Produced By: Juan De Deios Larraín, Sebastián Lelio, Pablo Larraín
Starring: Julianne Moore, John Turturro, Michael Cera, Caren Pistoruys, Brad Garrett, Jeanne Tripplehorn, Rita Wilson, with Sean Astin and Holland Taylor
Release Date: March 22, 2019
Running Time: 101 Minutes
Rating: R
Website: https://a24films.com/films/gloria-bell
Gloria (Julianne Moore) is a free-spirited, middle-aged divorcee who spends her days at a straight-laced office job and her nights on the dance floor, joyfully letting loose at high-end dance clubs around Los Angeles. After meeting Arnold (John Turturro) on a night out, she suddenly finds herself thrust into an unexpected new romance, filled with both the joys of budding love and the complications of mature dating. From Academy Award-winning director Sebastián Lelio (A Fantastic Woman, Disobedience) comes a sophisticated romantic comedy that shows love can strike at any time, relationships are never simple, and nothing can get you down as long as you keep dancing.
Lady Bird Director: Greta Gerwig Writer: Greta Gerwig Starring: Saoirse Ronan, Odeya Rush, Kathryn Newton
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#LadyBird
The adventures of a young woman living in Northern California for a year.
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Lady Bird Director: Greta Gerwig Writer: Greta Gerwig Starring: Saoirse Ronan, Odeya Rush, Kathryn Newton
Social Handles: Site | Facebook | Twitter | Instagram | IMDb
#LadyBird
The adventures of a young woman living in Northern California for a year.
Click the link below to enter to win your passes:
These tickets are on a first-come, first-served not guaranteed basis. Arrive early to secure your seats.
Lady Bird Director: Greta Gerwig Writer: Greta Gerwig Starring: Saoirse Ronan, Odeya Rush, Kathryn Newton
Social Handles: Site | Facebook | Twitter | Instagram | IMDb
#LadyBird
The adventures of a young woman living in Northern California for a year.
Click the link below to enter to win your passes:
These tickets are on a first-come, first-served not guaranteed basis. Arrive early to secure your seats.
Good Time Director: Benny Safdie, Josh Safdie Writers: Ronald Bronstein, Josh Safdie Starring: Robert Pattinson, Benny Safdie, Taliah Webster
Social Handles: Site | Facebook | Twitter | Instagram | IMDb
#GoodTimeMovie
A bank robber finds himself unable to evade his pursuers.
I appreciate order in the world. A place for everything and everything in its place. Sitting through almost two hours of movie chaos is not fun for me. I did not enjoy Good Time, opening everywhere this week.
To me, the whole thing was too much. The film on which movie was shot was too grainy. It looked outdated. It was too dark. I don’t enjoy movies I can’t see. The coloring was too extreme and over the top. Think 1970’s disco. The shots were too close-up and abrupt. Felt like the whole thing was filmed on a camcorder. The music was too overwhelming. The score felt more like noise than music; it was distracting. I get that this chaos was a created on purpose. I just didn’t appreciate it. The chaos felt contrived and inauthentic, more like a gimmick.
Good Time also moved too methodically and slow for a traditional cat and mouse film. The moments were either too loud or too quiet. The quiet moments lagged. There was nothing to engage my mind. No questions or conflict to be figured out. Nothing that hasn’t been seen before. It’s a bank robbery gone bad, like every other bank robbery gone bad movie, ever. Even the chase scenes seemed slow.
I was sad that the stylistic choices of the directors, Ben Safdie and Josh Safdie, detracted from the fine acting of the cast. Robert Pattinson (as Connie) is the best I have ever seen him. Pattinson plays Connie with the right mix of cunning and crazy. He carries this film. Jennifer Jason Leigh (as Corey) is also very convincing as the desperate and naïve girlfriend. I also enjoyed Taliah Webter (as Crystal). She was great as the too young side chick. Finally, I liked that Barkhad Abdi (as Dash) was cast in Good Time. I really enjoyed his performance in Captain Phillips and I haven’t seen him on-screen since then. I didn’t take issue with any of the performances. I just couldn’t get past the elements of the film that I mentioned above.
Good Time is a smaller film. If you wanted to catch it in a theater, you may have to search-out an art house nearby. This movie just isn’t worth that kind of effort. If you want to see the great acting I referenced, wait to catch this movie on some at home video format. If you must catch Good Time in a theater, its playing everywhere this weekend.
It Comes At Night Cast: Joel Edgerton, Riley Keough, Christopher Abbott, Carmen Ejogo and Kelvin Harrison Jr. Written and Directed by: Trey Edward Shults Run Time: 91 minutes Release Date: June 9, 2017 Social: Facebook | Twitter | Instagram Hashtag: #ItComesAtNight
Imagine the end of the world - Now imagine something worse. Award-winning filmmaker Trey Edward Shults follows his incredible debut feature KRISHA with IT COMES AT NIGHT, a horror film following a man (Joel Edgerton) as he learns that the evil stalking his family home may be only a prelude to horrors that come from within. Secure within a desolate home as an unnatural threat terrorizes the world, the tenuous domestic order he has established with his wife and son is put to the ultimate test with the arrival of a desperate young family seeking refuge. Despite the best intentions of both families, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within him as he learns that the protection of his family comes at the cost of his soul.
