Tag Archives: Jim Gaffigan

SXSW 2022 review: ‘LINOLEUM’ is an expected journey filled with whimsy.

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LINOLEUM

When a satellite falls from orbit and crashes into the home of a dysfunctional family in suburban Ohio, the father seizes the opportunity to fulfill his childhood dream of becoming an astronaut by re-creating the machine as his own rocket ship. While his wife and daughter believe he is experiencing a midlife crisis, surreal events begin to unfold around him, forcing him to reconsider how interconnected their lives truly are…

In Linoleum, Cameron hosts a small science show for kids called “Above & Beyond.” With his marriage on the verge of divorce, his children, and his job disrespecting him, a strange crash landing in his backyard reignites his aspirations of being an astronaut. But, Linoleum is not what you’re expecting. It’s a manifestation of memory and dreams. 

Rhea Seehorn as Erin is amazing. The nuance of this performance is extraordinary. Take notice of every single beat. Katelyn Bacon plays Nora with sass and innocence that blend to perfection. You cannot help but sit up and pay attention when she’s on-screen. 

Jim Gaffigan is adorable. And yes, I did use that term to describe a grown man. His childlike wonder drives Linoleum‘s tangible whimsy. Do not overlook the emotional journey of this character.

Be on the lookout for the appearances from Tony Shalhoub and Michael Ian Black. The score is light and sweet, perfectly setting the tone for a film that pulls at our grown-up heartstrings. Linoleum is ultimately more complex than you’ll see coming. Filled with surprises, writer-director Colin West has given SXSW22 audiences something special. It’s a bit of a wonder. Linoleum begs multiple viewings.

SXSW 2022

Director:

Colin West

Executive Producer:

Gabrielle Nadig

Producer:

Chad Simpson, Dennis Masel, Chadd Harbold

Screenwriter:

Colin West

Cinematographer:

Ed Wu

Editor:

Keara Burton

Production Designer:

Mollie Wartelle

Sound Designer:

Arjun Sheth

Music:

Mark Hadley

Principal Cast:

Jim Gaffigan, Rhea Seehorn, Katelyn Nacon, Gabriel Rush, Amy Hargreaves, West Duchovny, Michael Ian Black, Tony Shalhoub, Elisabeth Henry, Roger Hendricks Simon

Additional Credits:

Colorist: Alastor Arnold, Co-Producer: Derek Rubin, Casting Director: Jessica Sherman, Art Director: Kaili Corcoran, First Assistant Director: Dayna Schutz, UPM: Marie Bardi, Sound Mixer: Jose Ramirez, Stunts: Corey Pierno, Gaffer: Chad Dougherty, Costume Designer: July Rose White

 

Review: TESLA’s unique storytelling is electric.

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Brilliant, visionary Nikola Tesla (Ethan Hawke) fights an uphill battle to bring his revolutionary electrical system to fruition, then faces thornier challenges with his new system for worldwide wireless energy. The film tracks Tesla’s uneasy interactions with his fellow inventor Thomas Edison (Kyle MacLachlan) and his patron George Westinghouse (Jim Gaffigan). Another thread traces Tesla’s sidewinding courtship of financial titan J.P. Morgan (Donnie Keshawarz), whose daughter Anne (Eve Hewson) takes a more than casual interest in the inventor. Anne analyzes and presents the story as it unfolds, offering a modern voice to this scientific period drama which, like its subject, defies convention. Winner, Alfred P. Sloan Feature Film Prize at the 2020 Sundance Film Festival.

Telsa is one of the most uniquely presented biographies on film. Told from the narrative point of view of Anne Morgan and her unrequited love for Nikola Tesla, we are led into the mind of this scientifically gifted and eccentric man. Socially awkward, as many geniuses are, Telsa was responsible for changing more of history than most of us realize. His intelligence oftentimes hindering true companionship, his ups and downs can be felt through the screen by the wonderful performance from Ethan Hawke. Ever the chameleon, Hawke’s physicality and vocal dynamics force you to sit up and pay closer attention. But with the intrigue of the film’s presentation, this is an incredibly easy feat. There was a sadness to Telsa, an unending need for more success and validation of his contributions. Eve Hewson is captivating as Anne Morgan. Her sense of calm and poise put you at ease while you go on this engrossing journey. Jim Gaffigan as Westinghouse is also a complete joy to watch.

The look of this film is nothing short of stunning. Half theatrical stage play and half tongue in cheek look at technology, Telsa uses a modern scope in period dress to engage the audience. It immediately reminded me of the surprise that A Knight’s Tale utilized in 2001; music choices decades outside of the plot’s timeline. It made it all the more relatable in the coolest way. Endlessly enthralling, Tesla shines a light on some of the darker parts of one brilliant man’s life and work.

In Theaters and On Demand August 21st
TESLA is Written, Directed + Produced by Michael Almereyda

Review: ‘TIME WARP: VOLUME 3 COMEDY AND CAMP’ is now available for your viewing pleasure.

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SYNOPSIS: The final volume of Time Warp digs deep into what makes us laugh over and over again as we reveal the greatest cult comedies and campy classics of all-time. From “Fast Time at Ridgemont High” and “Office Space” to “Monty Python and the Holy Grail,” and “Showgirls.”

