Category Archives: Independent

2017 Films, Drama, Independent, Independent Drama, Sean Baker

The Florida Project-2017

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The Florida Project-2017

Director-Sean Baker

Starring-Willem Dafoe, Brooklynn Prince

Scott’s Review #730

Reviewed February 28, 2017

Grade: A

Incorporating a realism and authenticity rarely found in mainstream films, the 2017 independent drama film, The Florida Project, offers the viewer a glimpse into the underbelly of society, largely from a child’s perspective, as we meet a group of poverty-stricken folks residing in a crummy hotel outside of Disney World.

Shot almost entirely on location, the film is humorous, dramatic, pathetic, and compelling and also a must-see. The balance between a child’s carefree outlook and the real-life adult reality is key.

Director Sean Baker, famous for the ground-breaking and brilliant transgender-themed indie from 2015, does it again with a gritty flavored location shot feast of a story involving the welfare-stricken, prostitute-laden Floridians holing up at a cheap motel.

The plot follows six-year-old Moonee, played by Brooklynn Prince, as she and her problem-prone mother, Halley (Bria Vinaite), attempt to avoid trouble and the police.  They wile away the hot summer months, pandering and stealing from tourists as Halley dabbles in prostitution after failing to get a job at a nearby Waffle House.

In addition to Moonee and Halley, other prominent characters rounding out the hotel community are Bobby Hicks (Willem Dafoe), who manages the Magic Castle Motel, and is the father figure and voice of reason to the others, Ashley, Halley’s friend, Jancey, and Scooty, friends of Moonee’s.

The group holds a special bond since they are all barely existing on limited funds in a world laden with drugs, violence, and various unsavory characters.

With initial thoughts of an R-rated Little Rascals, the early scenes involve only the children as they create juvenile pranks including car spitting, bed jumping, and more serious mischief like setting fire to abandoned condos.

To my knowledge all non-actors, the child scenes are truly brilliant and enough praise cannot go to little Brooklynn Prince the sweet, yet precocious six-year-old central child character.

The film’s final scene involving this treasured little girl is both heart-wrenching and poignant, as the scene is fraught with raw emotion on the part of Prince.

Dafoe is brilliant in the role of Bobby and the actor chooses a character he does not often play. Frequently playing villains, he truly shines as the heart of a gold man attempting to keep things together in a bad world.

On the lookout for child predators and the police, he watches out for the kids, as he sadly knows their lives will only get worse as they grow into teenagers and adults, sure to experience misery or tragic lives.

The most successful and riveting component of The Florida Project is the honest portrayal of the characters and the gritty, realism the viewer experiences. The fact that Baker shot the film entirely on location is immeasurable and key to the story.

In a slice of life way, we are brought into this world for the duration of the film and learn the inner workings of the hotel, the streets, and the hotel parking lots. We live the lives of the characters and feel their struggles, their small triumphs, and most importantly empathize with their hopelessness- they are basically stuck, with little hope of finding a better life.

To avoid a complete downer of a film, Baker incorporates a few humorous moments-mainly the light and fun scenes between Halley and Moonee. As they dance around in their hotel room or outside on the hotel lawn as an unexpected downpour erupts, the close bond between mother and child is apparent.

The boisterous trio of kids also breaks up the monotonous adult tension of the other characters as they frolic and play without a care in the world.

The adults versus kids outlook are apparent.

Surely one of the best films of 2017, The Florida Project instills a look at a forgotten and depressing part of the American population and provides a sobering reality of the world in modern times.

With the Trump era in full swing, the release of this film is at a timely point in American history and gives a sobering look at the United States in general.

Oscar Nominations: Best Supporting Actor-Willem Dafoe

Independent Spirit Award Nominations: Best Feature, Best Director-Sean Baker

2017 Films, Best International Film Oscar Winners, Drama, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International

A Fantastic Woman-2017

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A Fantastic Woman-2017

Director-Sebastian Lelio

Starring-Daniela Vega, Francisco Reyes

Scott’s Review #729

Reviewed February 27, 2018

Grade: A

A Fantastic Woman is a 2017 Chilean film that is groundbreaking in subject matter and has rightfully received heaps of accolades including an Oscar nomination for Best Foreign Language Film.

Especially worthy of mention is the film’s lead actress, Daniela Vega, the first transgender woman to present an award at the Oscars and a dynamo performance in her represented film.

Besides all of the cultural achievements, the film succeeds in its own right as a compelling drama.

The film gets off to a sweet and romantic start as we meet Marina (Vega), a young waitress and aspiring singer, and Orlando (Francisco Reyes), a mature, affluent man thirty years her senior. Surprising her with a lovely birthday cake, the pair are beginning to embark on a serious relationship as Marina has recently moved in with Orlando.

When tragedy strikes and Orlando is rushed to the hospital after collapsing, Marina must face the harsh reality of her partner’s narrow-minded family and suspicions from law enforcement.

What a wonderful starring vehicle for this astounding young talent that is Vega. The film shares a story that has never been told before, though the transgender genre is slowly coming into its own- like 2015’s brilliant Tangerine.

With A Fantastic Woman though, the storytelling is more intimate and personal and clearly from Marina’s point of view. Faced with both financial issues and losing her love, she is forced to hurdle obstacles centered around her lifestyle that she had thought had been conquered through her open life with Orlando, who loved her for who she is.

Vega expresses so much with her wide-eyed stares and introspective glazed looks. A performance that is remarkably subdued, she does not have a traditional blowup or dramatic, emotional scene. Instead, she calmly goes from scene to scene with her anger and heartbreak brimming under the surface.

As she is verbally insulted and degraded by Orlando’s bitter ex-wife, Marina stands her ground and calmly accepts the verbal attack. Even when Orlando’s thuggish relatives physically assault her with tape, she is calm in her reaction.

This is a testament to Vega’s talents.

Perhaps the most touching subplot involves Marina’s struggle to retain the dog that Orlando had kindly given to her. When Orlando’s son refuses to let her keep the dog, Marina reaches her breaking point and begins to fight dirty, refusing to hand over the keys to Orlando’s flat until she gets her way.

The tender affection she has for the animal is wonderful as, despite having a few people in her corner, the dog is her pride and joy and best friend.

As stellar as Vega is, and the film does clearly belong to her, credit and mention must be given to the supporting players, who are largely unknown actors to me.

Though we feel no sympathy for Orlando’s ex-wife or his relatives, they are competently portrayed and we do feel their anger and spite. We do not know much about the back-story, but we do know that Orlando has revealed to all his involvement with a trans woman and he is proud of Marina.

Actor Reyes is a dream as Orlando and we wistfully imagine a different film centered solely on his romance with Marina. In their short time together, the audience falls madly in love with the duo.

A Fantastic Woman succeeds as a nuanced, level-headed drama with a powerful message and a timely approach. Never veering over the top or being too preachy, the film is a wonderful telling of a topical subject matter.

I only hope that more stories surrounding this genre are told in the future since it is a goldmine of uncharted story-telling with so much potential.

Oscar Nominations: Best Foreign Language Film (won)

Independent Spirit Award Nominations: Best International Film (won)

2017 Films, Drama, Independent, Independent Drama

The Big Sick-2017

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The Big Sick-2017

Director-Michael Showalter

Starring-Kumail Nanjiani, Zoe Kazan

Scott’s Review #720

Reviewed January 29, 2018

Grade: B+

The Big Sick, a 2017 independent “dramedy” film, takes what could be a standard premise and turns it upside down, instead offering a fresh perspective on a familiar tale about a prospering relationship.

In this way, the screenplay is the standout as the writing is intelligent and crisp. Thanks to exceptional acting by all four principal characters, The Big Sick is a success and well worth a watch.

The story follows an interracial couple, Emily and Kumail, played by Zoe Kazan and Kumail Nanjiani, who has just recently started to casually date. Kumail is a standup comic living in Chicago and meets the flirtatious Emily after a club performance one night.

They share a one-night stand and mutually agree to never see one another again.

As the smitten pair break their promise and form a romance, a tragedy occurs landing Emily in a coma. Kumail must handle Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are angry with Kumail for misleading Emily and not telling her about his strict Muslim parent’s intentions of marrying him off by arranged marriage.

The screenplay (nominated for a 2017 Oscar nomination) is loosely based on the relationship between actor/writer Nanjiani (who stars), and Emily Gordon (who co-wrote the screenplay).

