PRESENTS
SEATTLE ROAD
Sometimes a film divides an audience right down the middle. Something so unique and deep that it either inspires a deluge of praise or a tirade of… well, let’s say “unkind words.” Writer/Producer/Director Ryan David‘s “relationship meets art” love story, Seattle Road has a great tagline:
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Now that’s a film I can get behind. It sounds intriguing, with loads of potential. Unfortunately, for me, the tagline was far more clever than the film itself. If you’re going to tout a film with the word paradox, frankly I’m going to expect something wildly fantastic. What I got was some sort of millennial truth-telling, ridiculousness. Seattle Road bears resemblance to a student film with dialogue that is some of the most pretentious and eye roll inducing I’ve heard in a while. The heightened audio smacks just as false, combined with the disjointed time jumps. The film comes off as trying too hard rather than genuine. Julia Voth‘s portrayal of Eve is fickle and unlikable at every angle. I felt not a single ounce of empathy for the fact that her estranged father had passed away, or cared that she was shacking up with a guy she hardly knows in a house that doesn’t actually belong to her, all while crying “woe is me” and bitching about her self-importance. The ending literally caused me to say, “Are you kidding me?” at the screen.
The only saving graces for Seattle Road lies in three things: Moments in editing, the music, and our leading man, Maximillian Roeg. Even with the editing being a point a contention for me, there are moments in the film that might as well be mini music videos from the late 80’s to the early 90’s. These are, without a doubt, the most visually interesting, only enhanced by the Music Supervision of Tracy McKnight. Great soundtrack. Finally, our Adam. Roeg is a strong presence in his timidity. As a commune raised artist trying to navigate a seemingly doomed relationship with his own personal demons, he has a quiet strength and I am very much looking forward to seeing him in future projects. If nothing else comes from Seattle Road, please let it be a platform for Maximillian Roeg to shine.
I do appreciate what Seattle Road was trying to do. It’s not a boring film by any means. It went out on a limb and tried something different. For me, the limb was awkward and weak. If you’re intrigued or feel the need to be contrarian, I invite you to watch Seattle Road this week and let me know what you think. For all I know, you may love it.
Available on Demand on all VOD platforms starting – June 24, 2016
| Written & Directed by: | Ryan David |
| Produced by: | David Zonshine, Cynthia Graner, Ryan David |
| Cinematography by: | Sandra Valde-Hansen |
| Edited by: | Matthew Johnston |
| Music by:
Cast: |
Dhani Harrison and Paul Hicks
Julia Voth (Supernatural, Bitch Slap), Maximillian Roeg (Dream Boy, Maneater), Kelly Lynch (Charlie’s Angels, Road House, Drugstore Cowboy), Daniel Abeles, Alan Nozick |
| Distributed by: | Gravitas Ventures |
| Release Date: | June 24, 2016 |
| Running Time: | 82 Minutes / NR |
It’s probably safe to say that every young man’s fantasy would be to have an affair with a hot older woman. The age gap alone could cause all sorts of problems… especially if she’s married. In Elizabeth Allen‘s new film, CAREFUL WHAT YOU WISH FOR, the innocent boy next door gets more than he bargains for.
Home for the summer holiday, brainiac Doug becomes entangled with the stunningly beautiful wife of his next door neighbor. Lena is in need of a rescue from a her controlling husband Elliot. Once drawn into a circle of deceit by from both husband and wife, Doug is determined to get her out from under Elliot’s thumb, all while indulging in a hot and heavy affair. Things go wrong pretty quickly. What’s a good kid to do when bad things find him?
Nick Jonas is one hot commodity. His on screen presence is so natural it’s a wonder it has taken this long for him to land such a leading role. Nick easily carries the entire film on his shoulders. He has true star potential. After his success in Ryan Murphy‘s Scream Queens, Nick is not slowing down in establishing himself in the acting industry. Forget the days of The Jonas Brothers sugar pop image. Those days are long gone. Isabel Lucas plays the haunted Lena. Massive sex appeal and an elegant air, you know there is more lurking behind those sad eyes. Dermot Mulroney is scary as Elliot. Usually a lead in a rom-com role, it was nice to see him stretch his very capable acting chops. 