 

This is the longest in the Time Warp series. Starting off with Fast Times and the insight from Amy Heckerling, it’s a cinephile’s film class from the very beginning. Focusing first on high school films, we get a great mix from Rock N Roll High School to Napoleon Dynamite. Then we dive into Clerks and how a single film made on credit cards for $30K launched Kevin Smith’s career. The late Fred Willard talks Best In Show. The Bill Murray stories from King Ping are epic. John Cleese‘s presence for Monty Python and The Holy Grail reminds us that the best comedy is smart through its silliness. The first half focuses on Comedy for an HR and 15 minutes. The last 45 is Camp cult films. Rightfully so, Showgirls is covered. Gina Gershon’s character study background for Cristal Connors is masterful. Ed Wood’s editing style and relationship with Bela Lugosi made him one of the greatest cult filmmakers of all time. He was way ahead of his time when you look at his body of work. Speaking of being ahead of its time, Hedwig and the Angry Inch still has such an impact in so many ways. It may be more relevant right now than it was in its original run for the trans community. I’ll give you three guesses, and the first two don’t count, as to which film gets the final curtain call.

With Volumes 1 & 2, as with this third installment, these docs are like the YouTube rabbit hole we all fall into. Hours of different behind the scenes clips and stories all in one glorious place. You cannot go wrong with these films. You’ve seen more of them than you’ll realize. Feel a little cooler and a whole lot more informed after viewing. Then tell a friend so they can tell a friend and so on. All three docs are now available to stream.

https://www.youtube.com/watch?v=1zA219JfZ_g

TITLE: TIME WARP: THE GREATEST CULT FILMS OF ALL-TIME VOLUME 3 COMEDY AND CAMP
ON DEMAND AND DIGITAL: June 23, 2020
DIRECTOR: Danny Wolf
DISTRIBUTOR: Quiver Distribution
HOSTS: Joe Dante, John Waters, Ileana Douglas and Kevin Pollak
CAST: Gina Gershon, John Cleese, Ron Livingston, Jim Gaffigan, Fred Willard, Jon Heder, David Cross, Mary Woronov, Michael McKean, Kevin Smith, Amy Heckerling, Mike Judge, Peter Farrelly, John Cameron Mitchell
RUN TIME: 128 minutes

Review: For ‘Them That Follow’ it’s devotion until death

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Deep religious beliefs permeate an extremely small and isolated Appalachian community.  Pastor’s daughter Mara is trapped between her feelings and the expectations put upon her by her father and his followers. She is secretly pregnant. She is rightfully petrified to be found out. Blind faith and reality might just split her in two.

Olivia Colman is completely unexpected as a matron in this community. Her American accent is frighteningly good. She is nothing like you expect her character to be. She ever so slightly and quietly teeters on the brink of questioning what’s right. Jim Gaffigan plays her husband Zeke. You almost wouldn’t know he was there. He is vastly underutilized. What he does get to emote is strong. Walton Goggins as Pastor Lemuel makes your skin crawl with his piercing stare. Alice Englert as Mara is vulnerable and raw. She owns each scene she’s in and goes toe to toe with the presence of Colman and Goggins.

The film has such an ominous sense that it keeps you engrossed and totally uncomfortable as you watch.The film is shot in darkness, whether at night or overcast skies, costumes and sets are all in winter and fall browns and jewel tones. This is a story of not only religious zealots it is also quietly about the sexual awakening of a repressed young woman. Misogyny and passion clash and a sheer impending terror has a palpable effect on the audience. Something wicked this way comes.

Tribeca Film Festival interview: Kevin Pollak talks his new doc ‘Misery Love Comedy’ with expected hilarity.

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Misery Loves Comedy PosterSome of my fondest memories as a kid are family game nights, Sunday breakfasts, and dancing in the kitchen. All of these things we still do. We try to outplay each other. We make fun of the everyone’s ever changing diets. We choreograph the best and worst dance moves in the universe. Being the first of 4 children ignites a fire that never quite goes away. ‘Look At Me Syndrome” is something I live and die by. Young performers are like sponges. They listen to every word as a kid. They are bright and observant, perhaps not coming alive at that age, but letting it all seep into what shapes their humor. *And yes, I did just allude to how awesome I have always been. But enough about me.* Kevin Pollak has created one hell of a documentary to share with the planet, MISERY LOVES COMEDY. Rounding up over 60 comedians, both stand up or just plain funny people in the industry, including the likes of Amy Schumer, Tom Hanks, Judd Apatow, Kevin Smith, Christopher Guest, Lisa Kudrow, Bob Saget, Chris Hardwick, and  Kathleen Madigan, just to name a few. Pollak poses the question that performers know to be true; “Do you have to be miserable to be funny?” The answers comes in form of intimate sit down interviews with a cast only someone with Pollak’s clout could get to say yes so quickly. Filmed over the course of 4 weeks in L.A. and NYC, we are privy to family photos, childhood inspirations, and all the mess in between. Pollak even edited the film himself, sharing that experience was eye-opening and surprisingly enjoyable. This film is non-stop funny. I loved every moment of it. Jim Gaffigan sums up the need to entertain others perfectly, it’s a ‘Narcissists Fantasy’. Question it, accept it, then own it. I do. It’s the only way to live.

When Kevin Pollak offers to take a picture with you, you take a picture. Because Kevin Pollak.

When Kevin Pollak offers to take a picture with you, you take a picture. Because Kevin Pollak.

In honor of the masterful director himself, and the over 600 hours of interviews he had conducted, in true Kevin Pollak Chat Show style, I give you the audio from our roundtable with this comic genius. Welcome to a slice of MISERY LOVES COMEDY.

 

Misery Loves Comedy is available on iTunes !! *Ps- it’s #1 right now* Opens today in NYC (IFC Center) with a national release to follow.