Especially since Nanjiani stars, the film holds a measure of sincerity and authenticity, as if Nanjiani is living the role.

A major plus to the film is the chemistry that Nanjiani and Zoe Kazan share during their many scenes at the start of the film. Before the drama takes off, the audience will become fully invested in the pair as a couple.

Whether the couple flirt as Kumail drives Emily home, or as the couple fight when Emily learns about his Muslim culture’s arranged marriage belief, the couple has a tremendous connection and it shows.

The story fabric takes an interesting turn about midway through the film when Emily is stricken with a debilitating illness and a medically induced coma is needed- as Kumail is forced to pretend to be her husband this opens up many moral and legal ramifications that the film chooses largely to ignore instead of dealing with the relationships between Kumail and Emily’s distraught parents.

Hunter and Romano are wonderful in the parent roles- Hunter having the more showy of the two parts with more meat, Romano holds his own and powerhouses a vital comedy club scene, in which he defends his wife from a callous heckler.

Admittedly, the film decides to go the “happily ever after” route, this is hardly a surprise given that Judd Apatow is the producer.

Remember this is the same guy who produced such safe films as Superbad and Anchorman 2, but the story within The Big Sick is an enjoyable and character-driven ride, if not unpredictable.

A darker-tinged affair might have set this film over the top as it contains many other credible film qualities.

The addition of comic talent in the supporting roles of Kumail’s comedy club buddies adds a good balance and nicely counterbalances the drama insomuch as the drama does not become too dour.

Much of the film involves Emily coma-bound, so comic talent such as SNL’s Aidy Bryant and Comedy Central’s Kurt Braunohler are good ads.

I enjoyed the inclusion of the traditional Pakistani custom of arranged marriages, but at times this seems played for laughs rather than being a major obstacle to the couple.

Kumail’s controlling mother parades one young Pakistani girl after another in front of her son as a way of encouraging him to select one of them. Kumail’s traditional family are played as stereotypes and the lighthearted foils of the film.

The Big Sick succeeds with crisp, witty dialogue, and a solid story that mixes with the intended comedy well.

A few too many stereotypes and goofiness keep the action light even when held against the more serious parts- great acting all around.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: Best Supporting Female-Holly Hunter, Best First Screenplay (won)

2017 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Beach Rats-2017

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Beach Rats-2017

Director-Eliza Hittman

Starring-Harris Dickinson

Scott’s Review #719

Reviewed January 26, 2018

Grade: A-

Beach Rats is a 2017 coming of age film penned and directed by Eliza Hittman, a young female director from Brooklyn, New York, who incorporates her familiar geographical settings into only her second feature film.

2013’s It Felt Like Love was awarded two Independent Film nominations and Beach Rats has followed suit- garnering a Best Actor nomination as well as a Best Cinematography mention.

The film is a very good story of conflict that its target audience will surely relate to.

The film is very low-budget, but a successful character study of a young man named Frankie, played by newcomer Harris Dickinson, wrestling with family issues while also wrestling with his sexuality, all while hanging out with his troubled friends and dating his sometime girlfriend.

Beach Rats is not a downer, but rather, an interesting glimpse into the life of a teenager and his struggle with self-identity.

Mirroring It Felt Like Love, Hittman uses plenty of locales unique to Brooklyn, with the most identifiable being the watery, nighttime beaches of the borough, which gives the film an authentic feel.

Many scenes are shot outdoors which is a strong point of the film. Similar to many independent films, Beach Rats uses several “non-actors” in small roles, which also adds depth to the blue-collar, sometimes harsh, Brooklyn feels.

With only two features to her credit, Hittman is successful at having her hand-print on her films, making them identifiable as her own.

Interesting is how the director chooses a male character to write for. Similar to the female Liza in It Felt Like Love, both she and Frankie are vulnerable and coming to terms with their sexual feelings and desires.

The fact that Liza is straight and Frankie, at most, bisexual, is the only strength of the complex writer/director.

Dickinson is perfectly cast as Frankie. Good-looking, with chiseled features and a lithe, toned body, his bright blue eyes are expressive, as the audience is empathetic to his many dilemmas.

Beach Rats is much more than a traditional “gay film”, which is admirable- it is more complex than that.

By 2017, the common theme of coming to terms with one’s sexuality has been explored.

According to Frankie, he “just has sex with men” and refuses to identify as either gay or bisexual. It is implied that because of his group of trouble-making friends, who only want to get high, he might be faced with resistance if he ever came out to them.

The supporting cast is well represented- Frankie’s mother, Donna (Kate Hodge), is faced with a tough predicament as her husband, Frankie’s father, has just died of cancer, ripping the family apart. She knows that Frankie keeps things from her- is she figuring out Frankie’s sexual secrets?

Donna implies that it is okay for Frankie to tell her anything- admirable combined with her own problems. Frankie’s girlfriend, Simone, is coming into her own as Frankie is, and even though the duo shares a sweet relationship, it appears doomed for failure.

The most interesting scenes that Beach Rats feature take place between Frankie and the mostly older men he meets either virtually or in person. Though Frankie is quite nervous, Dickinson always makes the character of Frankie appear confident and well beyond his years.

Being street-smart, he is never taken advantage of as is common with young men and older men. Why he mostly prefers older men are never explained, but might it have anything to do with seeking to fill the void left by his deceased father?  Or is it simply to reduce the risk of running into anyone he might know within his age group?

Hittman is not shy about featuring nudity, yet each scene is tastefully done and never seems to be for either shock value or to elicit a gasp. Full frontal nudity is featured. as well as scenes of Frankie engaging in sexual acts with both the men and his girlfriend.

Sure Dickinson has a perfect body, but his assets do not seem to be on display unnecessarily.

Independent films, more often than many “box office” films, are given much creative freedom to simply tell a good story. Thankfully, in the case of Beach Rats, the audience is lucky enough to view a quiet, introspective tale of a conflicted adolescent, and how he deals with demons and complex feelings that he is faced with.

Particularly for the predominantly LGBT audience who will see the film, Beach Rats will have much to offer.

Independent Spirit Award Nominations: Best Male Lead-Harris Dickinson, Best Cinematography

2017 Films, Biography, Comedy, Dark Comedy, Independent, Independent Comedy, Julianne Nicholson

I, Tonya-2017

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I, Tonya-2017

Director-Craig Gillespie

Starring-Margot Robbie, Allison Janney

Scott’s Review #712

Reviewed January 10, 2018

Grade: A-

I, Tonya is a 2017 biopic telling of the life and times of the infamous American Olympic figure skater, Tonya Harding, notorious, of course, for her alleged involvement, along with her husband and his friend, in the attack of fellow skater, Nancy Kerrigan during the 1994 Winter Olympics.

The event drew monumental media coverage after the attack with the uncertainty of Harding’s knowledge or involvement and her subsequent guilt or innocence continues to be debated.

The film itself is a dark and violent comedy, never taking itself too seriously, and immediately presents the disclaimer that the stated “facts” in the film are open to interpretation and dependent on who you ask.

I, Tonya isn’t preachy or directive to the viewer, but rather offers up the life and times of the skater in a story form. The film features tremendous performances by Margot Robbie and Allison Janney as Tonya and her despicable mother, LaVona.

I, Tonya is told chronologically, culminating with “the incident” in 1994.

However, the story begins back in the mid-1970s as Tonya, just a tot at the tender age of four, is as cute as a button and shrouded with innocence. One cannot help wonder if director, Craig Gillespie, known for independent films, purposely made this wise casting choice.

We see Tonya, once an innocent child, journey into a life of violence, abuse, and tumultuous living. Harding grew up cold and hard and endured an abusive, difficult relationship with her mother- the pressures to be the best skater simply never ended. Even upon achieving success Tonya never felt good enough or loved by her mother.

We then experience Tonya as a fifteen-year-old girl, fittingly first meeting her boyfriend and later, husband Jeff, Gillooly played well by actor Sebastian Stan. The early scenes between the two are sweet, tender, and fraught with the emotions of first love.

As explained by the actors, this was a short-lived time of bliss, and the relationship soon disintegrated into abuse, rage, and chaos.

Certainly, the main point of the film is to debate the guilt or innocence of Harding, which Gillespie peppers throughout, so it is never clear what to believe or how the audience should be made to think.

