AICN,
Uncle B(ukkake) here with reviews of the remaining flicks I watched at this year's festival:
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how society and media influence/shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). Esther (Julianne Moore, always interesting) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Speaking of "The Descendants," "The Way, Way Back" is an uneven comedy from two of the three writers of that movie. This "coming of age" flick concentrates on Duncan (Liam James), a teenager dealing with divorce and a miserable summer vacation with his mom (Toni Collette, underutilized) and "new dad" (Steve Carrell, playing a completely underdeveloped and nasty character). This movie felt fragmented from the outset. The family sequences are melodramatic and predictable. By contrast, the water park scenes, wherein Duncan escapes the aforementioned family drama, are whimsical, clever, and (most importantly) very entertaining - especially once Duncan meets Owen (a never better Sam Rockwell). Liam James has far less screen charisma than Miles Teller, but his interactions with Sam Rockwell are worth the price of admission. Sam Rockwell needs to be in many more movies.
"Sweetwater" is a revenge tale set in the Old West. Sarah (January Jones, as dry and wooden as ever) plays a newlywed seeking revenge when her new husband is murdered by the town's "prophet," Josiah (Jason Isaacs, who wonderfully chews up every scene he inhabits). There is nothing memorable about this movie other than the supporting role from Ed Harris, who plays Sheriff Jackson with a "tongue and cheek" gusto as he pieces together the numerous murder mysteries that plague this town.
"The Look of Love" is a curious biopic of Paul Raymond, who created the first "gentleman's club" in England in the late 1950's. I am a fan of Steve Coogan's prior work. However, his portrayal of Paul Raymond is puzzling in that he never seems to delve below the surface of Paul's obsessions with sex, fame, and wealth. Even the sequences between Paul and his daughter (who appears to be the only person that consistently remained in his life) are less moving than I expected. Paul Raymond is not particularly interesting as a character study, and this type of material has already been handled far more effectively in "The People v. Larry Flynt." A definite disappointment.
I was also not impressed with the latest features from two Sundance "darlings" - Lynn Shelton ("Touchy Feely") and Drake Doremus ("Breathe In"). "Touchy Feely" is a character study of a brother, Paul (a dentist played by Josh Pais) and sister, Abby (a massage therapist played by Rosemarie DeWitt). Abby, the free spirit, loses the desire for bodily contact, while Paul develops the ability to heal his patients of various ailments. Lynn Shelton's apparent exploration of "identity crisis" was lost on me, but the movie does include a strong supporting performance from Ellen Page (playing Paul's daughter), who suffers a crisis of her own that is far more compelling and believable than either lead character. I had a slightly more positive reaction to "Breathe In," but the subject matter (Guy Pearce suffers a midlife crisis and falls for Felicity Jones, a British exchange student who is staying with his family for a semester) was a major turnoff and proved tedious after the first act. There is no question that Drake Doremus is a talented director but this script was far too concerned with the prurient details of the aforementioned indiscretions than any rationale for the behavior.
Which brings us to "Upstream Color," the technically accomplished but narratively obtuse film from director Shane Carruth. His last film, "Primer" won the grand jury prize at Sundance, but his latest flick is sure to polarize audiences. There is no denying that Shane Carruth is an artist. His new film attempts to explore memory and mind control, as well as the various ways that memory can be manipulated, stolen, repressed, or lost. However, this film left me utterly frustrated and with more questions than answers (which was perhaps the point). That said, there are enough inspired sequences and powerful images throughout this mind bender for me to ultimately recommend this film. Moreover, lead actress, Amy Seimetz (playing Kris) is a revelation. Even when Shane Carruth has the audience scratching its collective head, Amy Seimetz's performance is captivating. This is a film I will revisit.
-Uncle B
Sunday, January 27, 2013
Saturday, January 26, 2013
Look of Love
Review to be completed, enjoy the official synopsis for now:
2013, 105 minutes, color & b/w, United Kingdom
Welcome to the scandalous world of Paul Raymond, entrepreneur, impresario, and the “king of Soho.” Seeing mediocrity in the smutty sex parlors of London, Raymond unveils his first “gentlemen’s club” in 1958 and gradually builds an empire of clubs and erotic magazines that brings him vast wealth while affronting British sexual mores. It also brings a litany of obscenity charges, a failed marriage, troubled children, and personal tragedy.
From a layered script by Matt Greenhalgh, Michael Winterbottom’s creative approach is energetic and inspired. Starting in black and white, the film’s aesthetic transforms over time, mirroring the cinema styles of each period (with a soundtrack that follows suit).
After struggling for years to bring Raymond’s story to the screen, Steve Coogan delivers a remarkable performance in a dramatic role sure to reframe his career. Was the man who railed against social hypocrisies simply a hypocrite himself? Coogan fully inhabits this complicated and contradictory man who seems almost tragic, invoking Oscar Wilde’s remark, “We are all in the gutter, but some of us are looking at the stars.”
Director: Michael Winterbottom
Screenwriter: Matt Greenhalgh
Executive Producers: Andrew Eaton, Jenny Borgars, Katherine Butler, Norman Merry, Danny Perkins, Piers Wenger
Producer: Melissa Parmenter
Cinematographer: Hubert Taczanowski
Editor: Mags Arnold
Production Designer: Jacqueline Abrahams
Composers: Antony Genn, Mark Slattery
Principal Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton
2013, 105 minutes, color & b/w, United Kingdom
Welcome to the scandalous world of Paul Raymond, entrepreneur, impresario, and the “king of Soho.” Seeing mediocrity in the smutty sex parlors of London, Raymond unveils his first “gentlemen’s club” in 1958 and gradually builds an empire of clubs and erotic magazines that brings him vast wealth while affronting British sexual mores. It also brings a litany of obscenity charges, a failed marriage, troubled children, and personal tragedy.
From a layered script by Matt Greenhalgh, Michael Winterbottom’s creative approach is energetic and inspired. Starting in black and white, the film’s aesthetic transforms over time, mirroring the cinema styles of each period (with a soundtrack that follows suit).