It Comes At Night tells a story of a family who has gone to extreme measures to protect themselves from an unknown lethal contagion by sealing themselves off from the any and all outside contact. From the very first scene, it sets a very intense tone and continues to build tension throughout the film. The film's cast is extremely strong and small enough so that you actually care about these characters which is a hard to find in horror films. Starring Joel Edgerton, Riley Keough, Chris Abbott, Carmen Ejogo and Kelvin Harrison, Jr., the film is electrified through these actors with strong and noteworthy acting.
While the film is incredibly suspenseful, it leads you on a pins and needles journey to nowhere. I was left riddled with confusion and anger over the film but I couldn't hate it. The story is very thin and relies on visual and audio stimulation to keep you on the edge of your seat. Throughout the film, you keep waiting to find out what the true threat is and for some sort of culmination; and are never given any sort of answers to the dozens of questions you are left with my the end of the movie. Half way through the film, you still aren’t sure what the real threat is and what the story is building towards showing how strong of an influence fear and paranoia can have over our decisions, this film definitely does its job at holding your attention, but in the end leaves with so many unanswered questions that you leave the theater feeling cheated. I found myself feeling led on and a bit betrayed for having been only given access to a portion of what could have been a great suspense/horror story.
20th Century Women Director: Mike Mills Writers: Mike Mills Starring: Annette Bening, Elle Fanning, Greta Gerwig Official Socials: Site | Facebook | Twitter | IMDb Hashtag: #20thCenturyWomen
The story of three women who explore love and freedom in Southern California during the late 1970s.
20th Century Women isn’t a film for everyone. I don’t think that it’s trying to be. Its artsy and pensive and the title would lead people to believe that the other half of the population, men, is left out. So, that’s okay. It isn’t going to be a blockbuster, but it is an enjoyable time for the art house film crowd.
This is probably the best I have ever seen Annette Benning. Benning (as Dorthea Fields) is the quintessential “trying to be cool” mom who is not cool at all. Her performance conveyed a genuine motherly love for her son (Lucas Zumann) and a desire to do right by his upbringing. Any parent will be able to relate to the desire to be a good parent, the effort it takes to raise a well-rounded member of society from scratch, and the lengths to which parents are willing to go to accomplish both. I appreciated that Benning was able to make the audience laugh in one scene and make us cry the next. She has a great range as a performer, and what I enjoyed the most was Benning’s expressive face. She has quite the knack for conveying her emotions without using words.
Benning was the highlight. If you were going to see this in theaters, it would be to catch all of the nuances of Benning’s performance. But, 20th Century Women is multi-layered story, like an onion. Some of the layers worked better than others. I was not particularly fond of Zumann as Benning’s son. I’m assuming that Benning’s performance was enough to make the rest of the cast pale by comparison, but I did not like the kid at all. The kid conveyed melancholy. That’s it. Come on, kid, give us another emotion, or another facial expression or something. But, he didn’t. Most of the roles were females. It would not have been hard for one of only two males to stand out. And still, I was disappointed in Zumann.
The other male, William (played by Billy Crudup) was a hoot! He was one of the best layers, or sub-plots, to the story. He had an effortless, bohemian feel about him that I enjoyed. Just an interesting character, the kind of guy that makes dinner parties fun. It was a smaller part, but Crudup played it well.
The other women in the case were Julie (Elle Fanning) and Abbie (Greta Gerwig). I wanted more from them. The movie is called 20th Century Women. He “women,” I figured, would be Dorthea, Julie and Abbie. But Julie and Abbie are relegated to more stereo-typical roles. The stereotypes bothered me because both of their stories seemed like they wanted to go somewhere. There were interesting teases for both of the characters, as if there we were going to be given a better insight to their lives, but, then, nothing happened. The complications all involved the mother/son story instead. It isn’t so much a criticism, and much as a feeling of being let down. And, if I had liked the son, I might have enjoyed the film better.
I still think this film makes a great moms’ night out. It offers moms something to which they can relate. Any parent, not just moms, who have found themselves wondering if they could do better at child rearing will leave feeling that they aren’t alone. And Annette Benning looks great on the big screen. 20th Century Women opens Friday.
20th Century Women Director: Mike Mills Writers: Mike Mills Starring: Annette Bening, Elle Fanning, Greta Gerwig Official Socials: Site | Facebook | Twitter | IMDb Hashtag: #20thCenturyWomen
The story of three women who explore love and freedom in Southern California during the late 1970s.
For your chance to download passes to see 20th Century Women click here:
These tickets are on a first-come, first-served not guaranteed basis. Arrive early to secure your seats.