“Interpretation” is the key here- some may see Harding as a victim of life’s circumstances and the hardships she had to endure and may place sympathy upon her. Others may view Harding as off-putting, potty-mouthed, and even icy and violent herself with a big chip on her shoulder.

In one scene she publicly belittles the hoity-toity judges who never cut her a break and give her less than perfect scores.

A clever technique that the film delivers is to have the actors frequently speak to the camera, and thus the audience. This is achieved by either interview style or for the action in the film to simply cease and either Robbie, Janney, Stan, or whomever, turn to the camera and express their version of the events.

In this way, I, Tonya possesses a creative, edgy, indie feel.

How brilliant are the performances of both Robbie and Janney?

Robbie, a gorgeous woman, portrays a “red-neck” to the hilt. Through her bright blue eyes, her face is quite expressive- relaying pain, anger, and a seldom triumph. The film often slants the scales in a sympathetic way towards Harding, but it is the talents of Robbie that make us feel this sympathy.

Janney hits the jackpot with a delicious role she sinks her teeth into. A cold-hearted, vicious character, through facial expressions, we occasionally get a glimpse of LaVona, perhaps softening, but as we do, the character does something even more despicable.

A good surprise for fans who remember the real-life events and the real-life players will be treated to a sequence of the real Tonya, LaVona, Jeff, and Shawn Eckhardt, which play over the film ending credits.

How similar in looks are both Robbie to Harding, with her feathered, frizzy, 1980’s style hairdo, and Janney, a dead-ringer for the boozy, chain-smoking LaVona, with her mousy brown bob haircut, complete with scruffy bangs.

Viewers will leave theaters confused, unsure, or perhaps just simply perplexed by what they have just seen, but will most certainly feel thoroughly entertained and may even depart chanting some upbeat 1980’s rock tunes that the film uses throughout.

Thanks to wonderful acting and a strong story, I, Tonya is a success.

Oscar Nominations: Best Actress-Margot Robbie, Best Supporting Actress-Allison Janney (won), Best Film Editing

Independent Spirit Award Nominations: Best Actress-Margot Robbie, Best Supporting Female-Allison Janney (won), Best Editing (won)

2017 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance, Michael Stuhlbarg

Call Me By Your Name-2017

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Call Me By Your Name-2017

Director-Luca Guadagnino

Starring-Timothée Chalamet, Armie Hammer

Scott’s Review #708

Reviewed December 27, 2017

Grade: A

Call Me by Your Name is a gorgeous film, simply beautiful in story-telling, cinematography, and acting.

A humanistic film that crafts a lovely tale of young love, friendship, and emotions, that is simply breathtaking to experience.

In fact, in the LGBT category, I would venture to proclaim that this film is groundbreaking- leaving behind any tried and true homophobic elements and instead, telling a good story that is fresh, sincere, and simply flawless.

The period in the summer of 1983 and the landscape is the beautiful Italian Riviera. Seventeen-year-old Italian-American, Elio,  (Timothée Chalamet) dreams the summer away living with his parents in a small village.  They are affluent and his world is rich with culture and learnings- his father (Michael Stuhlbarg) is a professor and his mother is a translator.

A brilliant student, Elio wiles away the days reading, playing music, and flirting with girlfriend  Marzia. When a handsome, twenty-four-year-old American student, Oliver, (Armie Hammer) arrives for a six-week stay assisting Elio’s father on a project, desire and first love blossoms between the young men, as they struggle with their burgeoning relationship.

Directed by Luca Guadagnino, has also directed the lovely 2009 film, I Am Love, is a man known for stories of desire in small Italian villages. Call Me By Your Name is the third in a trilogy- I Am Love and 2015’s A Bigger Splash being the others.

The setting is incredibly important to the story as both the summer heat and the world of the intellectual scholars are nestled into a grand shell of culture and the philosophical nature of the story is palpable- the film just oozes with smarts and sophistication.

By 2017, the LGBT genre has become populated with films in the romantic, drama, and comedy sub-genres, but many use the standard homophobic slant to elicit drama and conflict.

Not to diminish the importance of homophobic discussions to teach viewers, Call Me By Your Name stands alone in that homophobia is not an issue in this story.

Given the time of 1983, this may be surprising- at the very cusp of the AIDS epidemic, this topic is also not discussed- rather, the subject matter is simply a love story between two males and the coming of age story that their love expresses.

The film is quite moving and both Elio and Oliver are characters filled with texture and raw emotion. Oliver is confident, charismatic and a great catch for any lucky young lady in the village. Hammer fills the role with poise and humanity. Chalamet, a beautiful young man, gives the complex role his all as so much can be conveyed not by dialogue, but by expressions on the actor’s face.

As Oliver slow dances with a local girl, the wounded look that Chalamet reveals, his eyes welling up with tears, is heartbreaking. Seventeen is a tough age for most young men, but when coming to terms with one’s sexuality it can be excruciating.

The final scene is poignant as it features at least a five-minute-long scene gazing into the eyes of Chalamet as many emotions are expressed in this sequence.

Enough credit cannot be given to Stuhlbarg as Elio’s father as he gives one of the best speeches ever performed in film history. What a subtle and poignant performance the actor gives as the sympathetic and knowing father.

His speech of understanding and warmth is riveting and inspirational- to be cherished. Mr. Perlman is a role model to fathers everywhere and any gay son’s ideal parent.

One scene that could stir controversy is the sure-to-be-controversial “peach scene”. Involving an innocent peach used during a sex act, the scene is erotic and borders on “icky”, but is also important to foster the connection between Oliver and Elio.

Another potential risk to the film is the fact that Oliver is twenty-four and Elio is seventeen, meaning that Elio is underage. However, the film never plays Oliver as more the aggressor and the relationship remains tender and consensual.

Call Me By Your Name is not just a great LGBT film, but it is a film for the ages.  Beautifully crafted with gorgeous landscapes and nuanced, powerful acting, the sequences are subtle and carefully paced. The film is simply a treasure.

Oscar Nominations: Best Picture, Best Actor-Timothée Chalamet, Best Adapted Screenplay (won), Best Original Song-“Mystery of Love”

Independent Spirit Award Nominations: Best Feature, Best Director-Luca Guadagnino, Best Male Lead-Timothée Chalamet (won), Best Supporting Male-Armie Hammer, Best Cinematography (won), Best Editing

2017 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Peter Dinklage, Woody Harrelson

Three Billboards Outside Ebbing, Missouri-2017

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Three Billboards Outside Ebbing, Missouri-2017

Director-Martin McDonagh

Starring-Frances McDormand, Woody Harrelson, Sam Rockwell

Scott’s Review #703

Reviewed December 4, 2017

Grade: A

Frances McDormand takes control of Three Billboards Outside Ebbing, Missouri from the first scene and never let’s go as she gives a riveting portrayal of an angry mid-western woman seeking justice in the Martin McDonagh directed 2017 vehicle.

The up-and-coming director has also created such films as  2008’s In Bruges and 2012’s Seven Psychopaths.

Similar to these films, Three Billboards Outside Ebbing, Missouri is peppered with dark comedic moments and vile, bitter characters. The film is a measured success as it is not your standard Hollywood production and is quite left of center.

The action begins as we meet McDormand’s Mildred Hayes, sitting alone in her beat-up station wagon, brooding by the side of the road gazing at three tattered billboards.

She is clearly both pissed off and thoughtful as she formulates a plan to purchase a year’s worth of billboards, questioning the local police’s ineptitude at finding her daughter’s rapist and killer.

Woody Harrelson portrays the Ebbing police chief, Sheriff Bill Willoughby, and Sam Rockwell plays the racist and dim-whited officer Jason Dixon, both displeased with Mildred’s activities.

Other casting decisions in small yet important roles are Lucas Hedges as Mildred’s adolescent and depressed son, Robbie, and John Hawke as her ex-husband, Charlie, who is dating an eighteen-year-old ditz.

Peter Dinklage is well cast as a local car salesman, James, an earnest dwarf with a crush on Mildred.

Supporting roles are prevalent throughout the film as small-town locales like Jason’s mother, and Red, the owner of the advertising agency, who rents the billboards to Mildred, shape the experience.

The casting in Three Billboards Outside of Ebbing, Missouri is a strong point of the film as a whole.

The town of Ebbing is portrayed as dreary, blue-collar, and racist, but just perfect as a way of setting the tone of the film.

