It seems strange that Ben Schwartz (of Jean-Ralphio Saperstein from Parks & Recreation fame) had two films that opened on back-to-back weekends and they couldn’t be more different. The first, the much maligned Sonic the Hedgehog opened HUGE and took home the box office crown the past two weekends. The other, Standing Up, Falling Down, opened to much less fanfare but is the far more interesting of the two.
The film gives us the story of Scott Rollins (Schwartz), a down on his luck comedian living in LA who gives up on his dream of making it big the comedy world and comes home to Long Island to reset his life. Of course, like many who set off in the way of Horatio Alger and head west, Scott hangs his head in shame as the prodigal son returns home broken. He’s greeted half-heartedly by his father (Kevin Dunn) and enthusiastically by his mother (Debra Monk) who is happy to have him home. Scott settles into his childhood room that appears no different than when he lived there as a child. Of course, the girl he left behind brokenhearted, Becky (Eloise Mumford), has since married and looms large in the whole scenario. Adrift and unsure of what to do with himself, he meets up with his friend Murph (Leonard Ouzts) at a bar and sees what his life would have been like if he played it like most do – wife, kids, house and all that comes with it. While in the bathroom, he runs into Marty (Billy Crystal), an alcoholic dermatologist who pisses in the sink then tells Scott he’s got a skin issue and he should come by his office to have it checked out.
After meeting up again at a wake, the two form a quick bond and open up to one another about the various things they’ve screwed up in their lives. Marty acts as a guide of sorts, helping Scott navigate the shit situation he’s steered himself into. Likewise, connecting with Scott helps Marty work through his own shit although it happens a little more circuitously.
What unfolds is not all that surprising, but it is a ride worth taking. I found myself incredibly invested in both characters. I know that if I had made a few different decisions in my life, I could easily have been Scott, aimlessly wandering hoping to latch onto that one thing that will make me whole. I’m sure we’ve all had those thoughts.
What really drives this film is the performances of both Schwartz and Crystal. Both have larger than life personalities that can be overwhelming (in a good way, of course). While I lament that there was no running over by a Lexus, Schwartz especially surprised me with his standout performance – subdued but charming and funny with spot on timing and delivery. I hope to see much more of this type of role for Schwartz. Crystal is a legend and he didn’t disappoint. Always able to balance humor and drama, he gives a performance that stands up with his best. Both actors were so relatable and they played perfectly off of one another that kudos are necessary to whomever cast them together.
This is a very satisfying film experience and well crafted by director Matt Ratner with a solid script written by Peter Hoare. Grace Gummer, Caitlin McGee, Nate Corddry and David Castañeda round out the great cast.
I would highly suggest catching this one if you can. It is still in theaters and available through various streaming sources.
A young director is looking for his big break, but when a producer asks him to goes beyond his limits the opportunity could break him. Coming this month to Kansa City, MO’s Panic Fest, Greenlight is an industry thriller you’ll want a ticket to.
There are some really smart heads up lines in the dialogue. When the production begins, the coloring and shots improve tenfold. The film has a sleek look, especially if you’ve even been on a set. The tension is immediately felt. When the shit hits the fan at about 30 minutes in, you can see where Jack has no choice but to comply. Threats of manufactured blackmail and violence leave him in a panic. The audience is with him on this sick ride. We now own his paranoia.
What a knock out world premiere for director Kourosh Ahari. Beautifully lush cinematography (including some early haunting POV shots) props up the richness of The Night. The score adds a layer or jarring dread that is simply gorgeous. While the script skillfully utilizes a number of classic tropes, it is also stacked with a multitude of original imagery that unnerves the viewer from the very beginning. I was thrown for a loop more times than I can count. The heightened sound editing also pushes The Night into next-level scary. The plot will have you questioning your own sanity. Is this a dispute between exhausted new parents? Is this an alcohol-induced hallucination? Or is this hotel housing unwanted guests?
Performances are so strong you will quickly forget that the film is predominantly in Farsi. As Parasite director Boon Jong-Ho so eloquently stated at this year’s Golden Globes, “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.” This is the most important quote in cinema right now. Kourosh Ahari’s THE NIGHT is a heart-pounding and twisted watch. Santa Barbara International Film Festival is lucky to host its world premiere. This film should be on every genre fan’s radar this year.
