Category Archives: Film Festival

Fantasia International Film Festival 2019 review: ‘The Art Of Self-Defense’

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Jesse Eisenberg has mastered playing the quirky, whipsmart, douchebag. In The Art of Self-Defense, he plays genuinely sweet, pushover Casey looking to stand up for himself after a brutal attack. He gets a lot more than he bargains for when he signs up for karate lessons. The film is an unapologetic look at toxic masculinity.  It’s over the top dark comedy is a political blowtorch. If you can’t laugh at this film you need the stick removed from your ass. The snark factor is so high that even Casey’s answering machine is kind of a dick. Imogen Poots is equally impactful with both her physical and emotional performance. The humor lies in the absolute seriousness in which the cast says their lines. The film appears to take place sometime in the ’80s by the look of technology and funny enough, the misogynistic dialogue is most likely insanely accurate. Eisenberg is undeniably incredible. He is vulnerable and fearless and funny as hell. The Art of Self-Defense absolutely belongs at Fantasia International Film Festival 2019. The timing of the film is sheer perfection and this fest has the right audience.

THE ART OF SELF-DEFENSE

Fantasia International Film Festival 2019 review: ‘The Incredible Shrinking Wknd’ is insightful genre bender.

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THE INCREDIBLE SHRINKING WKND

Alba is losing time. A mysterious place in the woods has caused her days to take a true Groundhog Day turn but with an added twist. Each repetitive day during an overnight trip with her friends is one less hour than the day before. The only consistent thing is the clothing she ends her day with is the clothing she restarts in… and any bodily damage such as injuries or hangovers. Alba must decide how she’ll handle each repetition. How will she change her fate and those of her fellow cabin mates before the final hour runs out? This film doesn’t immediately reveal its deeper meaning. It takes it time and in a smart fashion. It’s much more introspective than at first glance. Abla takes risks to challenge her surroundings and presumptions about her predicament. All while finding buried childhood treasures around the property. Oh, that’s the only other thing that carries through. The film is not only a scavenger hunt for her past but her present as well. Iria del Río as Alba is amazing. She is raw and untethered. The Incredible Shrinking Wknd keeps the audience on its toes with its ” what would you do” scenario. It challenges the viewer to think about how selfish we are and how little we actually care for the people in our circle. The writing is truly engrossing and the performances are all extraordinarily solid. The very specific visual framing is a trick that I didn’t even catch until about midway through the film. Brilliance. Huge congrats to writer-director Jon Mikel Caballero. Fantasia International Film Festival is a delightful venue for this feature that is a relationship film wrapped in science fiction.

THE INCREDIBLE SHRINKING WKND

Fantasia International Film Festival 2019 review: ‘Black Magic For White Boys’ spells it out in dark humor.

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BLACK MAGIC FOR WHITE BOYSOnur Tukel is truly one of a kind in his IFGAF honesty and deliciously bizarre approach to storytelling. (There I go again with the tasty metaphors. This all started with Applesauce.) At this year’s Fantasia International Film Festival, Tukel has given us another smart indie with Black Magic for White Boys. The film uses the power of magic to heighten the toxic masculinity, racism, and misogyny of white men. Tukel brilliantly plays Oscar, a manchild with an inheritance who thinks he can command the uterus of his new girlfriend. Jamie Block plays real estate mogul, Jamie, trying to undercut and oust his rent-controlled tenants. Ronald Guttman as French magician Larry, in desperate need of ticket sales, utilizes a book of ancient spells to the benefit of all three men. Black Magic for White Boys is a not so subtle metaphor for the gentrification of New York City and perhaps the state of our country during this truly hideous period of our history. Every great/disastrous recent newsworthy story is integrated shamelessly (a total compliment) into the dialogue. The modern-day Greek chorus of bus riders making social observations is perfection. Performances across the board are nuanced and raw, funny and wild, in your face and effed up. Shout outs to Franck Raharinosy, Brendan Miller, Colin Buckingham, and Eva Dorrepaal specifically.  Therein lies the cinematic magic of Tukel. Putting himself in each of his films is also essentially my favorite thing. Watching him transform from role to role only reminds me our how insanely talented he is as a writer, director, and actor. Ultimately, like each of Tukel’s films, this stands as a unique experience packed with insight, bold ideas, humor, and a grab ’em by the balls mentality. No surprise, I loved it.

BLACK MAGIC FOR WHITE BOYS

Fantasia International Film Festival 2019 review: ‘Ode To Nothing’ is everything a cinephile wants.

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Synopsis:

“Sonya, an old maid is about to give up on herself until one day, she meets a corpse in her family’s embalming business that changes her life.”