20th Century Women Director: Mike Mills Writers: Mike Mills Starring: Annette Bening, Elle Fanning, Greta Gerwig Official Socials: Site | Facebook | Twitter | IMDb Hashtag: #20thCenturyWomen
The story of three women who explore love and freedom in Southern California during the late 1970s.
For your chance to download passes to see 20th Century Women click here:
These tickets are on a first-come, first-served not guaranteed basis. Arrive early to secure your seats.
American Honey Rating: Rated R for strong sexual content, graphic nudity, language throughout, drug/alcohol abuse-all involving teens Running Time: 162 minutes Directed & Written By: Andrea Arnold Produced By: Lars Knudsen, Julia Oh, Lucas Ochoa, Pouya Shahbazian, Jay Van Hoy, Alice Weinberg Starring: Sasha Lane, Shia LaBeouf, Riley Keough Official Sites:Website | Facebook | Twitter
Star (Sasha Lane) is a free-spirited teenager on the brink of adulthood who leaves her troubled home in the American Midwest and hits the road with a "mag crew," itinerant laborers who peddle publications door-to-door for long hours during the day and party hard at night, never certain where the job will lead next. Led by hard-driving manager Krystal (Riley Keough) and her seductive enforcer Jake (Shia LaBeouf), the 15-strong 071 Crew becomes a surrogate family to Star, offering hope, possibility, love — and the freedom that comes from being on the road. For her first feature set and filmed in the U.S., writer-director Andrea Arnold (FISH TANK, WUTHERING HEIGHTS, Academy Award-winning short "Wasp") offers an electrifying depiction of American youth living on the margins and yearning to belong in an unforgiving landscape of strip malls, chain hotels and suburban sprawl.
An epic odyssey into American economic life as seen through the eyes of its outcasts, underdogs and strivers—many of whom were cast directly from the nation's streets—AMERICAN HONEY features a star-making performance by newcomer Lane, an astonishing turn by LaBeouf, and an unforgettable soundtrack melding country, Southern hip-hop "trap" music and American radio classics. Arnold's visionary and propulsive fourth feature is a generation-defining cinematic experience that locates unexpected beauty between the cracks of a fractured—yet defiantly hopeful and resilient—nation where a new day can bring anything....
“American Honey” is a messy, gritty, and free spirited road trip along a winding road of youthful wild abandonment. The film opens showing Star (Sasha Lane) rummaging through a dumpster with her two younger companions, placing her in a desolate home life of poverty and abuse. Quickly thereafter she runs across Jake (Shia LaBeouf), who invites her to join his roving family of teenage drifters as they make their way across the Midwest. With nothing to tie her down, she climbs into their van and tags along as they go door-to-door through neighborhoods and truck stops, selling magazine subscriptions to whomever will buy. As Star and Jake make their way, their ruthless young leader Krystal (Riley Keough) quickly notices their sales goals are continually sidelined and asserts her dominance over her top seller, Jake, much like a pimp’s control over a prized prostitute. Star and Jake often succumb to a raw, animalistic passion that regularly breaks the movie’s surface with its underlying love story.
Far from being the usual cautionary tale Star is reckless, impulsive, and never once asks for the audience’s pity. She is almost childishly tender and naive, but at the same time ruthlessly self-assured, impervious to danger, and surprisingly aware of the power she possesses. Sasha Lane, having no previous acting experience, is captivating and does a fantastic job of giving her character depth. Shia LaBeouf fit perfectly into his role as Jake and had excellent on screen chemistry with Sasha Lane.
The outstanding soundtrack offers just as much to the film as the characters themselves often having scenes that solely focused on the music perfectly setting the mood. The cinematography by Robbie Ryan is eye-catching and noteworthy. The film was shot in a square frame format which at times felt like a series of Instagram pictures set in motion. The acting overall was effortlessly on point and very natural. You didn’t feel as if you were watching characters on the screen, but rather a group of kids just being themselves. “American Honey” offers peek into a way of life that nobody overeagerly wants to acknowledge exists in America and personalizes it. Flagrantly earning the R rating given, the film gives you unapologetically raw sex scenes and creates a nothing to lose feeling throughout the film, which is exactly how you feel walking out of the theater.
Swiss Army Man STARRING: Paul Dano, Daniel Radcliffe and Mary Elizabeth Winstead WRITTEN/DIRECTED BY:Daniels (Daniel Kwan and Daniel Scheinert) RATED: Rated R for language and sexual material RUN TIME: 95 minutes
Outrageously fun and deeply affecting, Swiss Army Man is a gonzo buddy comedy that is the feature film debut of acclaimed music video directors Daniel Scheinert and Daniel Kwan (collectively known as DANIELS, and responsible for the visionary “Turn Down For What” video, among many others). Bursting with limitless creativity in both form and content, Swiss Army Man goes from the absurd to the emotional to the whimsical to the profound and back again.