After struggling for years to bring Raymond’s story to the screen, Steve Coogan delivers a remarkable performance in a dramatic role sure to reframe his career. Was the man who railed against social hypocrisies simply a hypocrite himself? Coogan fully inhabits this complicated and contradictory man who seems almost tragic, invoking Oscar Wilde’s remark, “We are all in the gutter, but some of us are looking at the stars.”
Director: Michael Winterbottom
Screenwriter: Matt Greenhalgh
Executive Producers: Andrew Eaton, Jenny Borgars, Katherine Butler, Norman Merry, Danny Perkins, Piers Wenger
Producer: Melissa Parmenter
Cinematographer: Hubert Taczanowski
Editor: Mags Arnold
Production Designer: Jacqueline Abrahams
Composers: Antony Genn, Mark Slattery
Principal Cast: Steve Coogan, Anna Friel, Imogen Poots, Tamsin Egerton
Uncle B Approves - The Spectacular Now and Don Jon's Addiction
AICN,
Uncle B(ukkake) here with reviews of two flicks that each concern polarizing lead characters.
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how societal/media influences shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). The character played by Julianne Moore (always great) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Uncle B(ukkake) here with reviews of two flicks that each concern polarizing lead characters.
"The Spectacular Now" is a terrific meditation on adolescence and all of the uncertainty, fear, bravado, and pain that accompany youth. This film is from the director of "Smashed" and the writers of "500 Days of Summer" - both excellent films which made this a "must see" for me at the festival. I was initially disappointed that this film centered around Sutter Keely (played quite effectively by Miles Teller), who is completely self-absorbed and jerky. Director James Ponsoldt expects this initial reaction from the audience and uses it to his advantage. Once Sutter meets Aimee Finicky (an amazing Shailene Woodley) - in a memorable introduction - we recognize that there are deeper (albeit torn) layers to Sutter that were not immediately apparent. Although the audience is as skeptical of Sutter's intentions with Aimee as their respective friends (and there is reason for this apprehension), they do successfully act as a necessary catalyst for each other. Their misadventures include an extended sequence with Sutter's father that is ultimately transcendent. Another exceptional scene involves Sutter's boss, played by the always dependable Bob Odenkirk, which is so simple in execution but revelatory of Sutter's growth. Shailene Woodley has the less showy role, but emerges as a major talent (following "The Descendants"). Her blind devotion to Sutter is heartbreaking - particularly during a great scene following her prom. Shailene's final shot in the movie is reminiscent of the closing shot in "The Graduate" and will divide audiences as to its ultimate intention (although I think the physical gestures give it away). James Ponsoldt is the real deal - a director I will be following.
"Don Jon's Addiction" is the first time feature from actor Joseph Gordon-Levitt, who also plays the lead, Jon Martello. Similar to Sutter's introduction, Jon is initially portrayed as nothing more than an arrogant simpleton. Jon is a Jersey boy, hitting up clubs, chasing girls, and watching an unhealthy (is there such a thing?) amount of online pornography. The script, also from Gordon-Levitt, surprisingly manages to mine lots of comedy from this premise, and Gordon-Levitt shows definite promise as both a writer and director. Gordon-Levitt is clearly fascinated with how societal/media influences shape our personalities, actions, and mannerisms. I laughed quite a bit during this movie, especially during Jon's family dinners (Tony Danza, as Jon's father, is terrific). The character played by Julianne Moore (always great) is key to Jon's transformation, but the final act is just not as powerful as the "punch" delivered by "The Spectacular Now." "Don Jon's Addiction" will be a difficult sell to mainstream audiences (given the subject matter), not to mention the ratings board, but Gordon-Levitt has a unique and honest voice behind the camera. Uncle B approves.
Way, Way Back
Review to be completed, enjoy the official synopsis for now:
2013, 96 minutes, color, U.S.A.
The Way, Way Back tells the story of 14-year-old Duncan’s awkward, funny, and sometimes painful summer vacation with his mother, Pam, her overbearing boyfriend, Trent, and his daughter, Steph. Although Duncan has a tough time fitting in and finding his place, he does find an unlikely ally and mentor in Owen, a carefree employee at the local water park where Duncan gets a job. Over the course of the summer, as his mother drifts further away, Duncan—with encouragement from Owen—begins to open up and come into his own.
Mining the caverns of human vulnerability for the humor necessary to make life bearable, first-time directors Nat Faxon and Jim Rash have transformed their terrific screenplay into a bittersweet comedy that is both charming and insightful. Boasting an extraordinary ensemble of some of the most revered actors working today, as well as a young actor destined to join their ranks, The Way, Way Back brims with nostalgia for the magical time of adolescence, as well as the great coming-of-age films of the 1980s that captured its wide-eyed confusion and wonder.
Directors: Nat Faxon, Jim Rash
Screenwriters: Nat Faxon, Jim Rash
Executive Producers: Ben Nearn, Gigi Pritzker, George Parra
Producers: Kevin J. Walsh, Tom Rice
Cinematographer: John Bailey
Editor: Tatiana S. Riegel
Production Designer: Mark Ricker
Costume Designers: Ann Roth, Michelle Matland
Principal Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James
2013, 96 minutes, color, U.S.A.
The Way, Way Back tells the story of 14-year-old Duncan’s awkward, funny, and sometimes painful summer vacation with his mother, Pam, her overbearing boyfriend, Trent, and his daughter, Steph. Although Duncan has a tough time fitting in and finding his place, he does find an unlikely ally and mentor in Owen, a carefree employee at the local water park where Duncan gets a job. Over the course of the summer, as his mother drifts further away, Duncan—with encouragement from Owen—begins to open up and come into his own.
Mining the caverns of human vulnerability for the humor necessary to make life bearable, first-time directors Nat Faxon and Jim Rash have transformed their terrific screenplay into a bittersweet comedy that is both charming and insightful. Boasting an extraordinary ensemble of some of the most revered actors working today, as well as a young actor destined to join their ranks, The Way, Way Back brims with nostalgia for the magical time of adolescence, as well as the great coming-of-age films of the 1980s that captured its wide-eyed confusion and wonder.
