Sundance Film Festival

In Case You Missed It – July 2014

by MCDaveJuly 16, 2014

July has officially arrived and we’re entrenched in the dog days of summer. And as far as the DVD prospects landing on shelves this month, there aren’t any groundbreaking titles like I mentioned June, but there are definitely a few enjoyable selections. Here are the top three DVD releases for the month of July:

#1. Cuban Fury

Although leading star Nick Frost’s re-tweet of my review immediately boosted Cuban Fury to the most visited post of the year on my site, I give you my word that there is no bias to this selection. Cuban Fury is a legitimate laugh out loud comedy backed by stellar performances and a hilariously penned screenplay. After the arrival of their attractive new female boss (played by Rashida Jones), co-workers Bruce (Frost) and the overly confident Drew (Chris O’Dowd) compete for her affection through salsa dancing. With affable characters and a breakthrough supporting turn from Kayvan Novak that spews non-stop hilarity, Cuban Fury is an entertaining comedy that begins and ends without a hiccup. (July 29th)

#2. Blue Ruin

Having missed an opportunity to catch Jeremy Saulnier’s Blue Ruin at the 2013 Philadelphia Film Festival, I pounced on the opportunity at Sundance in January. Macon Blair stars as Dwight, a homeless recluse who re-opens a dark past when he seeks vengeance on a recently paroled man. Gripping, tense and well-shot, Blue Ruin dishes out all the essential ingredients to a successful revenge movie. Elements of gore and violence are tastefully used throughout this well-paced and slow burning thriller. It surely isn’t a film intended for all types of audiences, but fans of the genre will consider Macon Blair’s fine performance and the entire feature as a welcome addition. (July 22nd)

#3. Noah

Please allow me to preface my recommendation by clearing up the fact that Darren Aronofsky’s Noah is a completely off-kilter and bizarre interpretation of the biblical tale. In many ways this story of Noah incorporates a surprising amount of fantasy reminiscent of J.R.R. Tolkien’s The Lord of the Rings. It’s peculiar and odd as well as unique and imaginative. After a good-hearted and honest man named Noah (Russell Crowe) receives visions of a flood meant to destroy the evils of mankind, he and his family begin to build an ark in hopes of surviving the storm and preserving life on earth. I found the film to be a bit divisive and almost a combination of two separate movies. While the first half breeds a strange vision of the age-old story, the second half of the feature explores what happens after the flood, a captivating journey into the psyche of these few survivors. Darren Aronofsky’s Noah is worth a try if you’re open to an unpredictable twist on the well-known biblical tale. (July 29th)

Honorable Mention: Other titles arriving to DVD this month include a few that I haven’t seen but look forward to viewing, such as Jonathan Glazer’s sci-fi mystery Under the Skin (7/15) starring Scarlett Johansson, Richard Shepard’s crime comedy Dom Hemingway (7/22) starring Jude Law, and even the critically panned directorial debut from Wally Pfister Transcendence (7/22) with Johnny Depp. Action junkies will be thrilled to hear that The Raid 2 hits shelves on 7/8, and a few mediocre titles that were enjoyed by others include Jason Bateman’s spelling bee comedy Bad Words (7/8) and the chick-flick The Other Woman (7/29) with Cameron Diaz and Leslie Mann.

Geekscape Movie Reviews: Obvious Child

by MCDaveJune 6, 2014

It’s become a bit of the norm lately, a blueprint for young aspiring filmmakers to follow. Many recent debut features out of the Sundance Film Festival, including one of 2013’s Top Ten Movies, Short Term 12, and 2014 Grand Jury Prize Winner, Whiplash, represent successful full-length projects that have been adapted from short films. It’s time to add another well-regarded festival darling to that list, writer/director Gillian Robespierre’s Obvious Child.

