Tag: sxsw 2019

The Best of SXSW 2019

by MCDave

Austin, Texas became the “City That Never Sleeps” as nearly 100,000 people converged on 2019’s SXSW festivities. Time restraints once again limited me to roughly four days of non-stop movie watching which resulted in 14 new titles added to my yearly total. But with a festival such as SXSW where world premieres are the norm, I see what I see even though there are countless other films like the largely touted Saint Frances, the well-regarded indie drama Mickey and the Bear and the April mainstream  horror reboot Pet Sematary that impressed audiences without my viewing. Nevertheless, here are my favorite films, scripts, directors and performances from what I watched at this year’s SXSW Film Festival:

Best Screenplay

Honorable Mention: Booksmart, Little Monsters and Pink Wall

#5. The Art of Self-Defense

#4. Extra Ordinary

#3. Villains

#2. Long Shot

And the winner is … 

#1. Come As You Are

Erik Linthorst’s heartfelt and riotously funny screenplay serves as a solid foundation for this tale about a trio of friends with physical disabilities who run off without their parents’ permission to a brothel in Montreal that caters to men with their specific needs. Richard Wong’s wonderfully executed road-trip comedy leaves a lasting impression thanks to its script’s uncanny ability to develop rounded characters and place them in hysterical situations as these men learn a great deal about life and themselves.

Best Supporting Actress

Honorable Mention: Nina Dobrev (Run This Town), Jillian Mueller (Porno) and Claudia O’Doherty (Extra Ordinary)

#5. Imogen Poots (The Art of Self-Defense)

#4. Lupita Nyong’o (Little Monsters)

#3. Elizabeth Moss (Us)

#2. Gabourey Sidibe (Come As You Are)

And the winner is …

#1. Kyra Sedgwick (Villains)

Kyra Sedgwick is skin-crawling creepy and totally uninhibited in Dan Berk and Robert Olsen’s Villains. It’s Sedgwick like you’ve never seen, and her fully committed turn helps transform this darkly comic tale of love-stricken amatuer criminals who choose the wrong house to rob into a bona fide winner. And while the Supporting Actress field in general felt a little thin, that’s no slight to her masterfully unforgettable performance in one of SXSW’s finest entries.

Best Supporting Actor

Honorable Mention: Mena Massoud (Run This Town), Barry Ward (Extra Ordinary) and Keith L. Williams (Good Boys)

#5. Josh Gad (Little Monsters)

#4. Ravi Patel (Come As You Are)

#3. Jeffrey Donovan (Villains)

#2. Alessandro Nivola (The Art of Self-Defense)

And the winner is …

#1. O’Shea Jackson Jr. (Long Shot)

Long Shot was such a well rounded rom-com and one of the unexpected heroes of the film is O’Shea Jackson Jr. His character is like blood to a shark, attracting laughter with every well-placed appearance. He constantly throws comedic blows like a boxer and part of me can’t help but wonder if Jackson Jr. wasn’t utilized enough. However, his selective screen time certainly keeps you wanting more and that’s obviously to the film’s benefit. Either way, you can’t argue with the results of Jonathan Levine’s hysterical new romantic comedy, Long Shot.

Best Actress

Honorable Mention: Anna Akana (Go Back To China), Lupita Nyong’o (Us) and Alexi Pappas (Olympic Dreams)

#5. Maika Monroe (Villains)

#4. Maeve Higgins (Extra Ordinary)

#3. Kaitlyn Dever (Booksmart)

#2. Charlize Theron (Long Shot)

And the winner is …

#1. Tatiana Maslany (Pink Wall)

Tatiana Maslany first burst onto my radar following her sadly forgotten turn in the underappreciated 2017 drama Stronger. It was an Oscar worthy performance that never resonated with voters quite as much as it did with me personally. Nevertheless, Maslany returns with another superb showing in Tom Cullen’s Pink Wall. This emotional relationship-drama spans six specific moments in the life of a couple whose romance becomes tested after years together. Much of Pink Wall‘s success hinges on its lead performances and boy does it get one with Tatiana’s Maslany’s continued onscreen dominance.