Hank (Paul Dano) is stranded on a deserted island, having given up all hope of ever making it home again. But one day everything changes when a corpse named Manny (Daniel Radcliffe) washes up on shore; the two become fast friends, and ultimately go on an epic adventure that will bring Hank back to the woman of his dreams.
Swiss Army Man creates a world like no other—a place of pure fantastical imagination, brimming with magical realism yet featuring two characters whose dreams and fears are entirely relatable. Dano and Radcliffe both fully commit to their directors’ audacious vision, and their work is exceptional, finding the perfect balance of humor and heart that drives the whole film. A celebration of all the wonders cinema has to offer, Swiss Army Man is a cultural phenomenon in the making; a surreal and wholly original examination of human vulnerability and connection that must be experienced.
The song “Montage,” featured in the film and heard in the trailer, is composed by Andy Hull & Robert McDowel Of Manchester Orchestra and performed by Paul Dano and Daniel Radcliffe.
Screening films gives me an opportunity to see all kinds of off-beat movies that I would not otherwise watch. I see every theatrical release that I can squeeze into my schedule, and a few that throw off my schedule all together. I watch the good, the bad and the in-between. And that is where we find this week’s movie endeavor, Swiss Army Man. It firmly belongs in the in-between, mostly because I was so confused by it that I didn’t know where else to put it. Why? Well, I am glad you asked.
Spoiler alert! This is a film about a man on a deserted island with an inanimate object, a corpse. I don’t really consider that a spoiler. You can get that from the trailers, and I’m pretty sure, the synopsis that’s printed above. At first, you might think this is novel, but, then, you remember Cast Away and Wilson (the volley ball), Weekend at Bernie’s and Bernie (the dead body), and The Shallows and Steven Seagull (the seagull) and the theory of playing-off inanimate objects becomes less ground-breaking. Still the human body offers an interesting amount of utility, and as you will see, it also gives the film a needed degree of whimsy.
I don’t actually want to spoil any of the plot points, so I can’t explain the whimsy, but it is a lot of fun and quite creative. The movie is visually vivid. I was driven to keep watching because I wanted to see what was going to happen next. Like diving into a rabbit hole, the only way out is through the other side.
I also loved the casting. Paul Dano is great in all things. Big range as an actor. He is young and I think there are even bigger things to come from him in the future. Daniel Radcliffe, I have never been crazy about. He was a great Harry Potter, but there isn’t much that he has fit into well since then. I liked what both actors did in this movie. The occupied the space well. That’s all there really is, the two of them, but there is no sense of vacancy on the screen. The is no small feat.
Still, all that said, I would suggest that you wait to see this until it is available on some video medium. The plot has a lot of “what the heck” in it. It felt frustrating. You wander in circles trying to figure out what the next event is going to be, and, by the end, you are nowhere closer to figuring things out and you’re angry cause you wandered in circles for ninety minutes. The ending was genuinely disappointing. It was as if the film had some point to make, and right when it was going to make the point it decided to get utterly ridiculous instead.
Technically, Swiss Army Man is very well done. It has all of the components of a great movie, but it takes more than that to make a genuinely great movie. And because of the build-up, I felt disappointed. You will have to look for Swiss Army Man, if you want to catch it in theaters. It opened Friday.
The Lobster Directed by Yorgos Lanthimos Written by Yorgos Lanthimos and Efthymis Filippou Starring Colin Farrell, Rachel Weisz, John C. Reilly, Lea Seydoux and Ben Whishaw Rated R Runtime: 119 minutes
In this highly imaginative, delightfully absurdist comedy from visionary director Yorgos Lanthimos (Dogtooth), Colin Farrell stars as David, a man who has just been dumped by his wife. To make matters worse, David lives in a society where single people have 45 days to find true love, or else they are turned into the animal of their choice and released into the woods. David is kept at the mysterious HOTEL while he searches for a new partner, and after several romantic misadventures decides to make a daring escape to abandon this world. He ultimately joins up with a rebel faction known as The Loners, a group founded on a complete rejection of romance. But once there David meets an enigmatic stranger (Rachel Weisz) who stirs up unexpected and strong feelings within him…
At once a full immersion into a strange and surreal world, and a witty and clever reflection of our own society, The Lobster is a thrillingly audacious vision fully brought to life by Lanthimos and his terrific cast. The filmmaker displays a completely singular style and mastery of tone, finding the perfect balance between sharp-edged satire and romantic fable that entertains its audience while also leaving them with lots to reflect on long after the credits have rolled.
This week, I took-in The Lobster on my regular quest to see as many new theatrical releases as possible. If you read the synopsis above, you know The Lobster sounds a little trippy. Well, it is a little trippy. And it is super judgmental. But it’s the kind of judgment that the audience is supposed to accept as constructive criticism and, really, who can’t stand a little constructive criticism? Here is mine, criticism of the movie, I mean.