I suspect residents of the mid-west or the southern United States of America may take some issue with character representations. Jason is written as both racist and not too smart and he encompasses numerous characters in the film.

Enough cannot be said for Rockwell’s performance in transforming a hated character during the first two-thirds of the film to suddenly almost becoming the hero towards the end.

Props are also deserved by Harrelson’s Chief Willoughby- bordering on hick and racist, he also has a heart, and cares about Mildred’s predicament- when a shocking event occurs, he becomes an even richer character.

Worth pointing out and impressive to me as a viewer is that the three prominent black characters- Willoughby’s replacement, Abercrombie, Mildred’s best friend and co-worker, Denise, and a kindly billboard painter, are each written as intelligent and sensitive, a fact I found to perfectly balance the other less sympathetic characters.

In this way, a nasty film becomes more satisfying.

Three Billboards Outside of Ebbing, Missouri, though, belongs to McDormand. Successful is she at portraying a myriad of different emotions. From her sly eye-winking as she crafts a good verbal assault on whoever crosses her path, to an emotional breakdown scene towards the end of the film, McDormand embodies the character with depth.

During a gorgeous scene, she has a sweet conversation with a peaceful deer grazing nearby, for a second imagining it could be her dead daughter reincarnated. The scene richly counterbalances other violent and difficult scenes. McDormand manages to look downright homely in some scenes- beautiful in others.

A film sure to divide viewers- some will champion the film’s crisp writing and witty dialogue, others will undoubtedly be turned off by the foul language and nasty nature of some of the characters.

I found Three Billboards Outside Ebbing, Missouri to be sarcastic, gritty, and well-told, a versatile affair rich with layers and brimming with enjoyment.

Oscar Nominations: Best Picture, Best Actress-Frances McDormand (won), Best Supporting Actor-Sam Rockwell (won), Woody Harrelson, Best Original Screenplay, Best Original Score, Best Film Editing

Independent Spirit Award Nominations: Best Female Lead-Frances McDormand (won), Best Supporting Make-Sam Rockwell (won), Best Screenplay

1992 Films, Anthony Hopkins, Best Film of the Year, Drama, E.M. Forster, Emma Thompson, Helena Bonham Carter, Independent, Independent Comedy, Independent Drama, Independent Romantic Comedy, James Ivory, James Wilby, Period Drama, Romantic Drama, Vanessa Redgrave

Howards End-1992

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Howards End-1992

Director James Ivory

Starring Anthony Hopkins, Emma Thompson, Helena Bonham Carter

Scott’s Review #702

Reviewed December 1, 2017

Grade: A-

Howards End is my favorite film in the collection of E.M. Forster’s adapted novels turned into films during the 1980s and 1990s (1985’s A Room with a View and 1987’s Maurice are the other two quality works).

The novels were written during the early 1900s and set during the same period, focusing on class relations in 20th-century England.

The film is lovely, and picturesque, and tells an interesting story about romance and drama between the haves and the have-nots during this period.

The film was a success and received heaps of Academy Award nominations in 1993.

Margaret Schlegel (Emma Thompson), an upper-middle-class intellectual, part of London’s bourgeoisie, befriends wealthy and sophisticated, yet shockingly conservative Ruth Wilcox (Vanessa Redgrave).

The two women strike up a powerful friendship, which results in her beloved country home being left to Margaret when an ailing Mrs. Wilcox dies.

To complicate matters, Margaret falls in love with a businessman (and husband of Ruth), Henry (Anthony Hopkins), while Margaret’s sister Helen, briefly becomes engaged to Paul Wilcox, Henry’s son.

The two families’ lives further intersect when they wind up as neighbors in London and the true owner of the beloved “Howards End” is questioned.

Added to the mix are several other characters of various social backgrounds, having connections to the families.

The writing in Howard’s End is rich and emotional as each character is perfectly fleshed out this includes the supporting as well as the lead characters.

Thompson and Hopkins, both sensational actors, have tremendous chemistry together, and unsurprising was Thompson’s win for Best Actress during this competitive year. She carries the film seamlessly with her upper-middle-class ideals- not conservatively rich, but far from working-class- she epitomizes poise grace, and empathy for those less fortunate than she.

Hopkins, on the other hand, is calculating and confident, yet charismatic and sexy as an old-school, controlling businessman.

Somehow, these two characters complement each other exceptionally well despite their varied backgrounds

The role of Helen may very well be Helena Bonham Carter’s finest. Not being an enormous fan of the actress-overrated and too brooding in my opinion enjoys portraying an interesting character in Helen.

Lovelorn and earnest, yet somewhat oblivious, she develops a delicious romance with the young clerk, Leonard Bast, my favorite character in the film. Living with Jacky, a woman of dubious origins, he is the ultimate nice guy and sadly winds up down on his luck after heeding terrible business advice.

Bast, thanks in large part to actor Samuel West, who instills an innocent, good guy quality in his character, deserves major props.

The cinematography featured in Howards End is beautiful with extravagant outdoor scenes- the lavish gardens of Howards End- just ravishing and wonderful.

Kudos too to the art direction, set design, and costume department for making the film look so enchanting.

There is something so appealing about the look of this film and director, James Ivory, undoubtedly deserves praise for pulling it all together into a suave picture. Whether the scene calls for sun or rain, tranquil or bustling, every scene looks great.

If I were to knock any points from this fine film it would be at two hours and twenty-two minutes, Howards End does drag ever so slightly, and many scenes involve the characters merely having chats with each other, without much action.

But this criticism is small potatoes when compared to the exceptional writing and well-nuanced character development displayed throughout the piece.

Admittedly, and perhaps shamefully, I have not read any of the Forster novels, but Howards End appears to be the film that is most successfully adapted, gleaming with textured finesse, grace, and style.

With the film’s finest actors along for the experience, and intricate, fine story-telling, Howards End (1992) is a film well worth watching.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Actress-Emma Thompson (won), Best Supporting Actress-Vanessa Redgrave, Best Screenplay Based on Material Previously Produced or Published (won), Best Original Score, Best Art Direction (won), Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best International Film

2017 Films, Comedy, Daniel Zovatto, Independent, Independent Comedy, Saoirse Ronan, Stephen McKinley Henderson

Lady Bird-2017

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Lady Bird-2017

Director-Greta Gerwig

Starring-Saoirse Ronan, Laurie Metcalf

Scott’s Review #700

Reviewed November 28, 2017

Grade: A

Lady Bird is a 2017 independent film release and a wonderful effort by actor turned writer/director, Greta Gerwig, in her solo directorial debut.

No stranger to the indie syndicate herself Gerwig puts her unique stamp on the film with a rich, female-centered perspective that works quite well and that is seeping with charm and wit.

Worth noting is how the story is a semi-autobiography-one based on Gerwig’s own life and her stormy dealings with her mother. The story is well-written, well-paced, and empathetic as the audience views a slice of life through the eyes of a restless yet kindly teenager on the cusp of womanhood.

Saoirse Ronan gives a bravura performance in the title role. Her given birth name is Christine, she defiantly changes it to Lady Bird, in a show of adolescent independence, and much to her parents, Marion and Larry’s (Laurie Metcalf and Tracy Letts ) chagrin.

Christine lives in suburban Sacramento, California, and yearns for a more exciting life in New York City, and far away from what she considers Dullsville, USA. Now in her senior year- attending a Catholic high school-Christine applies to college after college, hoping to escape her daily dilemmas. Christine’s best friend Julie and somewhat boyfriend Danny (Lucas Hedges) are along for the ride.

The period is 2002- shortly after 9/11.

The brightest moments in Lady Bird are the scenes between Christine and her mother, which are plentiful. The chemistry between Ronan and Metcalf is wonderful and I truly buy them as a real mother/daughter duo, warts and all. They fight makeup, get on each other’s nerves, fight, cry, makeup, etc.

I especially love their knock-down-drag-outs, as each actress stands her ground while allowing the other room to shine- feeding off of each other.

My favorite Metcalf scene occurs while she is alone- having gotten into a tiff with Christine and giving her the silent treatment while Christine flies to New York, Marion reconsiders as she melts into a ball of tears while she drives away- regretting her decision and missing her daughter already.

Metcalf fills the scene with emotional layers as she does not speak- we simply watch in awe as her facial expressions tell everything.

