SIFF Review: Another Evil

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There are things in this world more problematic and scary than being haunted by ghosts. One of those things is realizing you accidentally hired an unhinged person to provide a home service for you. Another Evil, a character-driven horror comedy written and directed by Carson Mell (writer for HBO’s Silicon ValleyEastbound & Down), has ghosts in it, but they mostly exist to set events in motion. The real meat of the film involves the man who has dedicated his life to exterminating them. Even in a universe in which ghosts unequivocally exist, it takes a special brand of nutcase to choose a career in ghost hunting…

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SIFF Review: The Lure

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Mermaid stories have never been the most feminist of folktales. They’re either presented as evil temptresses with the sole intent of luring men to their doom, or as lonely creatures who are themselves drawn to land by a strange man, never hesitating to give up everything to be with someone who barely registers their existence. Polish horror rock opera, The Lure, is a bit of both, but with some extremely creative motifs and appropriately alluring imagery to make the more misogynistic aspects of being a fish lady more palatable…

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Double SIFF Review: Frank & Lola; Microbe and Gasoline

Frank & Lola

Matthew M. Ross wrote and directed his debut feature about two emotionally raw people (Michael Shannon and Imogen Poots) who fall hard before letting their troubled pasts erode their relationship. Despite the title, the script sticks with Frank’s point of view, shifting the tone mid-way from indie romance to psychosexual thriller as he seeks to learn the full story behind Lola’s trepidation. Shannon and Poots are so natural in their roles that some of the noir contrivances seem unbefitting. But viewed as a fable about the perils of male jealousy and having a sense of entitlement over the women they love, it works.

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Microbe & Gasoline

Michel Gondry’s most personal, reality-based film to date follows two teenage misfits who embark on a road trip through rural France to escape their troubled lives. Daniel, a.k.a. Microbe, is ridiculed for being small and feminine. He’s a loner who spends his days drawing wanking material. His life changes when he meets Theo, an older transfer student, dubbed Gasoline for his omnipresent odor, thanks to his mechanical tinkering. The boys disguise their car as a small house to remain “inconspicuous” on their journey, with mixed results. This time, Gondry leaves the creativity and whimsy to his characters, resulting in his best work in ages.

Originally published on Hammer to Nail.

SIFF Review: The Return

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Despite our founding principals, the United States is generally terrible at taking care of our own, especially if they suffer from mental illness or addiction. Newly released prisoners are just one of the many groups the system fails on a regular basis. Kelly Duane de La Vega and Katie Galloway’s vital documentary, The Return, details just one aspect of the myriad flaws in the American criminal justice system.

Following the voter-approved repealing of California’s Prop 184, also known as the Three Strikes Law, thousands of non-violent prisoners with life-sentences suddenly qualified for appeals. But you can’t strip someone of their humanity, as our prison system does, then dump them on the outside and expect them to thrive…

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SIFF Review: The Family Fang

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Jason Bateman is no stranger to the aggravation of selfish, irresponsible parents. On Arrested Development, he played arguably the most put-upon son in television history. Bateman returns to the well for his second directorial outing, adapting Kevin Wilson’s novel, The Family Fang. Bateman and Nicole Kidman play a pair of adult siblings who are developmentally arrested by their childhood spent being the unwitting participants in their parents’ surreptitious public art performances. Think the lesson pranks George Bluth paid J. Walter Weatherman to pull on his children. Only this time, the intent is a lot less explicit and the emotional consequences much less humorous…

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SIFF Review: The Joneses

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It shouldn’t be too much to ask of the world to let us live our truth. And yet, for Jheri Jones, and an estimated .3% of American adults identifying as transgender, it often seems an insurmountable request. It wasn’t until Jheri stopped waiting for permission that she could be truly happy. Moby Longinotto’s poignant, heartfelt, and often hilarious documentary, The Joneses, follows transgender matriarch Jheri and her family during another period of transition. Jheri struggles to find the right moment to tell her story to the grandchildren who’ve only ever known her as Grandma. Meanwhile, one of her sons, inspired by Jheri’s bravery, decides to stop hiding his true self. It’s a story filled with equal parts heartbreak and redemption, but, most importantly, it has something missing from far too many stories about transgender Americans: Hope…

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Film Review: Other People

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There have been so many movies made about people dying of cancer; it’s practically become its own genre. Some films are melodramatic almost to the point of glamorizing the disease, as the beautiful stars remain beautiful to their last breaths, spouting tearful platitudes and seeming almost wistful about their imminent demises. Some films are, thankfully, more truthful portrayals of how this all-too common disease absolutely demolishes the lives of anyone it touches. Chris Kelly’s phenomenal debut feature, Other People, not only falls into the latter category, it epitomizes it. In this semi-autobiographical tragicomedy, Jesse Plemons (TVs Fargo, Breaking Bad) plays David, a thirty-year-old New York Based television writer who returns to his hometown of Sacramento to help care for his mother (Molly Shannon, Saturday Night Live, Wet Hot American Summer), who is dying of a rare and particularly aggressive form of skin cancer. David struggles not only to come to terms with his mother’s condition, but also to connect with his younger sisters (Maude Apatow and Madisen Beaty) and his father (Bradley Whitford, TVs Transparent and The West Wing) who refuses to acknowledge the fact that his son is gay. The title refers to the fact that cancer is the sort of thing that happens to “other people”, only now, they are the other people.