Another North American premiere at Fantasia International Film Festival 2019 is that of Ode To Nothing. The slow burn of creepy factor launches this film into skin-crawling territory. The setting alone is horror movie gold. A family mortuary? Besides My Girl, when does anything fun and happy occur? Hell, even with a mostly delightful plot, the end of My Girl still makes me bawl my eyes out every damn time I watch it! “He needs his glasses! He can’t see without his glasses!” *Cue ugly cry* Anyhow, Ode To Nothing takes the family business and infuses humor as it transitions to the unsettling. As Sonya runs the business, the mystery body becomes her confidant. The reality of her loneliness becomes next level when she takes this unknown woman’s body and treats it as her own personal best friend. I don’t know if it’s sadder or more upsetting. Imagine you find a lost dog and take it in and begin to love it. You treat it like it’s your own knowing full well that at anytime the owner could show up to claim their dog. Now replace the dog in that scenario with a dead body. Yeah, it’s just as weird as you’re picturing. The audience is unsure if it’s supposed to laugh at the lunacy or cringe at fact that both father and daughter act like this is totally normal. Therein lies the brilliance of Ode To Nothing. The film’s framing feels reminiscent of a vacation slide. We often peer through a window, a door, or watch a scene in the reflection of the mirror. It’s simply beautiful. The dialogue is unexpected in its intimacy. If you can separate yourself from the odd, the number of monologues that Marietta Subong has are stunningly performed and wonderfully honest. As the body decays, this family’s life blossoms. Ode To Nothing is something special in its eccentricity.

Fantasia International Film Festival 2019 review: DREADOUT plays well on the big screen.

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Jessica, Beni, Dian, Alex, Erik, and Linda want to increase their popularity through recording their adventures to upload to their social media accounts. They chose to go to an abandoned apartment famous for its awesomeness. Linda manages to persuade Kang Heri, security guard, to enter the apartment. Linda and friends found one apartment unit which is given a police line. Encouraged by curiosity, they brake down the door of the apartment unit. When they are researching the room, they find an old parchment, which only Linda could read. After Linda reads the writing on the parchment, suddenly a portal open. Inadvertently Linda and her friends have opened the door to the magical world and anger the portal guardian supernatural creatures.

Those crazy teenagers. Always opening the gates to other worlds. DREADOUT had its North American premiere last night at Fantasia International Film Festival 2019 and audiences were not disappointed. The film begins with all the buildup of suspense and visual feel of playing the DreadOut video games which may be just as exhilarating as http://198.177.123.4/. The framing feels sharp and the character dynamics are as fresh as Cabin In The Woods. As the audience peers through the cell phone lense of the group’s live stream, it has an amazing effect on how the lighting is filtered and you find yourself glancing at the viewership every so often. But mostly, it forces your attention to the mysterious surroundings even more intensely. This is simply the introduction to this film’s plot. 30 mins in, some creative and fresh hell awaits our ingenue Linda (Caitlin Halderman). She must explore her new otherworldly environment and figure out why she’s there and how to escape. The film’s location bounces between realms keeping the audience on its toes and the pace moving. The sets are incredibly intricate and the film really never ceases to entertain. Now, I’ve never played the game but it is reminiscent of Silent Hill and I have played that for years. The best shots recall first player gameplay with pointed POV camera work that’s impossible to miss. I do wish that had not completely disappeared. If I’m being honest, I could have used a bit more otherworldly background, perhaps flashes just as the gang is discovering the storyline. As someone who has not played the game, I feel like this was a missed opportunity.  As a whole, I was fully engrossed. DREADOUT has all the elements of a great horror adventure. Genre fans should be nothing but pleased.

DREADOUT

 

Review: ‘PHIL’, Greg Kinnear’s directorial debut is now in theaters and On Demand.

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**Closing Night Film – Sarasota Film Festival 2019**

Phil, a depressed dentist whose life is falling apart, is shocked when one of his patients, a man who seemed to have the perfect life, kills himself. Determined to find out what would drive a man who had everything to end his life, Phil pretends to be a handyman and integrates himself into the dead man’s life, befriending his wife and daughter. How long can Phil keep up this double life when he is already ready to end his normal one?

Happiness is the ever elusive prize in life. Depression is a monster. As one man’s seemingly perfect life comes to an end, another attempts to find out why in question of his own mortality. PHIL is a story of the pursuit of happiness and what that even means.

Greg Kinnear, playing both the film’s director and titular character, is a man on the literal edge. After becoming enamored with the joy of one of his patients, he resorts to following the man until he discovers him hanging in the middle of the forest. Why would someone who has it all end his life? Phil is obsessed with answers. Kinnear, as always, is charming and grounded. There is something in this man’s eyes that makes you want to listen to him, to care for him, to experience what he experiences. Alongside an enormously talented ensemble, including Emily Mortimer, Jay Duplass, Luke Wilson, and more, PHIL explores the things in life that make us connect with one another; Stories, memories, new and old, family and friendship. Learning to not live vicariously through others is a lesson we can all take to heart. PHIL has an unexpected script and it is pure delight. This film is about growth and the exploration of self. It’s a real gem and all involved should be proud to share this story.

Quiver Distribution will release the comedy PHIL in Theaters, On Demand and Digital on July 5, 2019.