Best Actor

Honorable Mention: Alexander England (Little Monsters), Ben Platt (Run This Town) and Jacob Tremblay (Good Boys)

#5. Seth Rogen (Long Shot)

#4. Jay Duplass (Pink Wall)

#3. Hayden Szeto (Come As You Are)

#2. Jesse Eisenberg (The Art of Self-Defense)

And the winner is …

#1. Bill Skargsgård (Villains)

Bill Skarsgård has slowly been infiltrating the mainstream spotlight over the past few years with roles in Atomic Blonde and Deadpool 2, but the talented up-and-coming actor is best known for his recreation of Stephen King’s Pennwise in 2017’s Itreboot. But behind all that clown makeup lies a crafty performer who shows his deadbeat charm and uncultured wit in Villains. Skarsgård morphs into such an appealing character that it brandishes a genuine investment into this darkly comedic thriller. The Best Actor field wasn’t overcrowded with top tier options, but Skarsgård still manages to deliver one.

Best Director

Honorable Mention: Mike Ahern & Enda Loughman (Extra Ordinary), Tom Cullen (Pink Wall) and Richard Wong (Come As You Are)

#5. Dan Berk & Robert Olsen (Villains)

#4. Riley Stearns (The Art of Self-Defense)

#3. Olivia Wilde (Booksmart)

#2. Jonathan Levine (Long Shot)

And the winner is …

#1. Jordan Peele (Us)

As Jordan Peele’s Us embarks on what’s destined to be a record-setting opening weekend, there have been few critics daring enough to speak against this grossly anticipated follow-up to Get Out. However, I’ve been clear and firm with my stance that Us is a step forward for Peele as a director, but maybe two steps back as a writer. And rather than nitpick against my issues with its screenplay, I’ll take this opportunity to say that without Peele’s hyponotic direction the film could have very well been a disaster. His camerawork and unique vision heighten the various moods that he aims to achieve, but sadly a plagued screenplay hinders Us from being the next great American horror film that you’re being told it is.

Best Picture

Honorable Mention: Extra Ordinary, Little Monsters and Pink Wall

#5. Booksmart

#4. The Art of Self-Defense

#3. Come As You Are

#2. Villains

And the winner is …

#1. Long Shot

Fred Flarsky, what more can I say? Set Rogen’s lovable character has conviction, and his soulful inner belief in Secretary of State and Presidential hopeful, Charlotte Field (Charlize Theron), makes him the greatest of underdogs in his one shot at love. Jonathan Levine’s Long Shot isn’t the most daring film or the most original selection from the 2019 SXSW lineup, but it’s certainly the most polished. It feels like a big time rom-com and it definitely plays like one, checking all the necessary boxes and delivering a workout-full of laughs that will leave those abs sore for the next few days (you’ve been warned). Levine’s latest possess such allure and enchantment that Long Shot easily separates itself among the field from the 14 films I had the pleasure of viewing. It’s due for a May 3rd release date so keep an eye out!

SXSW 2019 Review: ‘Villains’

by MCDave

Maika Monroe was a female face of indie horror for a brief moment in time. With leading roles in the beloved festival darling, It Follows, and the campy b-horror movie, The Guest, Monroe felt like a modern-day scream queen in the making. Yet, as her career has materialized over the past few years, she’s dabbled in all sorts of genres in both large scale and very modestly budgeted films. But finally, Monroe returns to her horror roots in the buzzed-about SXSW entry, Villains.

Mickey and Jules (It’s Bill Skarsgard and Maika Monroe) are a crazy-in-love pair of amateur criminals determined to start a new life on the coastal beaches of Florida. But when their car breaks down after a convenience store robbery, the couple quickly ventures to the closest residence they can find. Hoping to steal a new set of wheels and quickly be on their way, Mickey and Jules stumble across a sadistic husband and wife (Jeffrey Donovan and Kyra Sedgwick) harboring a deep secret inside their home.