Comparably, Ronan- likely to receive her third Oscar nomination at the ripe old age of twenty-three (Atonement and Brooklyn are the other nods), successfully gives a layered performance of a teenage girl struggling with her identity and restless to see different worlds and get out of what she sees as a bland city.

Of Irish descent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

The casting from top to bottom is wonderful as the supporting players lend added meat to the story. Christine’s best friend, Julie, played by young upstart Beanie Feldstein (Jonah Hill’s sister) is compelling as the lovable, chubby, and nerdy theater geek.

Letts is perfect as Christine’s father, depressed at losing his job in the tough economy and having to compete with young talent as he sees his career slip away.

Legendary actress, Lois Smith, adds heart to the role of Sister Sarah Joan- a by-the-book nun, who proves to be a cool, old chick.

Finally, Hedges, seemingly in every film in 2016-2017, is emotionally resounding as Danny, the troubled boyfriend of Christine- struggling with his sexuality.

Gerwig simply does it all with this piece of film- she directs and writes, scripting both laugh-out-line moments and eliciting heartfelt emotion from her enchanted audience.

A hilarious scene occurs as Christine attends a dreary class assembly- an anti-abortion-themed one- by a woman who almost did not exist, but for her mother’s decision not to have an abortion.

When a bored Christine icily points out that had the woman’s mother had the abortion, she would not be forced to sit through the assembly, it is a laugh-out-loud moment.

Lady Bird, thanks to a fantastic writer and director, and superlative casting is a film that has its all-heart, emotion, humor, and great acting.

The film is intelligently written and forces the audience to quite willingly embrace its characters. Gerwig carves a story, perhaps done many times before in film, but with a fresh and energetic feel to it.

Oscar Nominations: Best Picture, Best Director-Greta Gerwig, Best Actress-Saoirse Ronan, Best Supporting Actress-Laurie Metcalf, Best Original Screenplay

Independent Spirit Award Nominations: Best Feature, Best Female Lead-Saoirse Ronan, Best Supporting Female-Laurie Metcalf, Best Screenplay (won)

2006 Films, Abigail Breslin, Alan Arkin, Best Feature- Independent Spirit Award Winners, Bryan Cranston, Comedy, Greg Kinnear, Independent, Independent Comedy, Jonathan Dayton, Paul Dano, Steve Carell, Toni Collette, Valerie Faris

Little Miss Sunshine-2006

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Little Miss Sunshine-2006

Director Jonathan Dayton, Valerie Faris

Starring Greg Kinnear, Steve Carell

Scott’s Review #697

Reviewed November 23, 2017

Grade: A

A film that became a sleeper hit at the time of release in 2006 and went on the achieve recognition with year-end award honors galore, Little Miss Sunshine holds up quite well after over ten years since its debut.

Combining family humor with heart, audiences will fall in love with the antics of the dysfunctional Hoover family, warts and all, as they strive to persevere endless obstacles to enable precociously, seven-year-old daughter, Olive, a chance at competing in a beauty pageant hundreds of miles away.

The film is a comedic treat with charm and contains uproarious fun.

Directors  (and husband and wife team) Jonathan Dayton and Valerie Faris start right to work kicking off the humor in style as the one hour and forty-one-minute film introduces depressed Uncle Frank (Steve Carell) to the rest of the Hoovers as he comes to live with the family after a failed suicide attempt.

Frank, who is gay and has recently been dumped, is Sheryl Hoover’s (Toni Collette) brother and has a dry sense of humor.

He fits in well with the other peculiar members of the clan- Dad Richard (Greg Kinnear), a struggling motivational speaker, Grandpa Edwin, a vulgar, irritable man, brother Dwayne, angry and refusing to speak, and finally, pudgy-faced, Olive.

The brightest spots in Little Miss Sunshine are the exceptional writing and the nuanced, non-one-dimensional characters. Each character is both good yet troubled in their way and the overall message of the film is an important one.

The plot of the film encompasses a beauty queen pageant and the lifestyle this involves- hypocrisy and plastic nature is the main theme.

When the family stops at a roadside cafe for breakfast, Olive hungrily orders ice cream and is shamed by a member of the family- she must watch her figure, she is told.

Other members instead encouraged Olive to be herself.

Little Miss Sunshine poses an interesting dissection of the pressures very young people face to be perfect, especially in the beauty pageant business, and the message society sends.

Shocking is a scene where many of the contestants, all under the age of ten, appear in sexy, glamorous makeup, and bikinis.

Little Miss Sunshine is a very funny film and this undoubtedly is due to the chemistry that exists among the cast of talented actors. Quite the ensemble, all five of the principal characters have an interesting relationship with each other.

Too many film comedies suffer immensely from forced jokes or typical “set-up” style humor, plot devices created to elicit a response from the audience- which I call “dumbing down”.

Little Miss Sunshine, however, feels authentic and fresh- a situation becomes funny because there is an honest reaction by the characters.

The film is a slice of the life experience of an average blue-collar family.

A standout scene to mention is the hysterical one in which the Hoovers are pulled over by a highway police officer. To say nothing of the fact that the Hoovers are “escorting” a corpse to their destination, along with pornographic magazines, their classic, beat-up, yellow Volkswagen bus barely runs and contains a malfunctioning horn that beeps at inopportune times.

These hilarious scenes work on all levels as the comic timing is palpable and leads to a laugh-out-loud response.

Furthermore, the climactic “beauty pageant” scene is fraught with physical humor.

Olive, the oddball in a group of hypersexualized, young starlets, takes inspiration from her grandfather to simply “be herself”. She does so in a hilarious version of “Super Freak” that is R-rated, both shocking the audience and celebrated by others- specifically her entire family.

Olive successfully proves that she can be herself and happily does so.

How wonderful and refreshing to find a comedy with honest, ample humor and real integrity that can shine many years after its first release and retain the richness and zest that originally captured legions of viewers.

As proven over time with many independent films, wonderful writing and directors sharing a vision, go a long way in achieving a quality piece of filmmaking.

Oscar Nominations: 2 wins-Best Picture, Best Supporting Actor-Alan Arkin (won), Best Supporting Actress-Abigail Breslin, Best Original Screenplay (won)

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Jonathan Dayton and Valerie Faris (won), Best Supporting Male-Alan Arkin (won), Paul Dano, Best First Screenplay (won)

2016 Films, German, Independent, Independent Comedy, International, International Comedy, Maren Ade, Peter Simonischek, Sandra Hüller

Toni Erdmann-2016

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Toni Erdmann-2016

Director Maren Ade

Starring Peter Simonischek, Sandra Hüller

Scott’s Review #686

Reviewed October 1, 2017

Grade: A-

Reaped with a slew of award nominations in 2017, mostly in the Foreign Language film categories, Toni Erdmann is a unique film that I must champion, but for its imagination and humanistic perspective alone.

At two hours, and forty-two minutes, it can almost be watched in segments- miniseries style. The film is set in Bucharest, Romania, so viewers are treated to several exterior scenes of the bustling city and interesting European culture.

However, the film is German and Austrian-produced.

Winfried Conradi (Peter Simonischek) is a hippie-type man in his sixties. Divorced and working as a music teacher, his dog suddenly dies resulting in his decision to reconnect with his corporate, power-hungry daughter, Ines (Sandra Hüller). She is forging her career in business consulting and is currently on assignment in Bucharest.

Winfried insinuates himself into Ines’s busy life as she wants little to do with him or the petty practical jokes he continues to play on her.

Gradually, involving a few hysterical antics and embarrassing situations, father and daughter reunite and forge the loving relationship they once shared.

What makes Toni Erdmann unusual is that one will not know what to expect from it or what direction it will go as we get to know and love the characters. We know that Ines is a driven career woman, busy beyond belief, with no time for her father.

Yet, in all of the scenes that Ines and Winfried share, due to fantastic and believable acting by the two leads (Simonischek/Hüller), there is an underlying love and appreciation for each other that comes across.

This chemistry made me root for the father-daughter reunion and reconnection.

When Winfried dons his garish wig and horrid false teeth, naming himself “Toni Erdmann” a series of hilarious scenes ensue. Winfried is noticed at important corporate functions and dinners he follows Ines to. He also attends a lady’s dinner with Ines and her friends and explains to the women that he is in Bucharest for a funeral that a friend is having for his pet turtle.

Simonischek fills his character with earnestness and dry wit making these scenes hilarious.

My favorite scene that will surely be talked about for years to come, is the “naked party” scene.