This isn’t the type of film that is going to appeal to everyone. I know this because I couldn’t find anyone who would go with me to see it. You call a film The Lobster and you may as well call it This Film Isn’t For Everyone because the reaction is the same. It is really biting satire. Dark, dark comedy. It’s guilty funny. People should not laugh at someone the shocking scenes offered, those things aren’t funny, they’re horrible. I laughed out loud for much of the first half of the movie, and, immediately, felt guilty that I had done that. Typing this, I replayed one of the scenes in my head and laughed again. Terrible. Terribly funny. Twistedly funny.
However, it's only partially funny because of all of the judgment I mentioned earlier. The satire pokes fun at the emptiness of “romantic conventions.” It highlights the vanity and shallowness in achieving coupledom. Then, it pits those who would attempt to achieve coupledom at all costs with those who forsake all elements of love. Well, who hasn’t fallen into this spectrum at one point or another? Basically, I was laughing until some scene or another hit too close to home, and, then, I wasn’t laughing anymore. Of course, that is the point of The Lobster. The best movies are the ones which leave an impression, make the audience think. The Lobster accomplished that well.
I do think that some of the message was diluted in the second half of the movie. The laughs came farther between and the plot felt a little disjointed. The satire went from biting to outlandish. I felt like the movie had a point to make, it achieved that and, then, it had some filler. Don’t get me wrong, the second half of the film highlights the acting of the two stars, Colin Farrell and Rachel Weisz, and it has some good bits, but I more enjoyed the first half of the film.
All things considered, I’m glad that I ventured into the art-house theater to watch The Lobster. Look for it. It is a worthy endeavor. The Lobster is playing in limited release now, and opens nationally on Friday.
Directed By: Jeremy Saulnier Written By: Jeremy Saulnier Produced By: Anish Savjani, Neil Kopp, Victor Moyers Starring: Patrick Stewart, Anton Yelchin, Imogen Poots, Alia Shawkat, Joe Cole, Callum Turner, Mark Webber, Eric Edelstein, Macon Blair, Kai Lennox Release Date: April 29 (Nationwide) Running Time: 95 minutes Rating: R for strong brutal graphic violence, gory images, language and some drug content Official Sites:Web | Facebook | Twitter
Green Room is a brilliantly crafted and wickedly fun horror-thriller starring Patrick Stewart as a diabolical club owner who squares off against an unsuspecting but resilient young punk band.
Down on their luck punk rockers The Ain’t Rights are finishing up a long and unsuccessful tour, and are about to call it quits when they get an unexpected booking at an isolated, run-down club deep in the backwoods of Oregon. What seems merely to be a third-rate gig escalates into something much more sinister when they witness an act of violence backstage that they weren’t meant to see. Now trapped backstage, they must face off against the club’s depraved owner, Darcy Banker (Stewart), a man who will do anything to protect the secrets of his nefarious enterprise. But while Darcy and his henchmen think the band will be easy to get rid of, The Ain’t Rights prove themselves much more cunning and capable than anyone expected, turning the tables on their unsuspecting captors and setting the stage for the ultimate life-or-death showdown.
Once Upon A Twilight invites you and a guest to a special advance screening of A24's on Thursday, April 21st 2016! Click the poster below and enter your information for a chance to win passes.
CLICK MOVIE POSTER TO ENTER!
Location:
River Oaks Theatre
2009 W. Gray
Houston TX 77019
Date and Time:
April 21, 2016
Thursday @ 7:00pm
(Have your pass ready to show at the door)
These tickets are on a first come, first serve not guaranteed basis. Arrive early to secure your seats.
REMEMBER Directed By: Atom Egoyan Written By: Benjamin August Produced By: Robert Lantos, Ari Lantos Starring: Christopher Plummer, Martin Landau, Bruno Ganz, Jurgen Pruchnow, Heinz Lieven, Henry Czerny, Dean Norris Houston Release Date: April 1, 2016 Running Time: 95 minutes Rating: R for a sequence of violence
Remember tells the story of Zev Guttman (Academy Award® Winner Christopher Plummer), a90-year-old struggling with memory loss who is living out his final years in a serene retirementhome. A week following the death of his beloved wife Ruth, he suddenly gets a mysteriouspackage from his close friend Max (Academy Award® Winner Martin Landau), containing astack of money and a letter detailing a shocking plan. Both Zev and Max were prisoners inAuschwitz, and the same sadistic guard was responsible for the death of both their families—aguard who, immediately after the war, escaped Germany and has been living in the U.S. eversince under an assumed identity. Max is wheelchair-bound but in full command of his mentalfaculties; with his guidance, Zev will embark on a cross-continental road-trip to bring justiceonce and for all to the man who destroyed both their lives.Academy Award® nominated director Atom Egoyan creates a thrillingly fast-paced revengestory that, in a highly original and deeply intimate way, deals with the aftermath of one of themost deplorable and significant events in recent history. With an incredible lead performancefrom Christopher Plummer as the frail but unstoppable Zev, Remember manages to keepaudiences on the edge of their seats while giving them something to think about long after thefilm is over.
I chose to see Remember this week. Occasionally, the movies pile on top of each other, and I have to choose. There are a couple of reasons I chose to take in Remember this week, and those are the same reasons I think it makes a good choice for the weekend.