There are quite a few elements that propel co-directors Dan Berk and Robert Olsen’s Villains into a standout film from this year’s crop of SXSW titles. A witty interweaving of dark comedy and edge-of-your-seat suspense join with wonderful lead performances to help shape this brilliantly bizarre and creepy endeavor. And while Maika Monroe has cemented herself as a true horror fixture, her onscreen beau is magnificently delivered by Bill Skarsgard. He ditches the Pennywise makeup for dopey but lovable character whose buffoonish charm shines through despite his obvious poor moral decision-making. And even though Mickey and Jules are criminals themselves, they aren’t the real villains so blatantly addressed in the film’s title. That’s where Jeffrey Donovan Kyra Sedgwick turn their dials up to “11” with skin-crawling turns that in actuality set the proper mood for this modern horror-thriller. Villains compels, disgusts and entertains in the most shocking of ways making it an ideal SXSW world premiere and one that has set a steady buzz around the viewing masses here in Austin, TX.

GRADE: 4/5

SXSW 2019 Review: ‘Booksmart’

by MCDave

It’s been over a decade since Jonah Hill and Michael Cera helped set the bar for teen comedies in Greg Mottola’s Superbad. And in a lot of ways, Olivia Wilde’s directorial debut feature Booksmart takes a similar vulgar-laden approach but infuses it with a refreshing female perspective that gives the film its own sense of identity. We’re all well aware of Wilde’s onscreen abilities but behind the camera and in tandem with the underrated talents of co-stars Kaitlyn Dever (Short Term 12) and Beanie Feldstein (Lady Bird), Booksmart serves as a fearlessly funny and welcome addition to the 2019 SXSW festival lineup.

It’s the day before graduation and best friends Amy (Dever) and Molly (Feldstein) are up to their usual shenanigans as they head to their last day of high school ever. But it’s here that the inseparable pair are reminded of their years-long failures, where Amy is still yet to be intimate with a female after “coming out” during sophomore year, and Molly’s all-work and no-play approach to being the Valedictorian hasn’t actually separated her college prospects from most other classmates. Yet, for these forever friends, tonight is different. Tonight is their final chance to live it up with no regrets before they embark on their separate futures.

Booksmart has no issues ushering in the laughs thanks to a well-used R-Rating filled with female masturbation jokes and other irreverent raunchiness. Refusing to masquerade as anything more than a female-centric buddy comedy, its easy to ignore the film’s disregard for purposeful character development. Instead, we’re guided down a hysterical series of obstacles and resolutions that unfold in an eerie familiar fashion. This direct parallel to the events in Superbad mildly spoils the onslaught of hilarity that ensues, but there’s enough laughter throughout to erase the unpleasantry. And much like elder comedy’s everlasting effect on the careers of Hill and Cera, don’t be shocked if Booksmart becomes a similar vessel that helps launch Kaitlyn Dever and Beanie Feldstein into the mainstream. There’s something to be said for the film’s wading in familiar waters, but Olivia Wilde’s unapologetically racy and laugh-filled debut still stands as a winning comedic effort from this year’s festival lineup.

GRADE: 3.5/5

https://youtu.be/Uhd3lo_IWJc

SXSW 2019 Review: ‘Long Shot’

by MCDave

The romantic comedy, a genre born to rectify the stress and combativeness of date night decision-making. But in all of its easy-viewing fluff, occasionally one breaks through the mold to deliver something more. Whether it’s a truly romantic tale with affable characters with performers donning an uncanny onscreen chemistry, or perhaps just an elevated level of humor that’s relentless in its pursuit of laughter, the rare rom-com gem is a transcendent work that typically appeals to all. And we’re given all of that and so much more in Jonathan Levine’s (50/50 and Warm Bodies) emotionally pleasing and riotously funny new film, Long Shot.

Fred Flarsky (Seth Rogen) is a political journalist with conviction. His edgy writing style and brash wit make him a low-key internet mainstay until the company he works for is purchased by a ruthless media conglomerate. Forced to resign out of honor and dignity to his craft, Flarsky looks to drown his newly unemployed sorrows with his lifelong best friend (O’Shea Jackson Jr.). But as the rowdy pair of friends find their way into an upscale fundraising party, they cross paths with Flarsky’s former babysitter and first-crush, Charlotte Field (Charlize Theron), who also happens to be the current Secretary of State and a rising political star. Flarsky and Charlotte reconnect over some laughs and it isn’t long before she decides to bring him on board her staff as a speechwriter.  The two slowly start to develop feelings for one another but, as she gears up for a run at the presidency, it’s clear that Flarsky isn’t the optimal relationship choice for boosting her poll numbers.