Directors: Nat Faxon, Jim Rash
Screenwriters: Nat Faxon, Jim Rash
Executive Producers: Ben Nearn, Gigi Pritzker, George Parra
Producers: Kevin J. Walsh, Tom Rice
Cinematographer: John Bailey
Editor: Tatiana S. Riegel
Production Designer: Mark Ricker
Costume Designers: Ann Roth, Michelle Matland
Principal Cast: Steve Carell, Toni Collette, Allison Janney, Sam Rockwell, Maya Rudolph, Liam James
Don Jon's Addiction
Don Jon's Addiction is written, directed by and stars Joseph Gordon-Levitt. This film depicts addiction, it's meaning and redemption through the use of pornography, light violence and comedy. Seems like a weird mix I know.
Gordon-Levitt plays Jon, a Jersey-ish character who can't seem to find a woman to satisfy himself mentally and physically like he gets watching pornography. Even when he brings home a supposed "10" played by Scarlett Johansen, he still needs the porn to feel satisfied. When confronted about this behavior Jon swears off the porn to keep Johansen's character from leaving him but simply changes tactic. Eventually she breaks up with him over it. In steps Julianne Moore as an older student and after a few missteps her character and Jon begin a meaningless affair. One day during their activities, she challenges him to give up porn. He tries to and has a hard time with it (pun). The catalyst comes from Moore who talks to him about why porn is a one-sided disconnected feeling. Additionally she indicates that Johansen's character had a similar mentality because she expected to be treated like a queen. I do not want to trivialize what happens but the redemption is apparent rather quickly with Jon realizing that in order to feel the way he expects he needs to loose himself in his partner which leads to a healthy relationship.
I give this film 4 thumbs up. Enjoy it in a theater when it comes out in July with some friends who can handle the concept of porn. This film was purchased for $4 million and has a $25 million marketing commitment. I wonder how the ratings board will rate this and if it gets as wide a release as Gordon-Levitt expects.
Official synopsis:
2013, 90 minutes, color, U.S.A.
Jon Martello objectifies everything in his life: his apartment, his car, his family, his church, and, of course, women. His buddies even call him Don Jon because of his ability to pull “10s” every weekend without fail. Yet even the finest flings don’t compare to the transcendent bliss he achieves alone in front of the computer watching pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love through relationships with two very different women.
Crass, funny, and startlingly sincere, Joseph Gordon-Levitt’s Don Jon’s Addiction resonates with its utterly authentic realization of people and place, transcending New Jersey stereotypes by infusing its characters with tantalizing complexities. Gordon-Levitt’s chemistry with costars Scarlett Johansson and Julianne Moore ignites the screen with heat and emotion. With abundant charm and formidable wit, Don Jon’s Addiction marks the evolution of an incredibly talented actor into a truly gifted writer/director.
Director: Joseph Gordon-Levitt
Screenwriter: Joseph Gordon-Levitt
Executive Producer: Nicolas Chartier
Producer: Ram Bergman
Cinematographer: Thomas Kloss
Editor: Lauren Zuckerman
Production Designer: Meghan C. Rogers
Composer: Nathan Johnson
Principal Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown
Gordon-Levitt plays Jon, a Jersey-ish character who can't seem to find a woman to satisfy himself mentally and physically like he gets watching pornography. Even when he brings home a supposed "10" played by Scarlett Johansen, he still needs the porn to feel satisfied. When confronted about this behavior Jon swears off the porn to keep Johansen's character from leaving him but simply changes tactic. Eventually she breaks up with him over it. In steps Julianne Moore as an older student and after a few missteps her character and Jon begin a meaningless affair. One day during their activities, she challenges him to give up porn. He tries to and has a hard time with it (pun). The catalyst comes from Moore who talks to him about why porn is a one-sided disconnected feeling. Additionally she indicates that Johansen's character had a similar mentality because she expected to be treated like a queen. I do not want to trivialize what happens but the redemption is apparent rather quickly with Jon realizing that in order to feel the way he expects he needs to loose himself in his partner which leads to a healthy relationship.
I give this film 4 thumbs up. Enjoy it in a theater when it comes out in July with some friends who can handle the concept of porn. This film was purchased for $4 million and has a $25 million marketing commitment. I wonder how the ratings board will rate this and if it gets as wide a release as Gordon-Levitt expects.
Official synopsis:
2013, 90 minutes, color, U.S.A.
Jon Martello objectifies everything in his life: his apartment, his car, his family, his church, and, of course, women. His buddies even call him Don Jon because of his ability to pull “10s” every weekend without fail. Yet even the finest flings don’t compare to the transcendent bliss he achieves alone in front of the computer watching pornography. Dissatisfied, he embarks on a journey to find a more gratifying sex life, but ends up learning larger lessons of life and love through relationships with two very different women.
Crass, funny, and startlingly sincere, Joseph Gordon-Levitt’s Don Jon’s Addiction resonates with its utterly authentic realization of people and place, transcending New Jersey stereotypes by infusing its characters with tantalizing complexities. Gordon-Levitt’s chemistry with costars Scarlett Johansson and Julianne Moore ignites the screen with heat and emotion. With abundant charm and formidable wit, Don Jon’s Addiction marks the evolution of an incredibly talented actor into a truly gifted writer/director.
Director: Joseph Gordon-Levitt
Screenwriter: Joseph Gordon-Levitt
Executive Producer: Nicolas Chartier
Producer: Ram Bergman
Cinematographer: Thomas Kloss
Editor: Lauren Zuckerman
Production Designer: Meghan C. Rogers
Composer: Nathan Johnson
Principal Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Rob Brown
Friday, January 25, 2013
The Spectacular Now
This film starts out like any teen movie with introductions to the cool kid and his girlfriend. Parties, booze, sex - it's there and set up in such a way to make you already loathe these kids. This of course is done on purpose to allow the viewer to witness the growth and redemption of the main lead character Sutter, played by Miles Teller. This could be classified as a coming of age story for Sutter - growing up without a father, feeling unloved from those around him, and coming to terms with his alcoholism to ultimately appreciate and recognize he is worthy of being loved and just couldn't recognize the love given by others.
