CONFETTI
How far would a mother go to reverse her child’s fate? Based on writer/director Ann Hu’s story, that’s the question facing Lan (ZHU ZHU), who travels with her 9-year-old daughter Meimei (HARMONIE HE) from their small town in China to New York City.
Inflicted with a learning disability, Meimei is considered a strange and dumb girl, an outcast in her school and community. What no one recognizes, however, is that she possesses a gift waiting to be unlocked. The world seen through her eyes is unique and filled with magic. When her mother learns that Meimei suffers from dyslexia, as do 1 in 10 people worldwide, she will stop at nothing to help her, including leaving her life in China behind and venturing alone with Meimei to New York City, braving a place she knows nothing about and speaking not a word of English.
Confetti is a heartfelt film that aims to tackle complicated issues of immigration, dyslexia, and the barriers that parents will overcome to provide a better life for their children.
While the story centers on a dedicated mother (Zhu Zhu) leaving her small town in China on a quest to find the best education for her daughter (Harmonie He) with learning disabilities, it morphs into an analysis about social norms, expectations, and conformity. What is the likely fate for a child who is different? What if the standard model of education shouldn’t be “one size fits all”? In Confetti, tenacity and radically good luck make all the difference. But what about children that are even less fortunate?
Confetti is a refreshing insight into the Asian American immigrant experience that is not frequently centered. Director Ann Hu should be commended for elevating complex intersectional stories like this one, even if some plot points feel a bit disjointed or unfinished. Charming performances by Zhu Zhu and Harmonie He animate a touching story of perseverance and sacrifice.
The film will be released in theaters on August 20, 2021, and stars Zhu Zhu (Cloud Atlas, Marco Polo), Amy Irving (Crossing Delancey, Yentl), Helen Slater (Supergirl), and Harmon
Writer, producer, and director Ann Hu’s 35mm debut Shadow Magic was one of the top box office hits in China and won both the Chinese Academy Award and Presidential Award in China for Best Film among other international prizes. The film premiered at the 2000 Sundance film Festival and was released by Sony Classics in 2001. Following the success of Shadow Magic, Ann Hu directed and produced Beauty Remains. After a successful festival run, the film was released theatrically by Emerging Pictures in 2005 and was also a top performer in China.
Zhu Zhu is an acclaimed and award-winning Chinese actress who is up-and-coming in the US. Zhu Zhu made her U.S. theatrical debut in the Wachowski’s film CLOUD ATLAS, appearing opposite Tom Hanks and Halle Berry, and can also be seen in THE MAN WITH THE IRON FISTS opposite Russell Crowe. She then went on the play the female lead in Netflix’s original series MARCO POLO and starred in the Indian film TUBELIGHT directed by Kabir Khan alongside India’s most popular actor Salman Khan, which made her the first Chinese actress to star in a Bollywood film. She also recently appeared in box office hit, PACIFIC RIM UPRISING.
Let’s start with a confession – I’ll always think of Val Kilmer as my Batman. 1995’s Batman Forever was the first superhero film I ever saw, and that impression was deep and lasting. The car! The suit! Nicole Kidman! That is not to indicate that I am incapable of evaluating Kilmer fairly, but only to say this image of him at the likely mountain-top of his fame has left a lasting impression.
Drugging his family and holding them captive in a bunker aside, toxic masculinity is smartly displayed throughout John’s journey. It appears in a spit fight, inappropriate conversations, and almost drowning a friend. The culmination of these moments keeps you tense and extremely uncomfortable. John and The Hole is unpredictable. I believe the most disturbing aspect of Nicolás Giacobone‘s screenplay is actually the final scene. Not wanting to spoil anything for the reader, I was horrified. The reasons are a complex mix of socioeconomics and Giacobone’s understanding our how the world functions. John and The Hole begs a larger conversation about aggression, pressure, and parenting. Do not miss this film.
Ride The Eagle is a one-of-a-kind film. The script is written by director Trent O’Donnell and star Jake Johnson. Tackling regret, forgiveness, and everything in between, there’s an honesty that stings and inspires. Mostly, Ride The Eagle makes you smile.