Donna Stern (played by Jenny Slate) is a twenty-something small-time comedienne whose life is turned upside-down after being dumped by her boyfriend and discovering that the bookstore where she works is closing. The hard-hitting realities of life bombard her all at once, leading to a horrendous performance on stage and an evening of binge-drinking. But during this moment of self deprecation, she meets a genuinely nice guy named Max (Jake Lacy) which leads to a one night stand. A few weeks later Donna learns that she’s pregnant and decides to have an abortion, all while Max tries to reconnect her.

The taboo label of an “abortion comedy” is somewhat unjust, mainly because Gillian Robespierre’s Obvious Child lacks the uproarious hilarity one might expect. Instead, the indie darling relies on sincere and honest performances from its leading pair to help guide this peculiar film to attainable heights. Although I’m uncertain of Jenny Slate’s ability as a stand-up comic, her acting chops are certainly on display with a wide array of emotions. Her onscreen counterpart, performed admirably by Jake Lacy, completes an endearing 1-2 punch that breeds a tremendous amount of life to the feature. Convincing acting paired with a tender and soulful screenplay proves to be all that’s needed with Robespierre’s winning directorial debut.

Despite being an earnest effort, Obvious Child misses the mark with under-achieving humor and a thinly written story. While the characters all feel authentic, a simple plotline requires that the jokes carry you along from scene to scene. However, the self-mocking Jewish punchlines and cringe-worthy onstage misfires during painful stand-up comedy routines result in bumpy transitions throughout the film. Thankfully, Robespierre refuses to prolong the experience and wraps up her female-agenda tale in a reasonable 83 minutes. Therefore, Obvious Child resides as another serviceable and heartwarming indie drama from the 2014 Sundance Film Festival class.

Modern times have not been kind to the young-adults in the United States. Difficulties finding employment, purpose and sustainability have been recent trends that our country is yet to escape. Gillian Robespierre’s passion-fueled project, Obvious Child, uses these components as a backdrop to a larger self-discovery story. And although the film clearly targets a female audience, there’s still more than enough for everyone to enjoy.

GRADE: 3.5/5

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Geekscape Sundance Reviews: Whiplash

by MCDaveJanuary 17, 2014

The 2014 Sundance Film Festival kicked off with a bang. In fact, it kicked off with a whole lot of them. Damien Chazelle’s Opening Night selection, Whiplash, is a surprisingly provocative examination of “greatness” and a desire for perfection. Being the best at any facet of life requires dedication, sacrifice and a reasonable amount of obsession. And Whiplash brilliantly tackles this dynamic through the inconceivable backdrop of Jazz music. Implanted firmly in our nation’s roots, Jazz music has become a forgotten treasure that’s about as American as apple pie.

Andrew (played by Miles Teller) attends the finest music school in the country for one reason, and one reason only, he has every intention of being the greatest Jazz drummer of all-time. And with the guidance of the most skilled and feared instructor on the planet, Terrence Fletcher (J.K. Simmons), there’s no limit to Andrew’s success. That is, if his body and mind can handle the abuse.

Whiplash is a brutally realistic character study that succeeds on the shoulders of a pair of fine performances. This time last year, the young and impressive Miles Teller was virtually an unknown. But following the renowned critical success from 2013 Sundance selection, The Spectacular Now, we’re all very aware of his capabilities. Even more remarkable is how easily Teller stands toe-to-toe with the always overlooked and always sensational J.K. Simmons. While some may shortchange Simmons’ character by calling the film’s primary antagonist devious or even a bully, there’s far more depth to him than that. To the point where Whiplash transcends pure entertainment value and raises intellectual debates, such as whether or not this harmfully influential instructor is in the wrong. The way I see it, there’s a price you must pay to achieve greatness. Even if it means abruptly halting a relationship with the girl of your dreams, or spilling your blood to improve your hand speed. Our character’s darkly obsession leaves him fully capable of anything, and that’s the scariest part of all.

