In present-day Los Angeles, Daphne (Woodley), a thirty-something woman, navigates love and heartbreak over the course of one year. Daphne becomes intertwined with friends Jack (Dornan) and Frank (Stan) after meeting them at a party. During that time, she will unlock the secrets to her life in a sudden turn of events and in the most surprising of places.
There’s something emotionally tangible about the editing and performances in Endings, Beginnings. Woodley is easily the representation of every viewer after an adult relationship comes to an end. There is a grounded, vulnerability that feels familiar. But out of context that could sound boring. What you’re getting with this script’s progression is all the aspects of the human experience; passion, volatility, depression, exhaustion, excitement, lust, self-loathing, hope, and everything in between.
Shailene Woodley has earned this script. It’s an awesome platform for her abilities. The dynamic between Woodley and Dornan vs Woodley and Stan is like night and day. This is a joy to watch because as the plot rolls along you begin to realize this isn’t truly a film about the two relationships. They are the springboard. Sebastian Stan and Jaime Dornan are brilliant, beautiful foils for one another in every single way. Both equal parts passionate and sexy but for very different reasons. While this lets Woodley showcase her ability to play both a light and dark side of her personality, it’s merely the beginning of this story. At the heart of it, the film is about self-actualization. It’s about forgiveness and growth through your mistakes and the mistakes of others. The script is complex and rewarding. I highly recommend Endings, Beginnings for everything that it represents, which is a lot. At the end of the film, you’ll easily take a huge breath in and exhale any expectations you had at the start of the movie. Drake Doremus has given us a perfect watch right now.
Samuel Goldwyn Films will release the romantic drama, ENDINGS, BEGINNINGS in On Digital April 17, and On-Demand May 1, 2020.
ENDINGS, BEGINNINGS is directed by Drake Doremus (Equals, Like Crazy) who co-wrote the script with Jardine Libaire, who makes her feature screenwriting debut. The film stars Shailene Woodley (The Fault in Our Stars, Divergent franchise), Jamie Dornan (50 Shades franchise, A Private War), Sebastian Stan (Captain America franchise, “Gossip Girl”), Matthew Gray Gubler (500 Days of Summer, “Criminal Minds”), Lindsay Sloane (Bring It On, She’s Out of My League) and Kyra Sedgwick (“The Closer,” Singles).
With two small children, I now have a whole new set of anxiety as I research schools. I remember how bullying affected me when I was middle-school age. But with social media and the lack of consequences I have seen surrounding some children’s behavior, I am increasingly nervous about what my kids are getting themselves into through no fault of their own. My sister is newly a fulltime school counselor. The lack of coping skills and the increase of online harassment makes these kids more vulnerable than ever before. She job has quickly transformed from a few state-mandated cases into the disciplinary dumping ground for her particular administration. The uphill battle keeps getting higher.
Camera Obscura has an engrossing plot. The script has nods to horror classics like Amityville, Final Destination, and every haunted object film out there. Adding in the element of PTSD allows the audience to further question what is real and what is in the mind’s eye. There are some truly vibrant visuals when those lines are blurred. With a fair number of skin-crawling moments thrown in, Camera Obscura does its job at entertaining and keeping you guessing. I certainly did not see the ending coming. I will also give credit to the fact that the pace is already ramped up in full force before we’re even 20 minutes in. The cast is wonderful with particularly outstanding moments coming from Catherine Curtain and (no stranger to the horror genre) Andrew Sensenig. All while utilizing throwback ideas, Camera Obscura stands on its own as something disturbing and unique. You can catch the trailer below.
Presents
There is definitely more than meets the eye to this coming of age, high school basketball story. Newcomer Taylor John Smith plays “Saint”, a kid trying desperately to make everyone around him happy. He is emotionally stretched thin and like many high school students who want/need to achieve their lofty dreams, finally meets his breaking point. WOLVES is filled to the brim with fantastic performances. With a heavy hitting cast alongside Smith, there are more layers to this film, and it all comes down to perspective.
A film by Justin Kelly
WRITTEN AND DIRECTED BY:
Playing the convincing role of math professor and mom comes so naturally to Betsy Brandt, one might actually think this film was based on a true story. With facts and figures guiding her everyday life, she quickly learns they aren’t going to help figure out who she really married. The plot moves swiftly. There is no lag time between the opening scene and transitioning entering the mysteries. The pace and editing are such that you can feel the immediate push from the outside world on both Claire and her son to accept the fact that husband and father are not coming back. 
It is the quintessential, “You think you know someone,” piece. It lends you to wonder who your significant other is when they’re not with you. Work friends, hobbies, the gym, lunches, seemingly mundane moments impact us each day so why would they not impact your partner in the same profound way? But, the torturous unanswered questions left in the wake of any ended relationship are the ones that stick with us. Claire In Motion is a quiet and yet profound look into reaching beyond yourself and into the lives of those around us.
Robert and Harry are strangely pitted against one another for “father of the year” status, in an awkward competition of responsibility. Robert is not only navigating relationship normalcy but he is grasping to find happiness in general. Harry, in a sad attempt to outdo his son, uses demeaning words and actions to cut Robert down at every turn. Branciforte’s story is immensely compelling, offers moments of surprise and nothing but honesty. The performances all around are outstanding.
John Magaro‘s Robert battle self-loathing and confusion as he finds his way through career, life and love. This role for Magaro is proof that his natural talent is way more than enough. Chris McDonald‘s Harry is a self-righteous prick coming to terms with his own life long mistakes as father and husband. The performance is something I have to come expect from McDonald’s. There is a reason he has had such a long career. Dreama Walker, as Sara-beth, could have been a throwaway character. The ins and out of a quietly complex young woman were well played by Walker. As the film progresses, we become more and more invested in each role as Branciforte does a wonderful job developing everyone. To believe this story, this is absolutely necessary. With solid smaller roles filled by Britt Lower and Tom Lipinski, some of the film’s most shining moments come from Talia Balsam as Harry’s wife Miriam. The dynamic between Sara-beth and the woman betrayed is an unexpected one, but truly inspiring. Let me not forget to mention how fantastically darling Rainn Williams is as Mason, the young lady there is so much to do about. This little sweetheart is meant to be on the big screen. The chemistry between the entire cast combined with tight direction make this a winner.
DON’T WORRY BABY is ultimately about making amends. Coming to terms with what we’ve created emotionally is a huge task, and it’s one that this film dives into head first. You can catch Don’t Worry Baby in theaters and On Demand this Friday, July 22nd.
You must be logged in to post a comment.