The script is filled with quirky characters. J.K. Simmons is fantastic in his manic energy. His delivery makes you involuntarily grin. Susan Sarandon, who we only see in her videotape to Leif, gives us warmth, and wisdom, and a boatload of snark. Her dialogue is yet another example of the care taken by O’Donnell and Johnson in their writing. There is a specificity that allows us to sit in Leif’s emotional shoes.
I want D’arcy Carden to be my new best friend. The scenes between her and Johnson are pure gold. Their chemistry is off the charts. Made even more impressive by the fact that they speak exclusively over the phone. It’s like watching a masterclass in scene partnering. Their report nudges the script into rom-com territory. But, in truth, 
The score is vibrant and incredibly thoughtful. Ride the Eagle shines with heart and charm. It has a palpable vulnerability that makes it undeniably relatable. Of the nearly 200 films I’ve seen in 2021, Ride The Eagle easily soars onto my top 10 list.
If an innocent man was sitting in front of you, would you even know it? This is a question I asked myself several times throughout Enemies of the State, Sonia Kennebeck’s propulsive new documentary. Years ago, movies made these kinds of questions easy on us: there’s that old western stereotype of the gunslinging hero wearing the white hat, staring down a villain dressed in black. These days, our digital lives have complicated that confrontation. In a world where stories of hackers, deep fakes, and police corruption flood the headlines, who can truly be trusted?
In a film where nothing is certain, Kennebeck’s balanced direction is welcomed. Pains are taken to give equal air time to protagonists on each side of the conflict, to keep the viewer in check. I naturally found myself empathizing with DeHart’s family early in the film. In the immediate next scene, the camera lingers on the variety of medals on Detective Brett Kniss’ walls – as if to say, “You don’t want to believe this guy? He’s an Eagle Scout!”
Till Death is a creative story about abuse, control, and reclaiming your voice. The film stars Megan Fox as Emma. She has been held emotionally captive by her abusive and powerful husband for 11 years. Their marital turmoil reaches new heights when a weekend getaway develops into physical captivity, with a side of heist and murder. Fox is great. The small moments of both recoil and challenge establish their dynamic, making for an uncomfortable watch. The physicality of this role is only half the battle. You cannot help but watch and yell at the screen alongside her. I think, “Son of a bitch!” came out of my mouth a lot. If I can be picky for a moment, I don’t think Fox’s character is given enough time to transition from submissive to badass, but that doesn’t lessen how enjoyable Till Death ultimately is. She gives a visceral performance.
It’s a harrowing script. The tension is constantly being ratcheted up. I was not expecting such a cat and mouse game when it first began. It’s the ingenuity that grabs you. I was genuinely surprised by Jason Carvey‘s screenplay. It’s undeniably clever, gruesome, infuriating, and fun. Till Death is essentially the worst anniversary scavenger hunt ever. (Which is actually the best compliment.)
Violet toils away curating her smaller comedy show all while taking the abuse of her boss, Bob. Taking back control is the name of the game, but things get a bit messy along the way. Bob Devore, whose name (I’m assuming) is intentionally close to the word “devour,” is the accomplished late-night figurehead on the comedy scene in L.A. He’s a real monster of a boss. No, like, he’s an actual monster. Under his thumb and in the shadow of his longstanding career, Violet longs to cut ties and make her own way. When love unexpectedly arrives, she must navigate everyone’s appetite for success and take matters into her own hands.