For as emotionally and physically draining as Whiplash is, there’s an equal amount of humor circulating throughout the screenplay. It isn’t your typical happy-go-lucky comedy, but these offensive and abrasive one-liners certainly do the trick. And whenever the continuous loud banging around starts to test your patience, Simmons is quick to crack a joke, simply reinforcing the wide spectrum of emotions that Whiplash forces you to encounter. It’s a unique story delivered in a compelling manner, all the way through to its bitterly prolonged finale.

You couldn’t have asked for a better way to kick off the 2014 Sundance Film Festival. I laughed, I cringed and I empathized. Already scooped up by Sony Pictures Worldwide, this definitely won’t be the last we’ve heard of Whiplash. Music fans everywhere, rejoice!

GRADE: 4/5

Geekscape Movie Reviews: ‘All Is Lost’

by MCDaveOctober 20, 2013

Academy Award Winner Robert Redford is a legendary icon with over a half century in the film industry. The actor/director has truly mastered the art of cinema. In 2013, during the twilight of his career, Redford returns with another Oscar-level performance in J.C. Chandor’s All Is Lost. With last year’s release, Life of Pi, receiving a copious number of nominations throughout the awards season extravaganza, an alone-at-sea survival tale feels all too familiar. However, using merely a fraction of Ang Lee’s Oscar-Winning budget (an estimated $9 million vs $120 million), Redford and Chandor combine to deliver a superior survival-film adventure.

In the midst of an independent journey through the Indian Ocean, a man (Redford) is awoken by the onslaught of water in the cabin of his sail boat. He quickly investigates the issue only to discover that his vessel has struck a huge metal shipping container floating aimlessly in the sea. The surging water has destroyed his radio equipment and, therefore, the lone resourceful sailor is forced to survive trying ordeals as he faces his own mortality.

Being the forefather of the Sundance Film Festival and an advocate of insightful small-budget independent cinema, it’s only fitting that Robert Redford’s acting career returns to insurmountable heights on the backbone of a feature such as this. J.C. Chandor’s All Is Lost is a heart-pounding and agonizing adventure into the human spirit’s will to survive. With almost as little dialogue as recent Best Picture Winner and “silent film” The Artist, there’s a great bit of irony in describing Chandor’s transcending work as action-packed. Yet, Redford’s one-man show (he’s the only actor in the movie) and speechless approach somehow elevate the picture’s situational intensity. Crafted by what the director has admitted was only a 31-page script, All Is Lost is a straightforward and forthright example of exceptional artistry.

For all of its intensity and dramatics, Redford’s latest film offers a meager amount of entertainment value. A far cry from the typical big studio release, All Is Lost requires a level of cerebral devotion and emotional investment. Both of which build a formidable foundation for the movie to prosper. Although the feature boasts an indisputable appeal to the more human elements of life, All Is Lost is by no means a viewing pleasure for all occasions. However, if the mood is suitable and understood, J.C. Chandor’s sophomore effort is an emotionally undulating ride.

The “survival tale” has become a recent norm throughout Hollywood. As the box-office smash Gravity, which is mesmerizing in its own right, is sure to attract audiences throughout the world with flashy special effects and a pair of mega-stars in its leading roles, it’s easy to overlook a superb film such as All Is Lost. Robert Redford’s gritty Oscar-caliber performance and J.C. Chandor’s direction are both stellar and worthy of recognition. My only hope is that the rest of the world will take notice.

GRADE: 4/5

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Geekscape Movie Reviews: The Sessions

by MCDaveNovember 1, 2012

I’ve said it before and I’ll say it again, 2012’s Sundance Film Festival must have been one for the ages. The large crop of impressive films to come out of this year’s indie competition has been nothing short of remarkable. One of the two biggest winners at the festival comes in the form of Ben Lewin’s The Sessions (the other being Beasts of the Southern Wild). It’s a welcome back to writer and director Ben Lewin, who finds himself in the driver’s seat of his first feature length film in almost 20 years. Lucky for us, Lewin’s triumphant return to the director’s chair is nothing short of spectacular.