In this film the main catalyst for his change is presented in the form of the beautiful and endearing Aimee, played by the capable and sincere Shailene Woodley of "The Descendants". She has grown her craft since that movie and her wonder, innocence, charm and love are very clearly communicated in a masterful sense to the audience. Aimee loves Sutter - Sutter loves Aimee in his own way. Aimee can see the greatness in Sutter even when the audience cannot. She gives herself to him with innocence maintained even through some horrible scenes where her character is clearly slighted.
Jennifer Jason Leigh is unremarkable and even more so unrecognizable. Mary Elizabeth Winstead is briefly present and clearly emotionally challenged as Sutter. Kyle Chandler plays his part extremely well as Sutters absent addict father - a far meatier role than in this years "zero dark thirty". Brie Larson is in the movie sporadically as Sutters ex girlfriend and although her role is small - it too is important to help Sutter realize his flaws and change.
The ending of the movie can be interpreted in many ways. I found myself arguing with my buddy about the meaning. You might as well - you are able to project all you know, or think you. Know, onto Sutter and Aimee to provide closure how you see fit.
I give this film four thumbs up - a definite must see!
Official synopsis:
2012, 95 minutes, color, U.S.A.
Sutter Keely lives in the now. It’s a good place for him. A high school senior, charming and self-possessed, he’s the life of the party, loves his job at a men’s clothing store, and has no plans for the future. A budding alcoholic, he’s never far from his supersized, whisky-fortified 7UP cup. But after being dumped by his girlfriend, Sutter gets drunk and wakes up on a lawn with Aimee Finicky hovering over him. Not a member of the cool crowd, she’s different: the “nice girl” who reads science fiction and doesn’t have a boyfriend. She does have dreams, while Sutter lives in a world of impressive self-delusion. And yet they’re drawn to each other.
Adapted from Tim Tharp’s novel, The Spectacular Now captures the insecurity and confusion of adolescence without looking for tidy truths. Young actors rarely portray teens with the maturity that Miles Teller and Shailene Woodley display, and they are phenomenal together. Funny, compassionate, and poignant, James Ponsoldt’s third feature again demonstrates his ability to lay bare the souls of his characters.
Director: James Ponsoldt
Screenwriters: Scott Neustadter, Michael H. Weber, based on the novel by Tim Tharp
Executive Producers: Scott Neustadter, Michael H Weber, Matthew Medlin, Marc Shmuger
Producers: Tom McNulty, Shawn Levy, Andrew Lauren, Michelle Krumm
Coproducers: Billy Rosenberg, Dan Cohen
Cinematographer: Jess Hall
Editor: Darrin Navarro
Composer: Rob Simonsen
Principal Cast: Miles Teller, Shailene Woodley, Brie Larson, Jennifer Jason Leigh, Mary Elizabeth Winstead, Kyle Chandler
In this film the main catalyst for his change is presented in the form of the beautiful and endearing Aimee, played by the capable and sincere Shailene Woodley of "The Descendants". She has grown her craft since that movie and her wonder, innocence, charm and love are very clearly communicated in a masterful sense to the audience. Aimee loves Sutter - Sutter loves Aimee in his own way. Aimee can see the greatness in Sutter even when the audience cannot. She gives herself to him with innocence maintained even through some horrible scenes where her character is clearly slighted.
Jennifer Jason Leigh is unremarkable and even more so unrecognizable. Mary Elizabeth Winstead is briefly present and clearly emotionally challenged as Sutter. Kyle Chandler plays his part extremely well as Sutters absent addict father - a far meatier role than in this years "zero dark thirty". Brie Larson is in the movie sporadically as Sutters ex girlfriend and although her role is small - it too is important to help Sutter realize his flaws and change.
The ending of the movie can be interpreted in many ways. I found myself arguing with my buddy about the meaning. You might as well - you are able to project all you know, or think you. Know, onto Sutter and Aimee to provide closure how you see fit.
I give this film four thumbs up - a definite must see!
Official synopsis:
2012, 95 minutes, color, U.S.A.
Sutter Keely lives in the now. It’s a good place for him. A high school senior, charming and self-possessed, he’s the life of the party, loves his job at a men’s clothing store, and has no plans for the future. A budding alcoholic, he’s never far from his supersized, whisky-fortified 7UP cup. But after being dumped by his girlfriend, Sutter gets drunk and wakes up on a lawn with Aimee Finicky hovering over him. Not a member of the cool crowd, she’s different: the “nice girl” who reads science fiction and doesn’t have a boyfriend. She does have dreams, while Sutter lives in a world of impressive self-delusion. And yet they’re drawn to each other.
Adapted from Tim Tharp’s novel, The Spectacular Now captures the insecurity and confusion of adolescence without looking for tidy truths. Young actors rarely portray teens with the maturity that Miles Teller and Shailene Woodley display, and they are phenomenal together. Funny, compassionate, and poignant, James Ponsoldt’s third feature again demonstrates his ability to lay bare the souls of his characters.
Director: James Ponsoldt
Screenwriters: Scott Neustadter, Michael H. Weber, based on the novel by Tim Tharp
Executive Producers: Scott Neustadter, Michael H Weber, Matthew Medlin, Marc Shmuger
Producers: Tom McNulty, Shawn Levy, Andrew Lauren, Michelle Krumm
Coproducers: Billy Rosenberg, Dan Cohen
Cinematographer: Jess Hall
Editor: Darrin Navarro
Composer: Rob Simonsen
Principal Cast: Miles Teller, Shailene Woodley, Brie Larson, Jennifer Jason Leigh, Mary Elizabeth Winstead, Kyle Chandler
Breathe In
Breath In is a movie from Drake Doremus, winner of the 2011 Sundance Film Festival Grand Jury Prize for Like Crazy. This film explores the themes of settling for a life you didn't think you would have and the passion that was in one's life and then fades away. This story is not wholly believable although well portrayed by skilled actors such as Guy Pearce and Felicity Jones. Pearce played the role well but you never walk away believing he was once a passionate artist. You mostly sympathize with him because of his downer and nag of a wife played by Amy Ryan. Their daughter played by Mackenzie Davis is just too tall and lanky to be taken seriously as a high school student and it is quite distracting.