 PHIL marks the directorial debut of Greg Kinnear (Little Miss Sunshine, As Good As It Gets).  The film features an all-star cast including Kinnear, Emily Mortimer (Mary Poppins Returns, HBO’s “The Newsroom”), Jay Duplass (Amazon’s “Transparent,” Hulu’s “The Mindy Project”), Taylor Schilling (Netflix’s “Orange Is The New Black,” The Lucky One), Kurt Fuller (Midnight in Paris, Anger Management) with Luke Wilson (Legally Blonde series, Old School) and Bradley Whitford (Get Out, ABC’s “The West Wing”). The screenplay was written by Stephen Mazur (Heartbreakers, Liar Liar).

Hold onto your butts, Fantasia International Film Festival is back!

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To give you an idea of why Fantasia International Film Festival is my favorite redheaded stepchild of a festival, here are a few films from my youth that still haunt/entertain the crap out of me. 1. Poltergeist: the film my father thought a 2-year-old should watch. 2. The Rocky Horror Picture Show: because a sci-fi musical with Tim Curry in drag should be shown in every Kindergarten class on the planet I inhabit. 3. Princess Bride: one of the most quotable and inconceivable films, I mean that with the utmost respect and if you say otherwise I will fight you (with a sword). 4. Pulp Fiction: a film whose dialogue is filled with sermon, innumerable expletives, drug overdose, and bloody violence for days was just the beginning of a long career of effed up magic. Love it or hate it, it was original. So, for me, Fantasia encompasses all that is weird, wonderful, wacky, wtf, and any other “w” descriptor I’m missing out on in this precise moment.

Fantasia is in its 23rd year and with every passing fest, the films you’re talking about all year play here. This festival gives genre fans something to look forward to and never disappoints. Last year, CAM, The Night Eats The World, Mega Time Squad, and Relaxer just to name a few, all rocked my socks. This year, I’m jonesing to catch a list of films that have already been buzzing for months. There are too many to share in just one post, so here are ten (ish) features I’m fired up for.

Bliss– Joe Begos brings us a blood-soaked trip. Handheld 16mm, punk rock, and vampires? Sign me up for this visceral ride. Check out the trailer in all its glory.

Ready or Not– is this a weird twist on The Most Dangerous Game meets You’re Next? All I know is that I don’t know, and I cannot wait for the mayhem to begin.

Little Monsters– who would have thought that Lupita Nyong’o would be a repeat horror heroine? And Josh Gad, beloved voice of Olaf alongside her? As a former teacher, I’m all in.

Astronaut– Richard Dreyfuss plays a grandfather trying to fulfill his dream of going into space. With his family as only one if his obstacles, Dreyfuss a genre legend in his own right, is sure to dazzle once more.

1BR– this is already on the Sold Out Screening list. Need I say more about a finding an apartment and the horrors that inevitably surround that experience. My guess is that this goes above and beyond the normal hassle.

Black Magic for White Boys– Onur Tukel (we once described one another as “delicious and super natural” in an interview for Applesauce) is sheer perfection for Fantasia. His IDGAF attitude in his writing and directing style are ripe for genre fans. This looks absolutely… well, magical.

The Lodge – Veronika Franz and Severin Fiala follow up the haunting Goodnight Mommy with their first English-language horror film. Starring a heavy-hitting cast including Richard Armitage, Alicia Silverstone, Riley Keough, and Jaeden Lieberher, trying to figure out a new family dynamic amidst a trip to a secluded lodge… On Christmas… In a blizzard. Sounds like nothing could possibly go wrong here.

Tone-Deaf– Politics has spiraled into horror in real-life since the orange garbage person cheated his way into the White House. Seems apropos for a MAGA white man and millennial to duke it out over a living situation.

Paradise Hills– With hints of A Handmaid’s Tale, this pink saturated nightmare has another phenomenal big-name cast including Mila Jovovich, Emma Roberts, and Awkwafina, to name a few. Young women being groomed in any fashion doesn’t lend itself for happy tidings.

Culture Shock– Part of Hulu’s Into the Dark horror anthology series (under the Blumhouse production name), this take on America’s “Dreamers” is killing it already. Not to mention it stars cult icon Barbara Crampton who in real-life is clearly some magical sorceress because she never ages.

And finally, every year, I personally look forward to the Born of Woman program. This year there will be 9 short films from around the globe. This year Fantasia is showcasing films from Australia, Netherlands, USA, New Zealand, Canada, and the United Kingdom.

Fantasia’s annual showcase of intimate, auteur genre visions returns with nine extraordinary works from an array of international talents who will leave you gobsmacked and amazed.

The number of women represented behind the camera is growing exponentially. And everyone benefits from that.

Fantasia will run from this Thursday, July 11th until August 1st. To find out more information on all the films and if you’ll be in Montreal over the next three weeks, you can purchase tickets at www.fantasiafestival.com

Review: Award-winning documentary ‘The Push’ now available on VOD platforms.