Not only is the scene comical, but it is also fraught with meaning as it is a turning point for the character of Ines. Hosting a team-building party for her birthday, the party is set to begin, except Ines cannot get her dress on and her shoes do not match.

Frustrated, with a guest already at the door, Ines strips naked and decides to turn the party into a naked team-building experience.

Some guests are disgusted and leave, others reluctantly agree to strip nude. It is when Ines sheds her clothes and her stodgy, rigid persona and begins to appreciate and enjoy life again, thanks to her father.

Toni Erdmann is a unique and unpredictable film by a female director (Maren Ade), who has an interesting and strong perspective on the female psyche. She carves a thoughtful tale about a damaged father and daughter with characters to root for and realism.

The film is a fun, laugh-out-loud romp that goes into dramatic territory, careful to remain playful and not be too overwrought.

I enjoyed it tremendously.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: 1 win-Best International Film (won)

2015 Films, Drama, Independent, Independent Drama, Michel Franco, Robin Bartlett, Tim Roth

Chronic-2015

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Chronic-2015

Director Michel Franco

Starring Tim Roth, Robin Bartlett

Scott’s Review #682

Reviewed September 18, 2017

Grade: A-

Chronic (2015) is a brave film, a character study, that offers an in-depth look at the life of a male nurse. He has rich relationships with his patients.

What the film also does quite soundly is reflect on not just the obvious physical needs of the patients, but the deep effects that the main character’s dying patients have on himself as well.

The film is quite bleak with a quiet element and very long scenes containing little dialogue but a treasure in bold storytelling and brazen reflection.

The film is a subdued work requiring attention and focus.

Yes, some would deem Chronic to be slow, and most would describe it as “a downer”, but dismissing the film is a mistake as it offers rich writing and an in-depth look at a vocation and lifestyle misunderstood or confusing to most people.

Tim Roth, famous for his bad boy roles, especially in Quentin Tarantino films, does an about-face, delivering a superb, subdued performance as David Wilson, a lonely and depressed nurse in the Los Angeles area.

He is a quiet, kindly man whose internal pain registers on his face as he dutifully treats his mostly close-to-death patients, sometimes attending their funerals after they have expired.

Initially, we meet David as he treats a sickly young woman. Once beautiful, she is now haggard and I cringed when the woman’s nude, skeleton-like body, is on display as David washes her with a washcloth.

The filmmakers do not gloss over his tender attention to her private areas, shot gracefully and not done garishly. Still, the long scene is frightening in its realism.

When the woman succumbs to AIDS, David reluctantly becomes involved in a celebratory drink with a newly engaged young couple after he goes to a bar to unwind.

When he pretends the deceased woman is his wife, he receives sympathy, but the couple quickly becomes aloof when he reveals what she died of.

Does he do this purposely to push the couple away? Throughout the film, we realize that David thrives on being with his patients, and can do no other work.

In contrast, he has difficulty with relations with “normal” people.

Perplexities abound in this film, which makes the viewer think and ponder throughout, and after the story ends.

For example, David searches through a young girl’s Facebook account looking at her photos- he later finds the girl, revealed to be studying medicine, and they happily reunite.

Is she his daughter or the daughter of a deceased patient?

Later, David is sued by an affluent family and subsequently fired, after he watches porn with an elderly man to lift his spirits. There is a glimmer of uncertainty where we are not sure what David’s sexual orientation is.

In the most heartbreaking sequence of all, David begins caring for a middle-aged woman with progressive cancer. Martha (Robin Bartlett) is strong-willed and no-nonsense and makes the painful decision not to continue with chemotherapy after suffering chronic nausea and later soiling herself.

It is apparent that her family only visits her out of obligation as she lies to them that her cancer is gone and she is in the clear. She then pleads with David to end her life with dignity using a heavy dose of morphine- the sequence is heartbreaking.

The final scene will blow one away and I did not see this conclusion coming. The event left me questioning the entire film, wondering how all the pieces fit together.

Surely, being overlooked for an Oscar nomination, Tim Roth proves he is a layered, complex, full-fledged actor, in a painful, yet necessary story called Chronic (2015).

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Tim Roth

2016 Films, Andy Powers, Eli Roth, Horror, Independent, Independent Horror, Jon Watts, Laura Allen, Peter Stormare

Clown-2016

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Clown-2016

Director Jon Watts

Starring Andy Powers, Laura Allen

Scott’s Review #681

Reviewed September 16, 2017

Grade: B-

As a fan of all things horror and with a robust appreciation for the genre, clowns in said genre are always a stroke of genius, and the 2016 film, Clown, establishes a creepy premise right off the bat.

After seeing the film, it was not until a few days later that the story began to marinate more with me and I gained a bit more appreciation than I had once the film originally ended.

Clown reminds me of the mid-2000s Showtime horror anthology series Masters of Horror, though the film is one hour and forty minutes long.

The film has a unique, creepy vibe, is also a highlight of the cherished series of yesteryear, and oddly plays out like a vignette.

The premise is creepy as the action kicks off.

When Kent McCoy (Andy Powers), a likable young father, who works far too much maintaining his real estate business, is notified by his wife, Meg (Laura Allen), that the clown they hired to entertain at their son Jack’s birthday party has canceled, he is determined to save the day.

Kent discovers an old clown suit in the attic of one of his abandoned houses and dons the costume. The next day, Kent and Meg are startled when Kent cannot remove the costume even when pliers, a hacksaw, and other horrid machinery are used on him.

The story then introduces a strange character named Herbert Karlsson (Peter Stormare), who informs Kent that the clown costume is not a costume, but the hair and skin of an ancient demon from Northern Europe.

The demon needs to feast on and devour children to survive, Kent realizes as he becomes ravenous with hunger. Karlsson attempts to kill Kent, revealing that the only way to destroy the beast is via beheading.

The clever and compelling part of the story is the mixture of clowns and children in peril, a recipe for success in most horror films.

The fact that Kent and Meg slowly begin the temptation to harm children is both shocking and effective.

The McCoys are average, everyday folks, Meg even working as a nurse, so the likelihood of the pair harming kids on any other day is remote, but tested by a vicious demon and their son Jack in peril makes Clown work well.

My favorite sequence occurs during a birthday party at Chuck E. Cheese. While the kids play in a lavish and dark tunnel, the demon (Kent) is on the loose, causing havoc and eating two children.

When Meg drives an unwitting young girl home, she is conflicted and tempted to offer the girl to the demon as a sacrifice to hopefully save Kent.

The girl’s pleading is palpable.

The film is gruesome from a violent perspective and hesitates not to go where many horror films dare not to go, with the death and slaughter of young children.

One kid, in particular, is shown disemboweled. The kid is written as a bully and gets his comeuppance in grisly form.

Sad is the death of a lonely trailer park-type kid, only looking for a friend in Kent, little does he know his short days are numbered.

As strong and measured as the story idea is, Clown does have some negatives. The film has an amateurish quality, not because it is an independent film. Rather, the style almost comes across as a student film.

Some of the acting is not great, specifically actress Laura Allen as Meg. The filmmakers might have been wiser to make this project more of an episodic venture instead of a full-length release.

Clowns, kids, and demons make a fun combination for horror and the aptly named Clown is a solid B-movie effort in the glorious chambers of the cinematic horror genre.

With a few tweaks and zip-ups, Clown (2016) might have been an even more memorable film. It will not go down in history as a masterpiece but has the necessary elements for a good watch.

2016 Films, Adam Scott, Bradley Whitford, Chris Kelly, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Jesse Plemons, June Squibb, LGBTQ+ Comedy, LGBTQ+ Films, Molly Shannon, Paul Dooley

Other People-2016

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Other People-2016

Director Chris Kelly

Starring Jesse Plemons, Molly Shannon

Scott’s Review #676

Reviewed August 24, 2017

Grade: B+

2016’s recipient of numerous Independent Film award nominations is equal parts a touching drama and equal parts witty comedy, providing a film experience that crosses more than one genre.

Is it a heavy drama or is it a comedic achievement?

Without being sappy or overindulgent, Other People is a film that will elicit laughs and tears from viewers fortunate enough to see it. The subject is a tough one- a woman dying of cancer.

The title, in which one character states he always thought cancer was something that happened to “other people” is poignant.

Jesse Plemons and Molly Shannon play son and mother. The film is both written and directed by Chris Kelly.