I wanted to watch Hollywood legends on-screen. I couldn’t pass on Christopher Plummer and Martin Landau. I didn’t know that Martin Landau was still of this earth. Sorry, Mr. Landau. When I read his name on the promotional materials, along with Christopher Plummer, I had to check it out. The legends did not disappoint. The best aspect of Remember was the performance by Plummer. I was engrossed in the Plummer’s portrayal of Zev Gutman, an Auschwitz survivor who sets out on a mission of revenge despite his episodes of dementia. Martin Landau was also very compelling in his portrayal of Max Rosenbaum, Gutman’s friend and co-conspirator. Near the end of the film, I literally got chills from Landau’s performance.
I also needed to broaden my horizons. Every so often, it’s okay to step out of the comfort zone. Remember centers on an older generation, of a different faith than mine, who survived something a level of horror I cannot begin to imagine, but the themes are universal and very relatable, regardless of age, faith or personal history. I didn’t have any trouble relating to the characters or the story. The story has some twists and turns which bridge the gap between the places where I might have struggled to relate. I was so caught up in the saga, that I wasn’t watching a Jewish nursing home resident, I was watching a person who could be anyone.
Now, there were some spots where I thought the twists and turns were resolved too easily. And that bothered me a bit. So, the writing wasn’t the best. The film repeatedly sets up impossible situations and, five minutes later, they are resolved. The film plows forward at a hasty pace. There are four mini-stories in the film. I almost would have appreciated fewer, better developed, stories.
When I first read the synopsis, I didn’t think that Remember would appeal to general audiences. Movies about the Holocaust can be too much for some. I was wrong. The film accomplishes the depth and brutality of its theme, without any actual images of the concentration camps. The emotion comes across from the portrayal of the cast. It isn’t a dark film. It has a heavy theme, but the theme is balanced with a couple moments of levity and the cat and mouse nature of the Gutman’s mission.
Remember opens this weekend. You may not be able to find it everywhere, but you should seek it out. Broaden your horizons, see some Hollywood legends in action, and, hopefully, you won’t be disappointed.
Krisha Director: Trey Edward Shults Writers: Trey Edward Shults Starring: Krisha Fairchild, Trey Edward Shults, Victoria Fairchild MPAA Rating: Rated R for language, substance abuse and some sexual content Official Socials:Site | Facebook | Twitter | IMDb
Krisha returns for Thanksgiving dinner after ten years away from her family, but past demons threaten to ruin the festivities.
Krisha wants to fix her relationship with her son Trey, and her one chance at doing that is showing that she has fixed her life while at Thanksgiving dinner with her whole family. Whom she hasn't seen in quite a long time.
This film is amazing. Your heart breaks while you're enjoying the film. This is a story that definitely pulls at your heartstrings. We all have troublesome families. We all absolutely love our families but we all definitely have those people who we can handle in small doses. And this film shows just that. And it does it in such a raw way that you feel as if you are part of the family.
My favorite part of Krisha was the soundtrack. There was some score - but most of it was ambient noises. Chopping of vegetables, the clangs you hear when someone is cooking. And when things were hectic you would hear a lot more ambient noise layered on top of the current ambient noise. And I absolutely loved that. To me it allowed you to feel what Krisha was feeling.
This film leaves audiences with their thoughts. When it ends you will only be able to think of Krisha for the next few days. You think about every little part that happened and try to figure out what exactly happened to the character Krisha. And I love films like this. Films that make you sit and think about everything. When a film resonates with you, you will find yourself thinking about it weeks later. And that is exactly what Krisha has done to me.
Release Date: November 6th 2015 Directed By: Lenny Abrahamson Written By: Emma Donoghue (novel and screenplay) Cast: Brie Larson, Jacob Tremblay, Sean Bridgers Rating: Rated R for language Official Sites:Web
ROOM tells the extraordinary story of Jack, a spirited 5-year-old who is looked after by his loving and devoted mother. Like any good mother, Ma dedicates herself to keeping Jack happy and safe, nurturing him with warmth and love and doing typical things like playing games and telling stories. Their life, however, is anything but typical--they are trapped--confined to a windowless, 10-by-10-foot space that Ma has euphemistically named Room. Ma has created a whole universe for Jack within Room, and she will stop at nothing to ensure that, even in this treacherous environment, Jack is able to live a complete and fulfilling life. But as Jack's curiosity about their situation grows, and Ma's resilience reaches its breaking point, they enact a risky plan to escape, ultimately bringing them face-to-face with what may turn out to be the scariest thing yet: the real world.
It’s not easy to write about the movies that I really want you to see. I worry that I may not do a film justice, or that I sound so sappy that everyone is turned away from the movie I’m writing about. I know it’s not my job to get you to the theater, but every so often a little indie movie comes along that I genuinely hope will do well. ROOM is one such film.