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The Push


Grant Korgan is a scientist and a professional athlete. Grant Korgan should not be able to do the things he does. After sustaining a spinal cord injury that left him paralyzed from the belly button down, his entire spirit was deflated. Until he discovered other disabled athletes were training to continue their sports and beyond. Along comes an opportunity of a lifetime; go to The South Pole, and not just go, traverse 100 miles across the polar plateau of Antarctica using only his arms to pull himself on a sled. It had never been done by someone like Grant. His entire journey, from the accident on is documented. He literally had a camera on his person as he hit the ground and, unbeknownst to him, became paralyzed. Not only does he have a camera, but his best friends and extreme sports buddies are also filming him from the bottom of the mountain. The Korgans have a camera running for all the good, the bad, the ugly of recovery and training. The Push is a story of the human spirit and the determination of Grant, his wife Shawna, and Tal, Grant’s trekking partner, and ultimate caretaker on the ice. The bond forged between these two people is unreal. Teamwork doesn’t accurately define their relationship. Tal essentially becomes the lifeguard that Shawna had been. Now she’s not there and Tal has to make decisions for the both of them. Things do not go as planned. It’s impossible to predict how Mother Nature will treat you. Faith is a real driving force in this story. Not the religious kind of faith but the belief that anything can be achieved if you just persist hard enough, long enough. The Push will make you root for these guys to succeed. Challenge after challenge will they make it to the South Pole?  And at the point of real-life danger and all the odds against them, and after all they’ve already achieved, does it even matter? Not only do we experience Grant’s South Pole excursion, but the aftermath. This is where it comes back to the human spirit, once again. There is a lot of soul searching and as Grant says, ” there is a beauty in being broken” and how you choose to view your circumstances. If you’re not crying at the end of this film I don’t even know if you’re a human being. The Push is inspiring and a film that should be shared far and wide for anyone struggling. It’s truly uplifting.

A Gravitas Ventures release, the film has just landed on Amazon and Netflix and other VOD platforms.

THE PUSH

Winner of “Best Documentary” at AmDocs Palm Springs, Flickers’ Rhode Island International Film Festival, The Impact DOCS Awards, Long Beach International Film Festival, Santa Barbara International Film Festival, Sonoma International Film Festival, and the Vero Beach Wine & Film Festival.

Tribeca Film Festival 2019 Review: ‘Blow The Man Down’ is one of the year’s best films.

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Blow The Man Down

While grieving for the loss of their mother, the Connolly Sisters suddenly find they have a crime to cover up, leading them deep into the underbelly of their salty Maine fishing village.

Growing up in a small New England town, I have a full appreciation for the glorious specificity in Blow The Man Down. From the regional slang to the understanding that everyone knows everyone else’s business, this film is filled with surprises and its very own version of a Greek chorus in Maine fisherman form. A completely femme-centric story boasts magnificent performances from the entire ensemble cast. June Squib, Annette O’Toole, Marceline Hugo, Margot Martindale, Sophie Lowe, Morgan Saylor, and Gayle Rankin. Co-directors and screenwriters Bridget Savage Cole and Danielle Krudy have created a suspenseful, funny, incredibly dark murder mystery. It’s only after walking away from the screening did I realize the small clues that were sprinkled along the way and but honestly had no idea what would happen from moment to moment. It was refreshing. Martindale plays the dominant town matriarch with the skill we’ve come to expect from her. Squib, O’Toole, and Hugo are a smart trio. They cleverly play their hand close to the chest and become the saving grace of our two young leads. Sophie Lowe and Morgan Saylor are fantastic foils as sisters. Their chemistry is spot on. Gayle Rankin’s emotional journey is much larger than it might first appear. She continues to be one to watch. Blow The Man Down is in my Top 3 films from the festival this year.

Tribeca Film Festival 2019 Podcast Interview: Jeremy Gardner, Christian Stella, and Brea Grant share all the gory and gorgeous details of ‘AFTER MIDNIGHT’ (Something Else).

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AFTER MIDNIGHT (Something Else) Podcast

AFTER MIDNIGHT (formerly titled Something Else) was one of the most unique selections in this year’s festival. Both a monster movie and a love story, the film’s deliberate structure is a standout all on its own. The writing is fresh and funny and the use of light makes it a joy to watch. There are brilliantly theatrical moments. I believe this film would actually translate incredibly well onstage! When you see it, you’ll know what I mean. It’s a complete compliment. I sat down with co-directors Christian Stella and Jeremy Gardner (who also stars and wrote the script) and star Brea Grant to chat all things AFTER MIDNIGHT. How did the script come about? What in the world were they thinking with certain choices? What did Brea think the first time she read the script?  We talk favorite movie monsters, and how the filmmakers of one of my favorite films The Endless, Justin Benson and Aaron Moorhead, got on board. You can read my full review of AFTER MIDNIGHT here, but give a listen to the awesome time we all had together. Be warned, when I walked into the room, Christian, Jeremy, and Brea had all been in the super cool bathroom of our interview room at The Roxy Hotel taking a photo, and I’m disappointed in myself for not getting in on the selfie action on my way out the door. Also, when you hear us refer/talk to “Ted”, we’re actually talking to We Are Still Here and Mohawk filmmaker Ted Geoghegan who just so happened to be in our presence. No big deal. Anyhow, without further ado, here is our podcast talking all things Tribeca, monsters, and AFTER MIDNIGHT.