Thrown into this family is the beautiful Felicity Jones. She appears as an exchange student from England visiting to take piano lessons at the school where Pearce is a teacher. Instantly her beauty and ability strike a chord in the sleepy Pearce's character and it awakens the passion he has missed.
Trying to convince his wife to move back to the city falls flat and it is then that Pearce's character turns to Jones' for the missing parts. Nothing gets too lurid between them but you can guess where it will lead. Everything blows up in the end and life is left passionless and accepted.
I give this movie 2 thumbs up and would recommend it as a rental for sure.
Official synopsis:
2012, 98 minutes, color, U.S.A.
As summer turns to fall, music teacher Keith Reynolds privately reminisces about his days as a starving artist in the city. While his wife, Megan, and daughter, Lauren, look forward to Lauren’s final year of high school, Keith clings to those evenings he’s asked to sub as a cellist with a prestigious Manhattan symphony. When Megan decides the family should host foreign exchange student Sophie, the British high school senior soon rekindles an impetuous aspect of Keith’s personality.
Drake Doremus, winner of the 2011 Sundance Film Festival Grand Jury Prize for Like Crazy, reunites with actress Felicity Jones and cowriter Ben York Jones for this passionate ensemble drama of family dysfunction. Ditching the hand-held aesthetic of his past works, Doremus conceives a grander story of love and heartache, only heightened by his lead character’s symphonic avocation, while maintaining his keen eye for intimate performance.
Director: Drake Doremus
Screenwriters: Drake Doremus, Ben York Jones
Producers: Jonathan Schwartz, Andrea Sperling, Steven Rales, Mark Roybal
Coproducers: Kathryn Dean, Michael Pruss
Cinematographer: John Guleserian
Editor: Jonathan Alberts
Production Designer: Katie Byron
Composer: Dustin O'Halloran
Principal Cast: Guy Pearce, Felicity Jones, Amy Ryan, Mackenzie Davis
Thrown into this family is the beautiful Felicity Jones. She appears as an exchange student from England visiting to take piano lessons at the school where Pearce is a teacher. Instantly her beauty and ability strike a chord in the sleepy Pearce's character and it awakens the passion he has missed.
Trying to convince his wife to move back to the city falls flat and it is then that Pearce's character turns to Jones' for the missing parts. Nothing gets too lurid between them but you can guess where it will lead. Everything blows up in the end and life is left passionless and accepted.
I give this movie 2 thumbs up and would recommend it as a rental for sure.
Official synopsis:
2012, 98 minutes, color, U.S.A.
As summer turns to fall, music teacher Keith Reynolds privately reminisces about his days as a starving artist in the city. While his wife, Megan, and daughter, Lauren, look forward to Lauren’s final year of high school, Keith clings to those evenings he’s asked to sub as a cellist with a prestigious Manhattan symphony. When Megan decides the family should host foreign exchange student Sophie, the British high school senior soon rekindles an impetuous aspect of Keith’s personality.
Drake Doremus, winner of the 2011 Sundance Film Festival Grand Jury Prize for Like Crazy, reunites with actress Felicity Jones and cowriter Ben York Jones for this passionate ensemble drama of family dysfunction. Ditching the hand-held aesthetic of his past works, Doremus conceives a grander story of love and heartache, only heightened by his lead character’s symphonic avocation, while maintaining his keen eye for intimate performance.
Director: Drake Doremus
Screenwriters: Drake Doremus, Ben York Jones
Producers: Jonathan Schwartz, Andrea Sperling, Steven Rales, Mark Roybal
Coproducers: Kathryn Dean, Michael Pruss
Cinematographer: John Guleserian
Editor: Jonathan Alberts
Production Designer: Katie Byron
Composer: Dustin O'Halloran
Principal Cast: Guy Pearce, Felicity Jones, Amy Ryan, Mackenzie Davis
Thursday, January 24, 2013
Upstream Color
Upstream Color is the second feature film of Shane Carruth. It boils down to an analysis of a circular chain of events that get thrown off course by the two leads meeting.
It is a hard movie to talk about because a lot of what you see is visual with a strange music behind it. The entire time I was watching it, my attention was held - which is good considering the long swaths of no dialog. I felt this easily could have been an X-Files movie if you only add in a few scenes of Mulder and Scully. A bit of sci-fi meets NCIS is a fair description. The lead actress was very striking inner performance and although Carruth acts, writes and directs - I would suggest he stay behind the camera instead of in front of it as he has an inconsistent delivery.
I give this movie three thumbs up out of four.
Official synopsis:
Kris is derailed from her life when she is drugged by a small-time thief. But something bigger is going on. She is unknowingly drawn into the life cycle of a presence that permeates the microscopic world, moving to nematodes, plant life, livestock, and back again. Along the way, she finds another being—a familiar, who is equally consumed by the larger force. The two search urgently for a place of safety within each other as they struggle to assemble the loose fragments of their wrecked lives.
Shane Carruth’s sensuously directed and much anticipated sophomore effort (his feature debut, Primer, won the Sundance Film Festival 2004 Grand Jury Prize) is a truly remarkable film that lies beyond the power of language to communicate while it delivers a cohesive sensory experience. With its muscular cinematic language rooted in the powerful yearnings felt before words can be formed, Upstream Color is an entirely original, mythic, romantic thriller that goes in search of truths that lie just beyond our reach.