ROOM is the kind of movie that makes me love movies. It’s the reason that I spend too much time in a movie theater. It’s the kind of gem that I might not catch if I didn’t try to see everything. And I hope that some of you will make time to share in all of the feels that it brings.
The concept is easy to comprehend. It’s a story about captivity and freedom, and the journey between the two. Okay, so those concepts aren’t very easy to understand, but Brie Larson (as Ma) and young Jacob Tremblay (as Jack) bring the concepts and the story to life, beautifully. Tremblay will blow you away. He steals most of the scenes he’s in. Larson, for her part, complements Tremblay’s Jack well. I also liked Joan Allen (as Grandma) in this.
ROOM has all the feels. I honestly felt stir crazy for the first part of the film. It’s a rare film that can cause a visceral reaction like that. I was looking for means of escape. Ma and Jack were captive and I wanted them out. If you read the synopsis of the film, you know that they do get out. They win their freedom! But, it is never quite that easy. And the audience will get to see all of the emotions that come from Ma and Jack seeking their true freedom. Bring tissues.
Captivity and freedom mean different things to different people. We all know some people who represent captivity. We all have lived situations where we can enjoy freedom. Many of us are on our own journey between the captivity and freedom. That’s why this film is so relatable. I think everyone will leave the theater with different views on the themes involved. Catch ROOM when it opens nationwide on November 6.
If you would like to read the book, here is it:
NOW A MAJOR MOTION PICTURE
To five-year-old-Jack, Room is the world. . . . It's where he was born, it's where he and his Ma eat and sleep and play and learn. At night, his Ma shuts him safely in the wardrobe, where he is meant to be asleep when Old Nick visits.
Room is home to Jack, but to Ma it's the prison where she has been held for seven years. Through her fierce love for her son, she has created a life for him in this eleven-by-eleven-foot space. But with Jack's curiosity building alongside her own desperation, she knows that Room cannot contain either much longer.
Room is a tale at once shocking, riveting, exhilarating--a story of unconquerable love in harrowing circumstances, and of the diamond-hard bond between a mother and her child.
WRITTEN BY: Donald Margulies STARRING: Jesse Eisenberg, Jason Segel, Anna Chlumsky, Joan Cusack, Mamie Gummer, Mickey Sumner RUN TIME: 106 minutes RELEASE DATE: July 31, 2015 (NY & LA), August 2015 (Expansion)
THE END OF THE TOUR tells the story of the five-day interview between Rolling Stone reporter (and novelist) David Lipsky (Jesse Eisenberg) and acclaimed novelist David Foster Wallace (Jason Segel), which took place right after the 1996 publication of Wallace's groundbreaking epic novel, Infinite Jest. As the days go on, a tenuous yet intense relationship seems to develop between journalist and subject. The two men bob and weave around each other, sharing laughs and also possibly revealing hidden frailties - but it's never clear how truthful they are being with each other. Ironically, the interview was never published, and five days of audio tapes were packed away in Lipsky's closet. The two men did not meet again. The film is based on Lipsky's critically acclaimed memoir about this unforgettable encounter, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, written following Wallace's 2008 suicide. Both Segel and Eisenberg reveal great depths of emotion in their performances and the film is directed with humor and tenderness by Sundance vet James Ponsoldt from Pulitzer-Prize winner Donald Margulies' insightful and heartbreaking screenplay.
The End of the Tour is a wonderfully acted, poignant, must-see film based on the 2010 book Although of Course You End Up Becoming Yourself. There. I got that part out of the way. Go see it. It is very good.
You're going to feel like the film is talking to you. Like it knows your story. Like it can see into your mind. Seriously. It is that universal, and quintessentially American.
The End of the Tour is the story of a man trying to tell the story of another, more accomplished man, and in doing so, trying to make his own story better. The film unfolds from the point of view of David Lipsky (Jesse Eisenburg). Lipsky campaigned to write the first story in the magazine Rolling Stone about a gifted author, David Foster Wallace (Jason Segel). I got the impression that Lipsky didn't admire Wallace so much as he envied Wallace. Wallace was everything that Lipsky wanted to be, everything Lipsky had attempted to be, but missed the mark. It was as if Lipsky was trying to capture the essence of Wallace, for his own gain. It makes for some very interesting narratives between the two.
That's what the film is, a series of narratives over a marathon, five day interview. Lipsky interviewing Wallace. The narrative runs the gamut. Sometimes the topics of the narrative are light. Sometimes they are heavy. Sometimes they are about nothing at all. But whatever the topic, none of them are meaningless to the story.
The narrative is all about what we think we want out of our of lives, what we actually want out of our lives and what we do when what we think we wanted out of our lives isn't really what makes us happy. It seems that everyone wants what someone else has. The narrative is beautifully executed by Segel and Eisenburg. Segel's performance is the best of his career. If nothing else about The End of the Tour interests you, Segel's performance is still worth the price of admission.
It is a worthwhile watch. I'm sure everyone will take something from the film. I found myself engrossed in the interview and the give and take. See The End of the Tour playing in theaters now.