The Sessions tells the real life story of a polio stricken poet named Mark O’Brien (played by John Hawkes), a remarkable man who refused to be defined by his condition. With the virus weakening his muscles and lungs, O’Brien spent much of his life confined to an iron lung. Able to survive outside of his iron box for only a few hours at a time, the religious 38 year old O’Brien finds himself at church talking to Father Brendan (played by William H. Macy) about a troubling issue. Concerned that his life clock is running out and desperately wanting to experience sexual ecstasy, O’Brien asks the priest if god would forgive his pursuit of sex outside of marriage. Somewhat baffled by the question, Father Brendan mulls over the idea and finally gives Mark his blessing. O’Brien then seeks out a sex therapist (played by Helen Hunt) to accommodate his delicate set of circumstances and guide him through his first sexual experience.

With a premise so wacky it could only be true, The Sessions finds itself as one of the most heartfelt and emotionally attachable films in recent memory. Writer and director Ben Lewin hits all the right notes and delivers one of the year’s finest scripts and finished products. The Sessions is clearly intended to be a sentimental drama, yet Lewin’s comedic style of writing adds a lighter side to the film that forces the audience to connect with its characters. And with a script in the mold of this one, it’s essential to back up the writing with a gifted cast. Lewin goes above and beyond anyone’s expectations with the casting decision of John Hawkes as his leading star. Not only did Hawkes receive lengthy standing ovations after The Sessions premiered at Sundance, his performance undoubtedly warrants a Best Actor Nomination from the Academy. Hawkes crafts one of the most endearing and likable characters in cinema history. O’Brien’s lovable demeanor will bring laughs and tears to nearly everyone in the audience, proving that Hawkes is well deserving of the abundant praise he is sure to receive throughout his awards season run. As if Hawkes’ portrayal isn’t enough, Lewin conjures up an unforgettable supporting cast which will almost certainly find an additional nomination or two at the 2013 Oscars. Most likely is supporting actress Helen Hunt who proves to be very secure in her body throughout many of the racy sex scenes. Hunt offers her finest role in over a decade, one that is sure to help resurrect her career. It’s also worth noting the fine onscreen effort given by William H. Macy as O’Brien’s priest, friend and confidant. All in all, The Sessions is an extremely uplifting and multifaceted piece of filmmaking.

There’s many obstacles when branding a feature that revolves around the idea of sex. It’s a somewhat taboo element often very difficult to pull off. Lewin addresses the topic with such humility and wholesomeness that it’s hard to not fall in love withThe Sessions. Having written the script, helped with casting, and directed the feature, Ben Lewin is clearly the man behind the curtain. His phenomenal vision helped transform this amazing true story into a brilliant cinematic creation. And if all of these glowing attributes aren’t enough to peek your interest, let it be known that The Sessions‘ modest 95 minute runtime breezes by with ease. Every second of the film helps to build up to a gigantic emotional conclusion that both satisfies the audience and puts a beautiful bow on the end of the story. Without a flaw in sight, The Sessions is undoubtedly one of 2012’s greatest offerings.

As the brightest spot of the 21st annual Philadelphia Film Festival which also included big name features like Silver Linings Playbook, Flight and Cloud Atlas, The Sessions proved to be the most honest and touching finished product in the bunch. Genuine and sincere, the movie never attempts to be something larger than it truly is. There’s a special vibe flowing throughout The Sessions that sets it apart from other awards season contenders. The picture is much funnier than you’d imagine and even more heartfelt than you’d expect. While The Sessions finds itself in the midst of a limited release, I expect it to reach theatres everywhere as the Oscars draw near. Either go out of your way to see the film now or remember to keep an eye out for its expanded theatrical release. The Sessions is definitely one of the “must see” movies of 2012, you can’t miss it.

Grade: 5/5

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