Long Shot infuses robust comedic energy into a Cinderella-esque story with a role-reversal twist. And while Seth Rogen is hardly a belle of the ball, he makes for a root-able underdog in this savagely funny R-rated rom-com. His onscreen counterpart, Charlize Theron, trades her Atomic Blonde kicks and kill-scenes for a more reserved role. It’s a smooth and easy transition for such a rangy and adaptable talent that she is. On the other hand, we’re gifted the prototypical Seth Rogen role, a routine he hardly shies away from but consistently delivers to perfection. And if you haven’t been worn out by his comedy schtick already – something that I’m not sure I’ll ever get bored by – Long Shot is chock full of quintessential Rogen-style humor that hardly gives you time to settle from joke to joke. A lengthy and diverse list of co-stars keep hilarity flowing as O’Shea Jackson Jr. (Straight Outta Compton) absolutely steals the show whenever he enters the frame. As far as the romantic aspect of the film, Long Shot offers a relatable tale of forbidden love that’s neatly wrapped in a somewhat contrived, but certainly acceptable, political backdrop. Thankfully, the film doesn’t dive too deep into our volatile political extremes without attaching comical hysteria to it, which surely helps the movie stray from alienating certain types of audiences. Long Shot’s characters are warm, affectionate, earnest and downright vulgar, allowing for a healthy dose of edgy humor that’s counterbalanced brilliantly by a satisfying relationship story. I’m glad to say that Jonathan Levine returns to form with one of the finest rom-coms in years.

GRADE: 4/5

SXSW 2019 Review: Jordan Peele’s ‘Us’

by MCDave

It feels like Jordan Peele’s seamless transition from sketch comedy star to Oscar Winning writer and budding director happened overnight. His masterfully penned and hypnotic – for lack of a better word – psychological thriller Get Out was certainly deserving of its massive commercial success and countless awards season accolades. But it all boils down to expectations, and this time around, expectations couldn’t be higher for Peele and his new SXSW Opening Night Film, Us. With a packed house in place for the movie’s world premiere at the Paramount Theater, where hordes of fans were sadly turned away after spending hours crossing their fingers in hopes of being granted entrance into the event, all eyes eagerly converged on the big screen in anticipation of another crowning achievement. Unfortunately, Us is nowhere near as gratifying as the expectations we’ve placed on the film.

Married with two children, a grown-up Adelaide Wilson (Lupita Nyong’o) reluctantly finds her family on the same sandy beaches of Santa Cruz, California where she experienced a traumatic, life-changing event as a child. And with eerie hints of déjà vu floating all around what’s intended to be a peaceful vacation, things take a turn for the worse when night time hits and the Wilsons’ discover four strangers holding hands at the top of their driveway. These dark figures converge on the home with vengeance, wearing only red jumpsuits, carrying sharp sets of scissors and possessing the same exact faces as Adelaide and her family.

While perhaps it’s unjust to pit Jordan Peele’s newest creation against the towering masterpiece that is Get Out, truth is it’s only natural to do so. And by comparison, these films aren’t even in the same stratosphere. Where Get Out oozes with nuance and sleek social metaphors, Us holds a far less impactful punch with a wildly cryptic and off-kilter story. And properly assessing the film requires examining the many distinct elements that unite to make the whole. First and foremost, Jordan Peele’s advancements behind the camera continues to grow and his direction stands as the film’s strongest aspect. However, while his evolution as a filmmaker is apparent, Peele’s writing isn’t as crisp or refined. He still manages to conjure up a truly original horror tale that, unfortunately, concludes as more of a gimmicky approach than his deeply involved character development from Get Out. But let me be clear, Us is a horror-first project that levels its sheer moments of intensity with a healthy dose of Peele’s trademark laugh-out-loud comedy. Yet, for me, Us has too soft of a voice, as its subtext and themes are either muddled or just completely nonexistent. And rather than searching for a deeper meaning, I will take the film on its face value as an entertainment-centric endeavor that dazzles on occasion but hardly separates itself from the pack.

GRADE: 3/5