ABOUT THE DIRECTOR(S)

Jeremy Gardner and Christian Stella are the filmmakers behind the indie zombie film The Battery and survival comedy Tex Montana Will Survive! Lifelong friends, both directors were born and raised in Florida.

FILM INFO
  • Section:
    Midnight
  • Year:
    2019
  • Length:
    83 minutes
  • Language:
    English
  • Country:
    USA
  • Premiere:
    World
  • Connect:
    Facebook, Twitter, Instagram
CAST & CREDITS
  • Director:
    Jeremy Gardner and Christian Stella
  • Producer:
    David Lawson Jr., Justin Benson, Aaron Moorhead, Arvind Harinath
  • Screenwriter:
    Jeremy Gardner
  • Cinematographer:
    Christian Stella
  • Editor:
    Christian Stella and Jeremy Gardner
  • Executive Producer:
    Venu Kunnappilly
  • Cast:
    Jeremy Gardner. Brea Grant, Henry Zebrowski, Justin Benson, Ashley Song, Nicola Masciotra

Tribeca Film Festival 2019 Review: ‘Bunker Burger’ and ‘The Neighbor’s Window’, two shorts that keep you watching.

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Bunker Burger

The members of an underground, post-apocalyptic bunker invite a psychologist from the radioactive and chaotic surface to audition for a place to live among them.

This short has everything you’re looking for in any film; suspense, distinct style, consuming plot, brilliant performances. There is not a hair out of place with this dark comedy. It is the perfect proof-of-concept piece. I am delighted to hear that writer/director Adam Yorke is developing it into a feature. I’m already there.

ABOUT THE DIRECTOR(S)

Adam Yorke is a writer/director/producer and head of development at Wildling Pictures, a ProdCo. in Toronto. He’s made two previous shorts and has had two feature scripts optioned. He’s currently writing the feature version of Bunker Burger.

The Neighbor’s Window

The Neighbors’ Window tells the true story of a middle aged woman (Maria Dizzia) with small children whose life is shaken up when two free-spirited twenty-somethings (Juliana Canfield and Bret Lada) move in across the street.

This film is absolute perfection for anyone thinking the grass is always greener. A married New York City couple watching the progression of a neighboring couples’ lives play out over the course of about a year is simply captivating. In the city, personal space lines are thinly drawn. It can feel as if no one here owns curtains. But we make too many assumptions and cannot fully appreciate what we have until tragedy strikes. The Neighbor’s Window is about people. With stunning performances, a lovely score, it’s pure and wonderful.

ABOUT THE DIRECTOR(S)

Marshall Curry is a three-time Academy Award® -nominated documentary filmmaker. Many of his films have premiered at Tribeca and include the Academy Award®- and Emmy® -nominated documentary Street Fight, as well as A Night At The Garden, Racing Dreams, Point And Shoot, and If A Tree Falls: A Story Of The Earth Liberation Front.

 

 

 

Tribeca Film Festival 2019 Review: ‘Charlie Says’ flips the script on the Manson girls.

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Charlie Says

Charlie Says, directed by masterful filmmaker Mary Harron and written by Guinevere Turner, tells the familiar story through fresh eyes—those of Manson’s most devoted girls, van Houten (Game of Thrones’ Hannah Murray), Patricia Krenwinkel (Sosie Bacon), and Susan Atkins (Marianne Rendón). Thanks to a devoted prison educator who slowly draws the women out from years of a madman’s mesmerizing and abusive spell (Matt Smith), the women’s story is told in eerily detailed flashbacks, forcing them to reflect on the path that leads them to such unforgivable crimes.

This is not a story about Charles Manson. This is a story about three women who were manipulated by a mentally ill man who convinced them they were loved. Patricia Krenwinkel, Susan Atkins, and Leslie Van Houten, all came to be followers of Charles Manson because they were lost and looking for someone to make them feel important. It’s the performance from Hannah Murray, Sosie Bacon, and Merritt Wever that catapult this story forward. Wever, in particular, is the heartbeat that guides these broken girls into reality. Bacon represents every girl that needed Manson (played by Matt Smith with a quiet but fiercely alarming power) to be their father figure. Murray, as Leslie, is the audience. You feel for these ladies through intercut flashbacks and prison scenes. Each like a peek behind the curtain and into the insanity of a man who thought the Beatles were speaking to him through the ‘White Album”. These women were brainwashed sex slaves. It wasn’t until a feminist teacher Karlene Faith, with enough empathy to teach these women, did anyone begin to realize that they too were victims alongside those murdered. The film is chilling. The structure is disturbingly effective. You end up caring about these women who history has taught us to loathe. Charlie Says is not about Charles Manson. I’ll say it again. Charlie Says is not about Charles Manson. It is about the victims he kept closest to him.