Director: Shane Carruth
Screenwriter: Shane Carruth
Producers: Shane Carruth, Casey Gooden, Ben LeClair
Coproducers: Meredith Burke, Toby Halbrooks
Editors: David Lowery, Shane Carruth
Production Designer: Thomas Walker
Cinematographer/Music: Shane Carruth
Principal Cast: Amy Seimetz, Shane Carruth, Andrew Sensenig, Thiago Martins
It is a hard movie to talk about because a lot of what you see is visual with a strange music behind it. The entire time I was watching it, my attention was held - which is good considering the long swaths of no dialog. I felt this easily could have been an X-Files movie if you only add in a few scenes of Mulder and Scully. A bit of sci-fi meets NCIS is a fair description. The lead actress was very striking inner performance and although Carruth acts, writes and directs - I would suggest he stay behind the camera instead of in front of it as he has an inconsistent delivery.
I give this movie three thumbs up out of four.
Official synopsis:
Kris is derailed from her life when she is drugged by a small-time thief. But something bigger is going on. She is unknowingly drawn into the life cycle of a presence that permeates the microscopic world, moving to nematodes, plant life, livestock, and back again. Along the way, she finds another being—a familiar, who is equally consumed by the larger force. The two search urgently for a place of safety within each other as they struggle to assemble the loose fragments of their wrecked lives.
Shane Carruth’s sensuously directed and much anticipated sophomore effort (his feature debut, Primer, won the Sundance Film Festival 2004 Grand Jury Prize) is a truly remarkable film that lies beyond the power of language to communicate while it delivers a cohesive sensory experience. With its muscular cinematic language rooted in the powerful yearnings felt before words can be formed, Upstream Color is an entirely original, mythic, romantic thriller that goes in search of truths that lie just beyond our reach.
Director: Shane Carruth
Screenwriter: Shane Carruth
Producers: Shane Carruth, Casey Gooden, Ben LeClair
Coproducers: Meredith Burke, Toby Halbrooks
Editors: David Lowery, Shane Carruth
Production Designer: Thomas Walker
Cinematographer/Music: Shane Carruth
Principal Cast: Amy Seimetz, Shane Carruth, Andrew Sensenig, Thiago Martins
Sweetwater
Sweetwater is simply a movie about revenge with some racism and religion added. As a gimmick for a Sundance premier, old style Mormonism - complete with polygamy - was used.
January Jones gives a flat performance - she did smile sincerely a few times - but generally is not noteworthy other than a topless scene. AND SHE IS THE FEATURED CHARACTER! Ed Harris steals his scenes as a crazy grizzled lawman. We never really know if he is legit or not but he really adds a crazy randomness that definitely helps the movie. Jason Issacs does a great job as well - psychotic prophet seeing women and land.
I gave this movie only one thumb up because of Harris and Issacs. I might give it a higher one but I was under impressed with January Jones' assets - after X-Men: First Class I expected more.
Official synopsis:
2012, 94 minutes, color, U.S.A.
Against the backdrop of the American Old West, newlyweds Miguel and Sarah struggle to make a living cultivating their small patch of land. Soon a much bigger struggle arises as powerful landowner and community preacher Prophet Josiah makes a play for their property. As he launches his diabolical plot to take their land, an eccentric big-city sheriff comes to town. Things soon go from bad to worse, culminating in a jaw-dropping, hell-hath-no-fury showdown.
Sweetwater boldly establishes its own identity while remaining true to the tenets of the western genre. Wonderfully cinematic, this expressive tale is superbly directed by the Miller brothers, who extract strong performances from the ensemble cast. Ed Harris is especially striking in a bravura role as the sheriff. With the magnificent New Mexico countryside as their canvas, the Miller brothers imaginatively stroke their cinematic brush across an intense but humorous film.
Directors: Logan Miller, Noah Miller
Screenwriters: Logan Miller, Noah Miller, Andrew McKenzie, based on a story by Andrew McKenzie
Executive Producers: Trevor Drinkwater, Tucker Moore, Steve Bannon
Producer: Jason Netter
Cinematographer: Brad Shield
Principal Cast: Ed Harris, January Jones, Jason Isaacs, Eduardo Noriega, Jason Aldean, Stephen Root
January Jones gives a flat performance - she did smile sincerely a few times - but generally is not noteworthy other than a topless scene. AND SHE IS THE FEATURED CHARACTER! Ed Harris steals his scenes as a crazy grizzled lawman. We never really know if he is legit or not but he really adds a crazy randomness that definitely helps the movie. Jason Issacs does a great job as well - psychotic prophet seeing women and land.
I gave this movie only one thumb up because of Harris and Issacs. I might give it a higher one but I was under impressed with January Jones' assets - after X-Men: First Class I expected more.
Official synopsis:
2012, 94 minutes, color, U.S.A.
Against the backdrop of the American Old West, newlyweds Miguel and Sarah struggle to make a living cultivating their small patch of land. Soon a much bigger struggle arises as powerful landowner and community preacher Prophet Josiah makes a play for their property. As he launches his diabolical plot to take their land, an eccentric big-city sheriff comes to town. Things soon go from bad to worse, culminating in a jaw-dropping, hell-hath-no-fury showdown.
Sweetwater boldly establishes its own identity while remaining true to the tenets of the western genre. Wonderfully cinematic, this expressive tale is superbly directed by the Miller brothers, who extract strong performances from the ensemble cast. Ed Harris is especially striking in a bravura role as the sheriff. With the magnificent New Mexico countryside as their canvas, the Miller brothers imaginatively stroke their cinematic brush across an intense but humorous film.
Directors: Logan Miller, Noah Miller
Screenwriters: Logan Miller, Noah Miller, Andrew McKenzie, based on a story by Andrew McKenzie
Executive Producers: Trevor Drinkwater, Tucker Moore, Steve Bannon
Producer: Jason Netter
Cinematographer: Brad Shield
Principal Cast: Ed Harris, January Jones, Jason Isaacs, Eduardo Noriega, Jason Aldean, Stephen Root
Uncle B checking in with his reviews
Greetings AICN,
Uncle B(ukkake) here with reviews of two flicks that could not be more distinct. I pray that these reviews be disseminated "to the people" even though both were scribbled under the influence of "several" fireball shots at 11 am this morning. What else can (should) one do in Park City while waiting to see "Upstream Color" at 2:30?!?