Take Me Somewhere Nice
Romania’s hit film Two Lottery Tickets is the most enjoyable buffoonery you can think of. In his second feature, writer/director Paul Negoescu takes a story from writer Ion Luca Caragiale and sends us on a €6 million fool’s errand. Local pushover Dinel’s wife fled to Italy with her boss two years ago. He is depressed and going broke trying to raise enough money to bring her back home. Drinking buddy Sile, a womanizing gambler, convinces him to spend his last few euros on a lotto ticket. Against all logic, Dinel’s idiotic chosen numbers end up being the winner. After two thugs steal his bum bag with the ticket inside, Dinel, Sile, and local conspiracy theorist Pompiliu must follow the clues by annoying neighbors, evading the police, and generally being ridiculous. It’s the sincerity of these three men simply being themselves that makes Two Lottery Tickets both loveable and hilarious. Actors Dorian Boguță, Dragoș Bucur, and Alexandru Papadopol all deliver lines in a way that makes you smirk and cringe. This is a film that has such comic ease to it. Once in a while, you come across a film that is like a cinematic hygge (because that’s a thing I just made up but you totally know what I mean, so whatever). Two Lottery Tickets has all the makings of that film you want to tell your friends about. Negoescu and cast have given viewers such relatable characters. In fact, if you watch it in a group setting, someone in the room is probably a Dinel, a Sile, or a Pompiliu. It is truly that delightful.
Wendell is an ex-con whose parole officer enjoys berating him over the phone. When a new handyman job brings him to the door of Suzanne, a quirky woman with dementia, he’s in for more than unclogging her pipes. The set-up gets weirder and weirder. Secrets and lies live in this house, but not for long. Wendell’s path to freedom is dean on arrival. Do not get comfortable for a single minute of Dementia Part II.
Graham Skipper plays such an asshole. It’s incredible to watch. Najarra Townsend, who was phenomenal in 
Shout out to Matt Mercer and Mike Testin for normalizing a runtime of 1 hour and 5 minutes. Good storytelling doesn’t need to be overstuffed with unnecessary nonsense. The dark comedy of Dementia Part II mixed with the very serious underlying mental health issues makes this film ripe for midnight screenings. I can already hear the audience yelling out Wendell’s many alternative names, making lewd gestures with pipes, and throwing $100 bills at the screen. You cannot go wrong with its vomit-inducing practical fx and outstanding performances from the entire cast.
Transitioning from your college bubble to adulthood is hard enough. Add a breakup and no sense of direction and you’ve got yourself a basic outline for a film. Based on a story by screenwriter Chris Molinaro and directors Brandon LaGanke and John Carlucci, DRUNK BUS gives us a coming-of-age buddy comedy that you won’t see coming. This film is unexpectedly guffaw-inducing. I was knocked off my feet watching the chemistry of this cast. This film is about overcoming fear, anxiety, latent rage, guilt, you name it. DRUNK BUS has it all without ever getting too heavy.
The score immediately reminded me of The Goonies. It is a perfect mix of ominous and whimsical. Dylan’s reading voice is costar Rob Brownstein’s voice. As a mute boy, Dylan’s internal vocal reference would most certainly be that of his father. This moment of specificity from Charbonier and Powell is magic. The entire film’s sound design is award-worthy. Dylan’s hearing is likely acutely sharp due to developmental adaptation. The audio is jarring in a way that places the viewer in his constant state of hyper-awareness. His panic is our panic and it is palpable.
It’s a fresh take on the legend and more shudder-inducing than you’d expect. The pacing is perfection. All the tropes are there but with a hell of a twist. The Djinn‘s main conflict plays out within an hour, making the stakes feel higher as we count down the minutes alongside Dylan. Speaking of our leading young man, Ezra Dewey is a star. His chemistry with Rob Brownstein is charming and genuine. Dewey’s ability to own this entire film sans dialogue is the stuff of dreams. Mark my words, he will be everywhere. The Djinn is a very scary bedtime story warning us all to be careful what we wish for.
The mockumentary style is unbelievably hilarious. Every single cast member is a damn laugh riot. I don’t know how much of this film is improvised and how much is scripted, either way, you will be entertained from start to finish. Handheld camera work and snarky voiceovers push 15 Things to some next-level hilarity, but also a legit gorgeous looking movie. The editing and cinematography are ridiculously stunning. If you put it on mute, you’d never know the difference between this and Vice. It’s scary good. Is this the first of a franchise for these guys? I would not be mad at that. 15 You Didn’t Know About Bigfoot is now available In Theaters + on VOD. 
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