Visually intoxicating, The Wave hits you like a ton of bricks. Justin Long plays Frank, an insurance lawyer, underappreciated at work and at home and stuck in the loop of the mundane, decides to go out on the town for once. When the shit hits the fan, we’re all on drugs with Long. The highs and lows, the mysterious chase, the lost time. It’s all insane and wonderful.
Sheila Vand, star of my one my all-time favorite film’s A Girl Walks Home Alone At Night, plays Theresa with a cool ease that the perfect foil for Long’s quick-witted corporate cynicism. Her energy is electric. Donald Faison as Frank’s best friend is was a smart choice from a sidekick standpoint. Their chemistry is awesome. He stands as a representation of the viewing audience in the sense that we’re just as confused (in the best way possible) as he is. This script is jarring and electric. Justin Long, once again, owns whatever role he takes on. I buy every second he is on screen. I don’t know if any other actor would have resonated as truthfully. Long’s ability to live moment to moment in each character is nothing short of genuine and delicious talent. Time jumping, drug-induced, comment on karma, The Wave is simply cool.
50) Shoplifters (2018) dir. by Hirokazu Koreeda
25) Carol (2015) dir. by Todd Haynes
I’ve been watching Shia LaBeouf since he made his Disney Channel debut on Even Stevens. A kid so talented he was scooped up by Hollywood and exploited like many a young child star. We’ve seen him shine and fall from grace and make some of the wildest career moves. But remove that veneer and you have a genuine artist.
Honey Boy is LaBeouf’s screenplay. It tackles his tumultuous upbringing without a real sugarcoating. The verbal and emotional abuse he had to endure must have been astronomical. It all makes sense when you see the scenes between him and Noah Jupe. Their on-screen dynamic is effortless. Lucas Hedges, who I have had my eye on since Zero Theorem, is phenomenal as the 2005 version of Otis. His combative attitude seems like second nature and I can easily see LaBeouf saying and doing the exact same things. Hedges makes you feel like he did one hell of a character study of his creator. Noah Jupe as young Otis is a breath of fresh air. He is something special. He exudes innocence. LaBeouf is playing his father. He is vulnerable, scary, aggressive, and heartbreaking. You can never say this man isn’t spectacularly talented.
Director Alma Har’el has created one of the most satisfying films of the year. The way she handles LaBeouf’s material is beautiful, quirky, fun, and heartfelt. This script is catharsis on film. The juxtaposition of scenes in 1995 and 2005, with stunning lighting and cinematography, is wonderful. LaBeouf has opened every wound and laid it all out. It’s gorgeous misery and you’ll want to remain present for it. Honey Boy is a triumph.
Naomi Watts gives a powerful performance that is so raw, it will get under your skin for long after the credits have rolled. This stylistic film hits a nerve for the viewer instantly. Its claustrophobia consumes you as much as Watts’ character June. Clearly suffering PTSD exacerbated by the current overwhelming outside forces that play out keep June locked in her house 24hrs day for God knows how many years at the point we meet her. Her desperation is palpable. The colors and sound editing combined with brilliant slow-burn pacing make The Wolf Hour hypnotizing. It feels post-apocalyptic. It feels far too relevant. Watts is like a ticking timebomb. Her performance is one of the year’s best. This could have been a stage play based upon its singular location but I’m not sure you could have captured the heaviness of the air and environment in the same way. In film form, The Wolf Hour digs its nails into you in the fiercest way.
The craziest thing is that to say much more about the plot is to do it a disservice. It’s almost indescribable. Love Is Blind challenges the notion of being an to heal inside and out. It’s about human connection.
Ethan Hawke is someone I can easily describe as versatile and earnest. The man works so often I think we really take him for granted. His resume is profoundly eclectic. His latest work in Adopt A Highway is no exception.
The most surprising is that Adopt A Highway is produced by Jason Blum. This is not a film I would have expected to be in Blum’s wheelhouse as I have become so accustomed to his brilliant horror fare. I am very glad he took a chance on this. The cinematography has an intimacy that feels childlike and joyful. It is reflective of both rediscovery and the harsh realities of re-entering society. The pacing is wonderful. The script is much more nuanced than at first glance. It is ultimately about love. Adopt A Highway is a well acted, thoughtfully crafted debut film. It deserves your attention.
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