THE END OF THE TOUR tells the story of the five-day interview between Rolling Stone reporter (and novelist) David Lipsky (Jesse Eisenberg) and acclaimed novelist David Foster Wallace (Jason Segel), which took place right after the 1996 publication of Wallace's groundbreaking epic novel, Infinite Jest. As the days go on, a tenuous yet intense relationship seems to develop between journalist and subject. The two men bob and weave around each other, sharing laughs and also possibly revealing hidden frailties - but it's never clear how truthful they are being with each other. Ironically, the interview was never published, and five days of audio tapes were packed away in Lipsky's closet. The two men did not meet again. The film is based on Lipsky's critically acclaimed memoir about this unforgettable encounter, Although Of Course You End Up Becoming Yourself: A Road Trip with David Foster Wallace, written following Wallace's 2008 suicide. Both Segel and Eisenberg reveal great depths of emotion in their performances and the film is directed with humor and tenderness by Sundance vet James Ponsoldt from Pulitzer-Prize winner Donald Margulies' insightful and heartbreaking screenplay.
WRITTEN BY: Donald Margulies STARRING: Jesse Eisenberg, Jason Segel, Anna Chlumsky, Joan Cusack, Mamie Gummer, Mickey Sumner RUN TIME: 106 minutes RELEASE DATE: July 31, 2015 (NY & LA), August 2015 (Expansion) OFFICAL SITES:Website | Facebook | Twitter
CLICK Movie Poster below to grab your passes!!
August 10th at Edwards Greenway Grand Palace
These tickets are on a first come, first serve not guaranteed basis. Arrive early to secure your seats.
Directed By: Asif Kapadia Produced By: James Gay-Rees Release Date: July 3, 2015 (NY & LA), July 10, 2015 (Nationwide) Running Time: 128 minutes Rating: R for language and drug material
From BAFTA Award-winning director Asif Kapadia (SENNA), AMY tells the incredible story of six-time Grammy-winner Amy Winehouse – in her own words. Featuring extensive unseen archival footage and previously unheard tracks, this strikingly modern, moving and vital film shines a light on the world we live in, in a way that very few can.
A once-in-a-generation talent, Amy Winehouse was a musician that captured the world’s attention. A pure jazz artist in the most authentic sense – she wrote and sung from the heart using her musical gifts to analyze her own problems. The combination of her raw honesty and virtuosity resulted in some of the most unique and adored songs of the modern era.
But her massive success resulted in relentless and invasive media attention, which coupled with Amy’s troubled relationships and precarious lifestyle, saw her life tragically begin to unravel, resulting in her untimely death in July 2011 at the age of 27.
Amy a documentary based on the talented and tragic life of Amy Winehouse, a British music icon who died too young. This is a true documentary. As far as I could tell, none of the film was scripted. There are no actors. The film follows her rise to stardom and her brief life.
The film starts on a grainy piece of footage from Amy's youth. She is singing to the camera, and, basically being a teenager. It should be noted that when I write about a celebrity, I refer to them by their last name. I will say "Paccino" or "Witherspoon", or something of the like. I mean to imply respect. I don't know any of them. Amy Winehouse, I'm going to call Amy because after the film, I almost feel like I know her. And that is what is so moving about Amy. It will draw you in, introduce you to Amy (and her demons), and it will take her away. So, I'm calling her Amy.
As I was saying, the film starts with grainy camcorder footage from Amy's youth. There will be some grainy footage throughout the film. Don't let that bother you. It adds to the rawness of it. Amy wasn't being filmed for a documentary about her life, it just happens to be the digital age. There are cameras everywhere. Her life was captured by cell phone video, camcorder, backstage cameras or paparazzi lenses. All of it made the film, in varying degrees.
After a few snippets of Amy's youth, the film does the necessary job of introducing all of characters in Amy's life. You will meet her friends, her father, her ex-husband and celebrities who worked with Amy. Like a traditional fictional film, there are heroes and villains. You can decide where each of the characters fit.
Through the different characters, and through Amy's words, the film shows the many wrong turns she took. It seemed that every time she could have saved herself, she ran in the opposite direction. When she was alive, I didn't follow Amy much. It seemed like the only stories that made the news and the only images shown of her involved some self-destruction. I didn't want to see that. The film opened my mind as to the causes of her behavior.
It was very sad. Amy wasn't just a drug addict and an alcoholic, she was a wounded soul. And you will be able see it all, right up to her death, on the big screen.
I appreciated the intimacy. I appreciated that there was little narrative. I appreciated that no one told me who the heroes and who the villains were, so I could choose.
The music sounded wonderful in the theater. I had forgotten her wonderful sound. Largely, I had forgotten Amy. This film does a tasteful and respectable job of bring her back. I highly recommend it. If you ever loved her music, or if you used to tune her out as I did, you will still appreciate this compressing look at Amy. Don't take my word for it, rediscover Amy for yourself when it opens on July 10.
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