw himself, “Be brief, be brave, be truthful. ” Director Lina Roessler has done just that. Best Sellers is not to be missed.
Is this another out-of-this-world Nic Cage movie? Duh. Is it like watching a graphic novel and an episode of MST3K, all at once?! Yup. Overall, the screenplay features the smallest bit of backstory, and perhaps an homage to films like Return To Oz, Mad Max, and even The Wiz. There is so much happening in this wild story. I would not be angry if sequels popped up sooner rather than later. I have so many questions about this world that I’d even love a prequel! Give me all the whacked-out colorful silliness that is Prisoners of The Ghostland. I demand a franchise.
Bill M
This film’s visual is all about vibrant color. Your eyes dart everywhere in an attempt to take in every detail. Joseph Trapanese’s score is gorgeous. You will not be able to ignore it. The costumes are wild, and the set dressing is bewildering. Prisoners of The Ghostland is a genre-defying spectacle. It’s captivating in its eccentricity. It deserves to be viewed on the largest possible screen. You’ve never seen anything like this film. The story is completely disjointed at times, but that’s not a reason to write this off. Will I watch this again because it’s destined to be a cult favorite? You know it.
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