ABOUT THE DIRECTOR

Mary Harron is the writer and director of films including American Psycho, The Moth Diaries, I Shot Andy Warhol, and The Notorious Bettie Page. Her television credits include episodes of The L Word, Six Feet Under, Big Love, and Oz, and, most recently, The Following (FOX), Constantine (NBC), and Graceland (USA).

How to see the Tribeca Audience Award Winners & Runner-ups

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These films will be showing tomorrow on the last day of the Tribeca Film Festival or you can also catch them below. See You Yesterday is coming to Netflix!

  • Documentary Audience Award
  • Narrative Audience Award

Airbnb-produced Gay Chorus Deep South is making its way around the country on the festival circuit. Next stop will be Montclair, NJ followed by Greenville, SC. Check out the schedule here: https://www.gaychorusdeepsouth.com/seethefilm

Gay Chorus Deep South, directed by David Charles Rodrigues, written by David Charles Rodrigues, Jeff Gilbert. Produced by Bud Johnston, Jesse Moss. (USA) – World Premiere, Feature Documentary. To confront a resurgence of anti-LGBTQ laws, the San Francisco Gay Men’s Chorus embarks on an unprecedented bus tour through the Deep South, celebrating music, challenging intolerance, and confronting their own dark coming out stories. With The San Francisco Gay Men’s Chorus, Oakland Interfaith Gospel Choir, Dr. Tim Seelig, Ashlé, Jimmy White

Plus One is to be released June 14th, and I assume that means theatrically, although it is not clear.

Plus One, directed and written by Jeff Chan, Andrew Rhymer. Produced by Jeremy Reitz, Debbie Liebling, Ross Putman, Jeff Chan, Andrew Rhymer, Greg Beauchamp. (USA) – World Premiere. In order to survive a summer of wedding fever, longtime single friends Ben and Alice agree to be each other’s plus one at every goddamn wedding they’re invited to. With Maya Erskine, Jack Quaid, Ed Begley Jr., Rosalind Chao, Beck Bennett, Finn Wittrock.

You’ll find See You Yesterday on Netflix on May 17th.

See You Yesterday, directed by Stefon Bristol, written by Stefon Bristol & Fredrica Bailey. Produced by Spike Lee, Jason Sokoloff, Matt Myers. (USA) – World Premiere, Feature Narrative. Two Brooklyn teenage prodigies, C.J. Walker and Sebastian Thomas, build make-shift time machines to save C.J.’s brother, Calvin, from being wrongfully killed by a police officer.

Watson, directed by Lesley Chilcott. Producers: Louise Runge, Lesley Chilcott, Wolfgang Knöpfler. . (USA, Costa Rica, Tonga) – World Premiere. Co-founder of Greenpeace and founder of Sea Shepherd, Captain Paul Watson has spent 40 years fighting to end the destruction of the ocean’s wildlife and its habitat. Part pirate, part philosopher, Watson’s methods stop at nothing to protect what lies beneath.

Tribeca Film Festival 2019 Review: ‘ONLY’ in an emotional gut punch worth waiting for.

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ONLY

Will (Leslie Odom, Jr.) and Eva (Freida Pinto) seem destined for a storybook life together, so pure and supportive is their mutual love. But their alone time is suddenly interrupted when Eva’s roommate, Carolyn (Tia Hendricks), bursts through the door and collapses as torrents of mysterious ash fall from the sky. During a chaotic trip to the hospital, Will learns what he needs to do, quickly covering Eva in a hazmat suit, then rushing home with her and hermetically sealing the doors and windows. Weeks become months become years and, after Eva makes a desperate move, the couple is forced to run for their lives.

Only is a mysterious, dreamy post-apocalyptic love story told elegantly and in non-sequential order by director Takashi Doscher. Tony Award-winner Odom, Jr. (Hamilton) and Pinto (Slumdog Millionaire) play the doomed couple whose fear that their secret will be revealed unveils the layers of pain and longing between them. As Will and Eva struggle to reach a beloved waterfall from their past, the couple attempts to survive in a new world where she is a commodity of unparalleled worth.

While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.

Remaining screenings:
2:45 PM – SAT 5/4
VILLAGE EAST CINEMA-01Icon fg map

Review: ‘CLARA’ has an appeal that is written in the stars.

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Starring: Troian Bellisario (“Pretty Little Liars”) and Patrick J. Adams (“Suits”)
Written & Directed by Akash Sherman (The Rocket List)

CLARA tells the story of Isaac Bruno (Patrick J. Adams), an astronomer consumed by the search for life beyond Earth. Convinced that the universe is a dark and lonely place, Isaac meets Clara (Troian Bellisario), an artist who shares his fascination for the wonders of space. Their unlikely collaboration leads to a deep connection, and a profound astronomical discovery.”