"Ain't Them Bodies Saints" is a slow-burning drama from a promising newbie, David Lowery. An early shot in the film, in which the leads, Bob Muldoon (Casey Affleck) and Ruth Guthrie (Rooney Mara) are lead away in handcuffs following an intense stand-off, is beautifully shot (the camera holds as they are abruptly separated into different police cars) and nicely sets up all of the primary characters in this sad morality tale. David Lowery wisely chose to explore the broken aftereffects following Bob and Ruth's stint as bank robbers. The reasoning behind Bob and Ruth's crime spree is primarily left unexplained (wise decision), although there are moments throughout the movie that provide sufficient exposition and foreshadowing. The movie borrows (sometimes a bit too heavily) from "Badlands," "No Country for Old Men," "Bonnie & Clyde," and "There Will Be Blood," but David Lowery's talent is reflected in the commanding performances from both Rooney Mara and Ben Foster (who steals the show as a sheriff deputy, Patrick Wheeler). Ben Foster continues to surprise me after "The Messenger" and "Here." He turns an otherwise ordinary "law man" role into something quite masterful and not to be missed. Rooney Mara's performance is likewise powerful. She has the tricky task of making the audience connect with a woman who has unabashed criminal instincts (despite clearly loving her daughter). She pulls it off quite flawlessly. Casey Affleck, although left with less screen time than Rooney Mara, continues to select strong material (following Gone Baby Gone and The Assassination of Jesse James) and shares some excellent and telling scenes with both Keith Carradine and Nate Parker. Keith Carradine, playing a surrogate father to both Bob and Ruth, excellently executes a performance that is somehow both paternal and vindictive. The ending, although not entirely unexpected, somehow manages to provide necessary closure and hope. The film was a true find this year.
"Hell Baby" is as outlandish and silly as "Ain't Them Bodies Saints" is poetic. This film is the first feature film directed by the creators of "Reno 911," Robert Garant and Thomas Lennon. Thomas Lennon was present at Midnight at the Egyptian to introduce the movie - and his "Donahue"-like approach to the "question and answer" session afterward (wherein he only "groped" the male questioners) was perhaps the funniest forty-five minutes of material (all improvised) that I have ever witnessed at Sundance. He proudly announced to the crowd that no studio had any "control" over this movie. That lack of "outside influence" was evident and that's not a criticism. "Hell Baby" is an out of control and often times outrageous spoof of horror movies that is funnier in the first thirty minutes than all
four (five?) of the "Scary Movies" combined. Rod Corddry and Leslie Bibb, playing a couple seemingly hit by hard times from the financial crisis, begin the movie by moving into a house that, as proudly boasted by an unwelcome house guest, Keegan Michael Key (in an amazing supporting role), has not had a death in it "for months." The movie has its share of expected gross-out gags. Nonetheless, Garant/Lennon, perhaps in large part to their improvisational training, have always excelled at dissecting language for all of its typical absurdities and the dialogue throughout is absolutely hilarious. There are sequences in this movie involving a naked/frisky senior, chain-smoking exorcists, and an anaconda (don't ask) that are comic gold. Garant and Lennon have managed to craft more laughs per minute (in sequences that really only take place in two locations) than most studio comedies - some of which were actually written by Garant and Lennon. Thomas Lennon apologized profusely for some of these unnamed disasters during the Q and A. This movie is the perfect mea culpa.
-Uncle B
Wednesday, January 23, 2013
Hell Baby
This movie is easily one of the more memorable movies of any Sundance I have gone to. It is all of the funny you could expect from Thomas Lennon and Keegan Michael Key. It is unchecked by studio execs - Lennon indicates there was no committee involved at any point - and is definitely a repeat watch. Rob Cordry and Leslie Bibb do a great job but Cordry really delivers the best lines. I don't want to give any of the funny away so seriously go into this movie with no expectations and you will be laughing in your seat for the full 98 minutes of this fun fest!
I give this film four thumbs up! Tell your mom!
Official synopsis:
2012, 98 minutes, color, U.S.A.
Expectant couple Jack and Vanessa move into the most haunted fixer-upper in New Orleans—a house with a deadly demonic curse. When things soon spiral out of control, it’ll take the help of Vanessa’s Wiccan sister, a nosey “neighbor” who lives in their crawl space, two local detectives, and a pair of elite Vatican exorcists to save them—or is it already too late?
Revered as two of the minds behind the hilarious sketch television shows Reno 911!, The State, and Viva Variety and the screenwriters of big-budget comedies like the Night at the Museum films, comedians Thomas Lennon and Robert Ben Garant finally unleash their codirectorial debut. Featuring a seasoned comedic ensemble, including scene stealers Leslie Bibb and Keegan Michael Key, this raucous horror spoof sics the devilish humor of its creators on the most sacred of genre conventions: the haunted house, an exorcism, and one pissy demon child.
I give this film four thumbs up! Tell your mom!
Official synopsis:
2012, 98 minutes, color, U.S.A.
Expectant couple Jack and Vanessa move into the most haunted fixer-upper in New Orleans—a house with a deadly demonic curse. When things soon spiral out of control, it’ll take the help of Vanessa’s Wiccan sister, a nosey “neighbor” who lives in their crawl space, two local detectives, and a pair of elite Vatican exorcists to save them—or is it already too late?
Revered as two of the minds behind the hilarious sketch television shows Reno 911!, The State, and Viva Variety and the screenwriters of big-budget comedies like the Night at the Museum films, comedians Thomas Lennon and Robert Ben Garant finally unleash their codirectorial debut. Featuring a seasoned comedic ensemble, including scene stealers Leslie Bibb and Keegan Michael Key, this raucous horror spoof sics the devilish humor of its creators on the most sacred of genre conventions: the haunted house, an exorcism, and one pissy demon child.