Other People is the sort of movie that I find it hard to recommend, because despite the fact it is an outstanding movie, it will also ruin your day, especially if you’ve seen a loved through terminal cancer. There are moments that are practically unbearable to watch, because of their haunting accuracy. But despite the fact that you will need an entire box of tissues to make it through this movie, there are well-timed moments of levity, preventing the characters from tumbling into the abyss of despair. These moments happen organically as they do in life. A tone-deaf acquaintance interrupts David as he’s telling his friends about his mother’s condition, ignoring the tears in everyone’s eyes and hijacking the conversation with her own “struggles”. David finds his parents in jovial hysterics after having eaten too much pot butter. An amusingly self-assured pre-teen (J.J. Totah) converses with David when he comes to visit his older brother, David’s childhood friend. Later, said pre-teen puts on a risqué, Lady Gaga-esque show stopping number at his dad’s birthday party. Jokey exchanges between characters lighten the mood. David’s grandparents (June Squibb and Paul Dooly) make endearingly off-color comments, as only grandparents can. Molly Shannon’s character, Jo, is herself a hilarious person until she becomes too sick to make jokes.

As he cares for his mother, David also struggles to find a writing job, deals with the aftermath of a long-term relationship, and has an epically disastrous OK Cupid date. Even as his mother’s life is nearing an end, David’s must go on. But he finds it understandably difficult to do anything other than try to process the fact that he is about to lose the only person in his life who loves him unconditionally. His biggest challenge is to figure out how to keep his mother’s memory with him after she is gone. Shannon and Plemons have phenomenal mother/son chemistry and their scenes together are the heart of the film.

The film does end on a slight up-note (as up a note as a movie like this can possibly strike). But you’re going to be ugly-crying until the credits roll. Just be prepared for that. Other People is a truly fantastic film. It’s raw, poignant, hysterical, and so dreadfully authentic. I do hope, for Chris Kelly’s sake, that his next film is inspired by a much nicer life experience.

SFIFF Review: Counting

(The 59th San Francisco International Film Festival ran April 21-May 5.)

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Counting is a difficult film to pin down. But that’s precisely what makes it so engaging. All films are art to some extent (for better or worse). But typically, the narrative is the main focus. In Jem Cohen’s latest film, the art is the focus, made all the more so by the lack of narrative and the frequently incongruent audio. Shot primarily in New York City, Moscow, Istanbul, and Sharja, Counting often feels like a travel diary wherein the traveler is the camera itself and Cohen is a ghost who pops up from time to time.

The film is broken into 15 parts, each beginning with a title and ending with the date and city in which the footage was shot. Sometimes the segment has a postscript such as in part 2: “A Day is Long”… “But a lifetime is short.” The titles are a mantra – something on which to ruminate or puzzle over during the segment. You begin to notice recurring motifs such as travel (planes, trains and automobiles) – but always with the camera trained out the window to catch the passing scenery; frequent shots of new construction contrast with neglected buildings and sidewalks; people hustle and bustle through the streets, passing static vagrants and paying them no mind; nature pushes through concrete, fighting for the right to exist; cats abound…

Read the rest at Hammer to Nail!

Hammer to Nail Review: Restoration

posterrestoration

Horror fans (myself included) know that it’s tough to keep the water in the well fresh. We tend to be very forgiving about this, however, because our love for the genre is pure. Zach Ward’s feature directing debut, Restoration, is built with a familiar framework. A young couple buys a house, which turns out to be haunted by the ghost of a little girl who perished under mysterious circumstances. But Ward is clearly studied. He understands, and utilizes, that winning formula. And then he makes it his own by adding a few twists and turns and spending some time on character development, so that you really feel for the protagonists by the time you reach the heart-pounding third act.

Becca (Emily O’Brien) and Todd (Adrian Gaeta) have just moved to town for Becca’s residency at the local hospital. Something our presidential candidates have failed to address during their campaigns is the fact that lower-income people are always stuck buying the haunted fixer-uppers. Fortunately, Todd is handy, so he takes it upon himself to make the place livable while Becca goes off to work the most stressful job in the universe, dealing with trauma patients. One day, Todd finds the world’s creepiest teddy bear hidden inside one of the walls, and hidden inside that is the 30-year-old diary once belonging to a little girl named Katie…

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Hammer to Nail Review: Pop Meets the Void

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William Cusick wrote, directed, and starred in Pop Meets the Void, a genre-bending feature about a musician who constantly floats between fantasy realms and alternate realities. At least, I think that’s what is happening. The true reality of the protagonist is never explicit. He could be a slovenly, bearded man recording demos in his squalid basement apartment. Or he could be a clean-shaven office drone with half-hearted musical aspirations, a daughter trying to break into acting, and an existentially conflicted wife. He could instead be an international musical sensation, longing to return to a life of obscurity. Or possibly all of these versions of himself exist only in the mind of a man trapped in a sort of musical purgatory, attempting various methods of suicide when he’s not, NOT composing.

Pop Meets the Void is not as confusing as it sounds, but it definitely leaves much open to interpretation. The narrative takes a backseat to the visuals and satirical dialogue. Each realm has a distinct look (and not just because of changing facial hair), but they’re all tied together with ever-present rainbow fractal motion graphics. Sometimes the graphics accentuate the background. Other times they take over the entire frame. It’s more than eye candy but less than a feast; A snack for the eyes, if you will…

Read the rest at Hammer to Nail!

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