Careful What You Wish For is a surefire noir. A total departure from director Elizabeth Allen‘s previous films. It’s in the same league at another Starz Digital fave of mine, 
The series centers on Michael Kenneth Williams as Rock Banyon, who becomes the prime suspect in the double murder of his occasional lover Fresno Foxglove (Maya Rudolph) who is found dead with another man. Panicked, Rock splits for Mexico where he reunites with his one-time big band singer Delores DeWinter (Kristen Wiig). With 72 hours to clear his name or fry in the electric chair, Rock and Delores embark on a dangerous quest for the truth that takes them into an abyss of sex, drugs, betrayal, and of course, jazz. While his world crumbles, Rock’s hard-charging manager Alistair St. Barnaby (Haley Joel Osment) pressures him to record a mainstream jazz album.
Funny Or Die can pretty much do no wrong in my opinion. Following up on the 2014 The Spoils of Babylon, The Spoils Before Dying is another total win. If you haven’t seen the first season in IFC, imagine a Sin City narrative combined with the Rodriguez/Tarantino Grindhouse schlock and add in the compressed timing of an SNL Digital Short (sort of, each episode is 30 minutes). Tough in our age of binge-watching, you can happily run through the entire series in the time it would take you to watch any other film, half as fun. The mock commercials stuck into the episodes are as completely tongue-in-cheek as the rest of the production. 
The performances are off the rails hilarious. Will Ferrell reprising his role as Eric Jonrosh is pure insanity. His oftentimes linear thinking combined with overindulgence and narcissism is pitch perfect. Michael Kenneth Williams is a breath of fresh air as he takes on his role with (almost) complete seriousness. We all knew Maya Rudolf has a set of pipes on her, but I had no idea that Kristen Wiig can sing. And when I say sing, I really mean SAAAANNNNNGGGG. The songs are unapologetically ridiculous AND maintain gorgeous melodies. I would be remiss if I didn’t mention Haley Joel Osment, who steals each scene he appears in with total commitment and one over-the-top accent. With appearances by Tim Robbins, Kate McKinnon, Molly Shannon, Michael Sheen, Chris Parnell, Tim Meadows, to name a few, you simply cannot go wrong with this series. The Spoils Before Dying is now available in DVD. Check out the trailer below!
The cinematography from Austria’s preeminent DP Martin Gschlacht (Goodnight Mommy, Oscar-nominated Revanch
Presents
I’ve said it before and I’ll say it again, anyone who thinks climate change is a manufactured idea, to me, is way off the rails. But, if by some chance you’re unconvinced, a new doc is resolved to change your mind. It seems like, with most threatening events in our lives, it is not until they directly affect our own families that we take the time to address them head on. It is much easier to sweep them under the rug or dismiss them as someone else’s problem. TIME TO CHOOSE may be your wake up call.
Will Allen‘s 22 years of footage appear, at first, to resemble a long-lost infomercial from the 80’s. It only takes a few minutes to realize that this is not VHS from our youth but the continuous documenting of a group of people seeking something different. What they ultimately find is a mysterious man who is nothing he claims to be. Utilizing intimate, present-day, sit down interviews with members of Buddhafield combined with Allen’s chronological documentation of the group’s daily activities, HOLY HELL is unlike anything we’ve seen before. To have such unguarded footage and insider knowledge is pretty unprecedented, especially for this length of time. From private therapy sessions to retreats, public outings and the eventual breakdown, each year is more shocking than the last. There are moments that will make you cringe, question your judgement, and certainly, times that will turn your stomach. HOLY HELL is as relevant today as it was when it began its seedling production. It will both open your eyes and terrify you.
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Presents
Oliver Thompson‘s duel role as writer and director suits this indie gem to a T. Stylistically vibrant and charming, WELCOME TO HAPPINESS is something akin to ETERNAL SUNSHINE OF THE SPOTLESS MIND in look and quirk factor, but most assuredly has its very own unique voice. The colorful cinematography is a brilliant reflection of each character’s momentary mood. The plot has intrinsically intertwined story lines and is full of surprisingly insightful glee all while tackling the ghost of depression. Thompson has achieved quite the feat, no doubt. 
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