The very first scene is a confusing one and caught me off guard. We see the entire Mulcahey clan- father Norman (Bradley Whitford), three kids, David (Plemons), Alex, and Rebeccah, along with their dead mother Joanne (Shannon), all lying in the same bed, sobbing and clutching hands.

Joanne has just succumbed to her battle with cancer. This powerful opening scene, also the final scene, sets the tone as Kelly, works his way back, beginning a year before the important “death scene”.

Cancer is a tough subject to cover in film, especially going the comedy/drama route.

The sensitive filmmaker must be careful not to trivialize the subject matter with too many comedic elements or heavy drama. Kelly successfully mixes humor and drama well so it works as a cross-genre film.

He achieves this with capable talents like Plemons and Shannon. They share tremendous chemistry in every scene they appear in together.

Scenes that show David and Joanne crying in each other’s arms work as well as others, such as when David takes a giddy Joanne to meet his comedy friends.

Most impressive is that the story in Other People is largely autobiographical. Kelly, a gay man like the character of David, moved from New York City to Sacramento, California, to tend to his ailing mother, who had also died from cancer.

Actress Shannon reminded him so much of her that he had the fortune of casting the talented lady in his film- the part originally slated to go to Sissy Spacek instead.

Mixed in with Joanne’s battle with cancer is a nice story about David. A gay man, David has broken up with his boyfriend Paul, previously living together on the East Coast (though still pretending to spare Joanne worry), and returning to the West Coast.

Over the next year, we see Joanne and Norman slowly come to terms with David’s sexuality. The turbulent father/son relationship is explored during the film as Norman, initially hesitant to meet David’s boyfriend, Paul, pays for his airline ticket to attend Joanne’s funeral.

A slight miss with the film is the Norman/David dynamic.

Other than a few hints of Norman encouraging David’s struggling writing career and his obsession with David joining the gym and boxing, it is not clear what issue he takes with his son being gay or why he is uncomfortable with it. Besides the family being rather conservative no other reason is given.

David’s sisters and grandparents do not seem to take issue with David’s sexuality, though it is not made certain if the grandparents are even aware of it. Is it a machismo thing with Norman?

This part of the story is unclear.

Still, Other People (2016) is a good, small, indie film, rich with crisp, sharp writing and a tragic “year in the life of a cancer patient” along with good family drama and the relationships that abound when a family comes together and unites based on a health threat.

The film is nothing that has not been done before, but thanks to good direction, a thoughtful, nuanced approach, and one character’s sexuality mixed in, the film feels quite fresh.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Jesse Plemons, Best Supporting Female-Molly Shannon (won), Best First Screenplay, Best First Feature

1998 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

In the Flesh-1998

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In the Flesh-1998

Director Ben Taylor

Starring Dane Ritter, Ed Corbin

Scott’s Review #663

Reviewed July 10, 2017

Grade: B

In the Flesh is a steamy, pre-Brokeback Mountain, LGBT film from 1998. The budget for this film is very small and the acting is quite wooden.

My initial reaction was that In the Flesh is a terrible film, yet something sucked me in as a fan, whether the crime theme or the romance (or both).

The atmosphere is quite dreamlike and moody, which I find appealing and the addition of a whodunit murder mystery amid the romantic drama is highly appealing- therefore I hesitantly recommend this film for perhaps a late-night adult viewing.

But be prepared for endless plot holes and unnecessary subplots.

Oliver Beck (Dane Ritter) is a handsome college student who works as a hustler in a dive bar named The Blue Boy in Atlanta, Georgia. He has his share of loyal, older men who use his services and adore him, especially a lonely man named Mac- a barfly at the watering hole.

When closeted Detective Philip Kursch (Ed Corbin) begins an undercover assignment to bust a drug ring at The Blue Boy, their lives intersect, as Philip falls in love with Oliver and investigates his past.

As the drug investigation seems to be quickly forgotten, a murder mystery develops when Mac is murdered at the ATM- Oliver looks on, panics,  and speeds away. When Philip covers Oliver as an alibi, the plot thickens.

Other side stories like a flashback sequence involving Oliver’s past- while driving drunk he killed his best childhood friend, the introduction of his sometime boss and girlfriend, Chloe, and his caring for Lisa, his sister, addicted to heroin- are brought to the table, but really have little to do with the main story and only confuse the plot.

The most compelling element is the relationship between Oliver and Philip and their dysfunctional love story, but many questions abound. Is Philip secretly married or dating a female? We know nothing about his personal life.

Oliver, hustling and hating every minute of it, merely as a way to support Lisa’s habit is ridiculous- why not get her help?

Neither actor Ed Corbin nor Dane Ritter will ever be accused of being the world’s greatest actor, and can hardly act their way out of a paper bag. Both actor’s performances are wooden and unemotional, even when emotion is required in the scene.

Still, oddly this somewhat works in the film.

Regardless of In the Flesh being riddled with plot holes and sub-par acting, the film has some charm.

The moody Atlanta nights, rife with sex and secrets, are quite appealing. A murderer on the loose and disguised save for a green watch is intriguing.

The film also has a mysterious, almost haunting nature, and the muted camera work, whether intentional or the result of a poor DVD copy, works very well.

Since the time is 1998, a time when more and more LGBT films were beginning to be made, but not overly so, In the Flesh and its director, Ben Taylor, deserve credit for even being able to get this film produced and made.

The mainstream success of the LGBT juggernaut, Brokeback Mountain (2006), undoubtedly helped, albeit in a small way, by this film.

Though, strangely, I never noticed the two main characters ever kiss- too soon for 1998?

Not the finest acting nor the best-written screenplay, In the Flesh (1998), is a bare-bones film that will be enjoyed largely by an LGBT audience seeking a peek into a time when these types of films were not running aplenty and typically made in the independent film venue.

2015 Films, Adam Salky, Billy Magnussen, Chris Sarandon, Drama, Independent, Independent Drama, Josh Charles, Sarah Silverman, Thomas Sadoski

I Smile Back-2015

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I Smile Back-2015

Director Adam Salky

Starring Sarah Silverman

Scott’s Review #654

Reviewed June 13, 2017

Grade: B+

As a fan of Sarah Silverman, the comedienne, I was anxious to see the 2015 film, I Smile Back, which garnered her a Screen Actors Guild Award nomination.

Silverman tackles a heavily dramatic role in a film that teeters on being a pure “downer”. Many fans expecting the actress’s comic wit to be featured need not see it.

Rather, I embraced the performance and found the film to be an independent film treat, thanks to Silverman’s powerful performance. She nails the part and carries it to success.

I Smile Back is a small film that I wish had garnered more viewers.

Laney Brooks (Silverman) appears to have it all. She lives an affluent existence in Westchester County, New York with her handsome husband, Bruce (Josh Charles), and their two young children.

With a gorgeous house, dinner parties, and friends, who could ask for anything more?

Bored and troubled by a tough childhood and “daddy issues”, Laney tends to drink too much, abuse drugs and prescription pills, and carry on an affair with her best friend’s husband, all while managing to run a household.

As she gradually spirals down a darker path, Laney sees her perfect world slowly crumble around her.

Throughout the film, I asked, “Are we supposed to root for Laney or dislike her?”

Director Adam Salky does not make it easy to like her.

In addition to her substance abuse use (or over-use), Laney is rather selfish. From the small scenes when Laney drops off her kids from school and is annoyed when the crossing guard and a teacher refuse to give her special treatment, she mutters insults under her breathe as she grabs a cigarette and heads for her scandalous rendezvous.

But when she is put in great peril later in the film, following one of her benders, I could not help but feel deep sympathy for her.

It is a bit unclear what the audience should feel.

This leads me to conclude that the film belongs to Silverman.

What impresses me most is how believable she is in most scenes. She packs creative lunches for her kids and plays fun birthday cake decorating games with them, but in the next breathe snorts cocaine and rails at a neighbor lady for not celebrating Thanksgiving.

Thanks to Silverman, she plays these scenes with gusto.

Some critics have complained about the script, but I find no real fault. While not the strongest element, it is fine, nonetheless.

I Smile Back is a low-budget indie drama that serves its purpose- it does not delve too deeply into the how’s and why’s of her addiction, and a nice scene with Laney’s father (Chris Sarandon) offers no concrete evidence of why this man drove her to drugs by his abandonment.

The film seems to be more about proving a good performance by Silverman than anything else.