Ain't Them Bodies Saints
This movie was pretty good! Rooney Mara steals every scene she is in with muted perfection. She has shown in The Girl With the Dragon Tattoo that she can hold her own - but in this film she can showcase. Casey Affleck is great but doesn't shine as brightly. There are some strong themes at play here. The biggest is the concept if Family. It consumes Affleck's Muldoon pushing him to escape prison and ultimately kill. He has redemption at the end of the film with Mara's Guthrie. Ben Foster shows great depth in as much a muted role as Mara's. Strong performances and definitely worth seeing in the theater to appreciate the cinematography.
I give this movie 3 thumbs up out of four.
Official synopsis:
2012, 90 minutes, color, U.S.A.
Bob Muldoon and Ruth Guthrie, an impassioned young outlaw couple on an extended crime spree, are finally apprehended by lawmen after a shootout in the Texas hills. Although Ruth wounds a local officer, Bob takes the blame. But four years later, Bob escapes from prison and sets out to find Ruth and their daughter, born during his incarceration.
The barren landscapes of David Lowery’s poetic feature evoke the mythology of westerns and saturate the dramatic space with fatalism and an aching sense of loss. Aided by powerfully restrained performances by Casey Affleck, Rooney Mara, and Ben Foster, Lowery incorporates an unnerving tension into the film, teetering it at the edge of violence.
The beautiful, irreconcilable dilemma of the story is that Ruth—compelled by the responsibilities of motherhood and her evolving relationship with the deputy she shot—remains haunted by her intense feelings for Bob. Each of them longs for some form of peace. Ironically, it’s Bob, the unrepentant criminal trapped in the romantic image of a bygone past, who is driven by an almost righteous sense of clarity. Following in the footsteps of Badlands and Bonnie and Clyde, Lowery’s humanism transcends the genre.
I give this movie 3 thumbs up out of four.
Official synopsis:
2012, 90 minutes, color, U.S.A.
Bob Muldoon and Ruth Guthrie, an impassioned young outlaw couple on an extended crime spree, are finally apprehended by lawmen after a shootout in the Texas hills. Although Ruth wounds a local officer, Bob takes the blame. But four years later, Bob escapes from prison and sets out to find Ruth and their daughter, born during his incarceration.
The barren landscapes of David Lowery’s poetic feature evoke the mythology of westerns and saturate the dramatic space with fatalism and an aching sense of loss. Aided by powerfully restrained performances by Casey Affleck, Rooney Mara, and Ben Foster, Lowery incorporates an unnerving tension into the film, teetering it at the edge of violence.
The beautiful, irreconcilable dilemma of the story is that Ruth—compelled by the responsibilities of motherhood and her evolving relationship with the deputy she shot—remains haunted by her intense feelings for Bob. Each of them longs for some form of peace. Ironically, it’s Bob, the unrepentant criminal trapped in the romantic image of a bygone past, who is driven by an almost righteous sense of clarity. Following in the footsteps of Badlands and Bonnie and Clyde, Lowery’s humanism transcends the genre.
Touchy Feely
First of all let's get something straight. This movie featured Ron Livingston and Ellen Page. The only problem, is that Ron Livingston was in it for all of maybe 30 seconds. Ellen Page was in it for a lot of screen time, but she did not have a very deep part and probably was more or eye candy than anything else.
As far as I can tell, this movie was about transformation of two people. The two people were brothers and sisters. The brother was socially inept which was awkward to watch, the sister new age junkie of sorts that was going through a wierd rebound.
This easily could've been one of three possible movies. Definitely three things going on. The parts with Ellen Page are ok, her character is odd to begin with and I found myself snickering a few times because I knew what was coming. Without giving anything away - she tries to hit on her aunts boyfriend.
I give this movie a single thumb up out of four. Netflix anyone? Raik'ii!!!!
Official synopsis:
2012, 90 minutes, color, U.S.A.
What happens when a family’s delicate psychic balance suddenly unravels? Abby is a free-spirited massage therapist. Her brother, Paul, an emotional zombie, owns a flagging dental practice, where he enlists the assistance of his equally emotionally stunted daughter, Jenny. Suddenly, transformation touches everyone. Abby develops an uncontrollable aversion to bodily contact, which seriously hinders her chosen profession and the passionate love life she once shared with her boyfriend. Meanwhile, rumors of Paul’s “healing touch” begin to miraculously invigorate his practice. As Abby navigates through an identity crisis, her brother discovers a whole new side of himself.
As far as I can tell, this movie was about transformation of two people. The two people were brothers and sisters. The brother was socially inept which was awkward to watch, the sister new age junkie of sorts that was going through a wierd rebound.
This easily could've been one of three possible movies. Definitely three things going on. The parts with Ellen Page are ok, her character is odd to begin with and I found myself snickering a few times because I knew what was coming. Without giving anything away - she tries to hit on her aunts boyfriend.
I give this movie a single thumb up out of four. Netflix anyone? Raik'ii!!!!
Official synopsis:
2012, 90 minutes, color, U.S.A.
What happens when a family’s delicate psychic balance suddenly unravels? Abby is a free-spirited massage therapist. Her brother, Paul, an emotional zombie, owns a flagging dental practice, where he enlists the assistance of his equally emotionally stunted daughter, Jenny. Suddenly, transformation touches everyone. Abby develops an uncontrollable aversion to bodily contact, which seriously hinders her chosen profession and the passionate love life she once shared with her boyfriend. Meanwhile, rumors of Paul’s “healing touch” begin to miraculously invigorate his practice. As Abby navigates through an identity crisis, her brother discovers a whole new side of himself.
Tuesday, January 22, 2013
Park City Arrival Complete
We both arrived within minutes of each other. Got to the Yarrow which is excellent for 159/night. Very exciting!
Monday, January 21, 2013
Arriving 1018am Tomorrow
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