The intellectual dialogue is so overwhelming intriguing from the very first scene, you cannot help but feel compelled to give your entire attention to Clara‘s unique premise. Can logic and love coexist? This is a film about loneliness and loss but also wonder and imagination, science, and faith. It’s a profound look at the universe as it pertains to intimate relationships. Seemingly an oxymoron, how could the vast beyond of space apply to two people? Clara delves into the idea of letting go to let the universe do its proverbial thing. Real-life husband and wife play astronomer and newly hired assistant attempting to find a new planet with life. Their backstories are incredibly nuanced. Patrick J. Adams is captivating in his sadness and determination. Seeing him outside of Suits in a completely different role further cements his strong presence and pull on-screen. The arch of Issac is something to behold. Troian Bellisario as Clara is simply magic. The full complexity of her character won’t be fully realized until the film’s final scenes. She owns this role.

Just when you think the script couldn’t get any better, it does. The film is hauntingly scored and beautifully edited. The stakes are high and the emotional hold Clara has on you is undeniable. It has an ending that is otherworldly. Human connection is one of the most important things on this planet. Clara explores ideas we all contemplate as we gaze into the night sky and pushes them over the edge.

In Theaters and On Demand This Friday!

New York Theater: Cinema Village
Los Angeles Theater: Arena Cinelounge

RT: 105 Minutes

*2018 Toronto International Film Festival*
*Narrative Feature Jury Award – 2018 Austin Film Festival*
*2019 Canada Now*

Tribeca Film Festival 2019 Review: SHORTS: WTF

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SHORTS: WTF

These films were curated especially for late-night.

Playing in this program:
Twist

No choice but to walk home alone, Hannah (Helena Howard) sees an opportunity for a ride, but others see an opportunity in her.

With a well-built tension familiar to any young woman, Twist leaves much to the terrifying imagination, making it all the more frightening. Beautiful performances bring fear to life.

Whiteout

When a young couple (Sarah Tihany and David Call) encounters a strange old man (Patrick M. Walsh Jr.) wandering in a snowstorm, they must decide if he needs help, or if he has more sinister intentions.

A real “What would you do?” scenario set in the middle of the road on a snowy night. It begs the question, “Who’s the real monster?”

His Hands

Two men (Arron Blake and Philip Brisebois) of different ages meet for the strangest encounter of their lives.

While I’m not completely sure what was actually happening in this film, I know I was damn uncomfortable as a viewer. Performances are striking and I need to know more.

Momster

When notorious bank robber, the Momster (Amanda Plummer), catches her daughter Angel (Brianna Hildebrand) mid-gunfight, Angel thinks she’s being rescued… until she realizes she has to do the saving.

This short has a Robert Rodriguez/ QuentinTarantino Grindhouse feel with its quippy dialogue, vivid pops of color, and effective narration.

Hunting Season

Callie (Hannah Levien), a small town gas station attendant, has an unexpected encounter which will change the course of her life forever.

This short begins by utilizing the major trope of failing electricity to build up suspense. The sparse dialogue is meaningful enough to create an entire backstory and the perfect amount of dread, culminating in a magical ending no one will see coming.

11:50

In the pouring rain, a junkie (Jerry Chih-Wei Huang) takes the hotel key of a man that his car has accidentally killed. As he walks into the hotel and finds that room, he has to face a mysterious journey that will never have an end.

This cinematic little masterpiece is a proof of concept from heaven. Not only visually delicious but one hell of a reveal that will keep you wanting more.

Snaggletooth

An unusual girl (Jolie Ledford) needs to get her teeth fixed at midnight.

The 50’s era sets, costumes, and lighting lead up to a visual shock that is both scary and delightful.

FILM INFO
  • Section:
    Shorts Program
  • Year:
    2019
  • Length:
    75 minutes
  • Premiere:
    New York

Tribeca Film Festival 2019 Review: ‘Picture Character’ #therealemojimovie

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PICTURE CHARACTER

Spotlight Documentary, World Premiere – Directed by Martha Shane and Ian Cheney

As silly as you may think the topic, you can’t deny that emojis are everywhere. After all, a picture is worth a thousand words, right? The story of the creation/inception of emojis is interspersed with three stories of the quest to get new emojis added – hijab emoji, mate and menstruation (blood).

While following these stories, something is revealed that is is far more interesting. Remember when emojis weren’t the same on iOS vs Android? Then, miraculously, they became universal? Welcome to the Unicode Consortium. A non-profit organization that unifies character sets.

Suddenly, there are a lot of questions. The film gives enough information about Unicode without overwhelming the audience and changing the course of the story, but for me, it was such a large elephant in the room that I couldn’t stop wondering about it.

Whether you just send the occasional smiley face or you carry on conversations via emoji, you’ll enjoy seeing the behind the curtain.

List of universal emojis: https://unicode.org/emoji/charts/emoji-list.html

Tribeca Film Festival 2019 Review: ‘For They Know Not What They Do’ and this is the problem

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FOR THEY KNOW NOT WHAT THEY DO

Documentary Competition, World Premiere – Directed by Daniel Karslake

More maddening than enlighting, For They Know Not What They Do follows four families that facing challenges and did their best. It’s heartbreaking, frustrating and exactly what happens when people are not empathetic with each other.

I liked the structure with switching back and forth between each story, as it made the progression much more interesting. However, it felt at some points that the audience was somehow meant to forgive these people of their ignorance and lack of compassion.

There’s always value in hearing the stories of others, but I left the theater shaking my head rather than feeling like I learned something.

When the Supreme Court legalized marriage equality across the nation in 2015, many assumed that the fight for LGBTQ rights was won. But politicians and religious conservatives launched a state-by-state campaign to retract the human rights of America’s LGBTQ citizens under the guise of religious freedom. Introducing four American families caught in the crosshairs of scripture, sexuality, and identity, this documentary weaves together clips from the national news and the church pulpit, alongside family photos and intimate testimonies to show the undeniable connection between the personal and the political.

These individual experiences of rejection and validation, tragedy and triumph include Ryan Robertson, who was encouraged by his Christian family to attend conversion therapy; Sarah McBride, the transgender student body president who went on to work at the White House; Vico Báez Febo, whose Catholic grandmother locked him out of the house when a neighbor outed him; and Elliot Porcher, a young trans man who endured self-harm before his parents’ acceptance enabled him to come to terms with his gender. An emotionally impactful follow-up to the award-winning For The Bible Tells Me So, this powerful examination of the intersection of religion, sexual orientation, and gender identity offers much-needed healing, clarity, and understanding.

—Lucy Mukerjee

Tribeca Film Festival 2019 Review: ‘RECORDER: The Marion Stokes Project’ – how one woman gave us 33 years of recorded television history

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RECORDER: THE MARION STOKES PROJECT

Documentary Competition – World Premiere, Directed by Matt Wolf

In 1979 during the Iranian hostage crisis, Marion Stokes started recording the news on VHS tapes on different channels on different televisions. 24 hours a day. The recording didn’t stop for 33 years when she passed away on December 12, 2012, the day of the Sandy Hook tragedy.

The film is structured chronologically and I would have liked to have seen Marion Stokes’ story told in the juxtaposition of the process to digitize the over 70,000 VHS tapes. They used the closed captioning to index! How cool is that? I want to know more. Instead, the story unfolds in a traditional method of speaking with those closest to her and focusing on the woman behind this astounding asset to humanity. It’s good, but not nearly as compelling.

Even with its flaws, I thoroughly enjoyed the story and it’s sparked many interesting conversations.

There’s 1 more screening left and it’s also coming to other film festivals.

Tribeca Film Festival
World Premiere
April 25, 26, 27, May 4

HotDocs, Toronto
International Premiere
May 1, 2, 5

Montclair Film Festival
May 8, 12

Maryland Film Festival
May 9, 10

More Screenings Soon

Long before our current era of “fake news,” Marion Stokes was amassing an incredible archive in an effort to protect and tell the truth. Beginning with the Iranian Hostage Crisis in 1979 and ending in 2012 with the massacre at Sandy Hook, Stokes archived and preserved the television that others were not. She recorded an incredible 70,000 VHS tapes capturing wars, triumphs, catastrophes, and more. The archive reveals the past and how it shaped television and the present moment.

Matt Wolf goes deep inside this captured history of television, providing insight into Stokes as keeper of the archive, while also showing the world that she wanted humanity to see. Taking on the aura of a mystery, Recorder delves into the curious world of a Communist radical and genius recluse who dedicated her life to a seemingly crazy mission, which in the end, is a glorious gift to the world.

—Deborah Rudolph

 

 

Tribeca Film Festival 2019 Review: ‘Something Else’ is aptly named.

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SOMETHING ELSE

The Midnight section at this year’s Tribeca Film Festival gives us Something Else. A story about Hank, whose longtime girlfriend Abby abruptly leaves him, but with a lot of extra flair in the plot. The editing is spectacular. Crisp still camera images set against a bleakly lit Hank, make for a perfect early jump scare. Then you catch on that’s it’s a repeated theme. Abby equals brightness. No Abby equals darkness… and a monster at the front door. The music has a heavily Gen X quality. The daytime dialogue (once Abby is absent) feels reminiscent of early Kevin Smith, particularly from everyone around Hank. This gives teeth to the naturalistic performances from a small cast. Classic tropes weave into the darker scenes and then the film becomes something altogether different. Something Else is exactly that. It’s like two films in one. It’s a monster movie and a serious relationship drama which incidentally includes a 15-minute single camera take of dialogue. Something Else is aptly named and unexpected on all fronts.

SOMETHING ELSE

For small-town bar owner Hank (Jeremy Gardner), his 10-year relationship with Abby (Brea Grant) has been storybook-quality. Abby, however, wants more: marriage, to be exact, which Hank doesn’t seem ready to initiate anytime soon. As a result, she leaves him without so much as a note or any subsequent communication. Hank is crushed. Even worse, Abby’s departure seemingly triggers the arrival of an unseen monster that claws at Hank’s front door at night. As the nocturnal threat intensifies, Hank must figure out how to not only save his relationship but also himself.