Sarah Silverman commands great respect for her dark portrayal in I Smile Back.

This role, combined with her recent turn in Showtime’s Masters of Sex television series, portraying a pregnant lesbian in the 1960s, proves that she has what it takes to compete with the great dramatic actresses of today.

She is much more than a stand-up comic. Here’s to hoping for more drama from this talented lady in the years ahead.

2016 Films, Andrew Ahn, Drama, Independent, Independent Drama, International, International Drama, Joe Seo, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International

Spa Night-2016

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Spa Night-2016

Director Andrew Ahn

Starring Joe Seo

Scott’s Review #645

Reviewed May 19, 2017

Grade: B+

On the surface, Spa Night (2016) may seem like a straight-ahead independent LGBTQ-themed film (of which, in recent years, there has been no shortage), but the film’s plot is twofold.

Sure, it tells the coming-of-age story of a young man’s sexuality. Still, Spa Night is also a story of the boy’s Korean parent’s financial struggles and their desire to raise a son into a successful young man, sacrificing their happiness.

The film’s tone is very subtle, and the action moves slowly, but it is a sweet and relevant story.

David Cho is a shy Korean-American high school student on the cusp of going to college. His parents (who only speak Korean) have sadly recently lost their take-out restaurant in Los Angeles. The parents struggle to make ends meet (she by waitressing, he by doing odd moving jobs), while David takes SAT classes to ensure he gets into a great college.

David is also struggling with his sexuality and one-night visits a local male spa with drunken friends. He gets a job there and begins to experience male-on-male shenanigans taking place on the sly in the spa, all the while developing his blossoming sexual feelings.

David’s development in the story is key- he is resistant to coming out as gay because his parents are traditionally Korean, constantly mentioning David finding a girlfriend and succeeding in school, becoming what they have failed to achieve.

When, at one point, he fools around with another male in the spa, David insists on a no-kissing policy. This reveals to the audience that he has issues with intimacy with another male, and in one compelling scene, some self-loathing occurs.

When he stares too long at a buddy in the bathroom, while both are inebriated, this clues in the friend, who is then distant towards David.

The film is enjoyable because it tells two stories rather than one, which helps it succeed. We also care greatly about David’s parents, who are compassionately portrayed rather than the stereotypical “tiger mom” and rigid father.

Wanting only the best for him and having no clue about his sexuality struggles, they trudge along with their issues. The father drinks too much, and the parents frequently squabble.

This is a clue to the film because it explains why David hesitates to mention anything to them, even though he is close to his parents.

I also enjoyed the slice-of-life and coming-of-age appeal that the film possesses.

Several shots of day-to-day life in Los Angeles are shown, mainly as characters go about their daily routines.

The budget allotted for Spa Night must have certainly been minimal. Still, the lesson learned is that some fantastic films are made for minuscule money, but as long as the characters are rich and the story humanistic, the film succeeds- this is the case in Spa Night.

Almost every character is of Asian descent- I am guessing all Korean actors. This is another positive I give to Spa Night.

In the cinematic world, where other cultures and races are woefully underutilized or still stereotypically portrayed, how refreshing is it that Spa Night breaks some new ground with an LGBTQ-centered film with Korean characters?

Spa Night has deservedly crowned the coveted John Cassavetes Award at the 2016 Independent Spirit Awards (for films made for under $500,000), and director Andrew Ahn is undoubtedly a talented novice director to be on the watch for.

He seems destined to tell good, interesting stories about people.

Independent Spirit Award Nominations: 1 win-John Cassavetes Award (won), Acura Someone to Watch Award

2015 Films, Andrew Garfield, Drama, Independent, Independent Drama, Laura Dern, Michael Shannon, Ramin Bahrani

99 Homes-2015

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99 Homes-2015

Director Ramin Bahrani

Starring Andrew Garfield, Michael Shannon

Scott’s Review #633

Reviewed April 13, 2017

Grade: B+

99 Homes is a 2015 independent film containing an underlying theme of morality as its central message, bubbling to the surface throughout the run.

Our main hero is faced with a major dilemma.

Set in 2010 amid the dark economic housing crisis where thousands of families lost their homes to foreclosure, the film is depressing but turns uplifting towards the end.

Reminiscent of The Big Short (2015) and Inside Job (2010) in subject matter, we witness a wonderful performance by Andrew Garfield in the lead role, with a worthy supporting turn by Michael Shannon as an opportunist.

Director Ramin Bahrani immediately creates tension with a taut musical score that bombards the screen. We see a poor victim of foreclosure, having shot himself to avoid the humiliation of being evicted from his home, followed by the introduction of a powerful real-estate mogul, Rick Carver.

Carver has wisely capitalized on the slew of Florida working-class families, living well beyond their means and novice homeowners, booted from their homes thanks to adjustable mortgages that they cannot afford to pay.

Andrew Garfield plays Dennis Nash, a struggling construction worker, raising his young son and presumably supporting his mother (Laura Dern).

They are fated to be evicted even though they have tried to win an extension with the court- months behind in their mortgage payments. They feel victimized and are forced to move to a seedy motel that houses many others in the same circumstances.

Desperate for work, Dennis ironically ends up working for Rick and becomes encased in the dishonest world of real estate scheming- manipulating banking and government rules at the expense of homeowners down on their luck.

The main point is the exploitation of the “working man” at the expense of “the man” and Rick is an example of this beast. Dennis represents the goodness of humanity as he wrestles with the moral repercussions of evicting families since he has met with similar circumstances.

Is the money worth the pain and the hardship he causes people? How is it Rick has no morals, but Dennis does? Will Dennis choose money and lose himself in the process? What would the viewer do?

Despite the morality questions, the film does play like a slick thriller, with a few slight contrivances and the “wrapped up in a neat bow” style ending.

This slightly makes the film lose its luster at times. It is implied that it ends happily for Dennis and that Rick gets his “just desserts”, but what about the characters kicked out of their homes?

Sadly, as in real life, they are largely forgotten by the end and play as footnotes in a larger story. Some follow-up as to what happens to them might have been nice.

99 Homes is a thinking man’s film and will undoubtedly leave the viewer asking what he or she would do in many situations that Dennis faces.

The emotions ooze from the face of Andrew Garfield as Bahrani uses many close-ups and enough cannot be said for Garfield’s bravura performance.

In one heart-wrenching scene, he is forced to evict a man and his wife and children from their home, the man is reduced to tears, comforted by his wife-Dennis is pained.

In another, an elderly man with nowhere to go is evicted, and defeated by the side of the road.

These scenes may have played as overwrought, but Garfield convincingly brings honesty and raw emotion to the work.

Laura Dern is good in her role as a young mother, Lynn,  to Garfield’s Dennis and I am perplexed why she was cast- she barely seems old enough to play convincingly as his Mom, but she does pull it off.

However, I could not help but desire more meat from this Oscar-nominated Actress- sure there is one great scene when Lynn realizes the extent of Dennis’s involvement with Rick, but I wanted more.

Still, the acting all around in this film is superb.

What left me so bothered by 99 Homes (2015) is that situations just like the ones that played out in the film are examples of countless real-life occurrences people experienced due to greed, dishonesty, and uncaring fellow human beings and that is a sad realization.

Director, Bharani, surrounded by a stellar cast, brings this realism to the big screen in raw, honest, storytelling.

Independent Spirit Award Nominations: Best Supporting Male-Michael Shannon

2012 Films, Eamon Farren, Horror, Independent, Independent Horror, Jennifer Lynch, Vincent D'Onofrio

Chained-2012

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Chained-2012

Director Jennifer Lynch

Starring Vincent D’Onofrio

Scott’s Review #627

Reviewed March 24, 2017

Grade: B-

Chained is a 2012 independent horror film directed by Jennifer Lynch, who is the daughter of the brilliant film and television director, David Lynch.

His influence is readily felt throughout.

The film is an exercise in cerebral, psychological horror, and is quite mesmerizing for most of the experience. The ending, however, is the pits and takes away from the enjoyment of the rest of the film in its asinine, quickly wrapped-up, conclusion.

The film is set in an unknown area- all the audience knows is a  decrepit, isolated, cabin in the middle of nowhere and that the shack exists in somewhat proximity to a college town.

Since the film is shot in Canada that is a good enough locale for me to accept.

One day a seemingly happy husband drops off his wife and nine-year-old son at the movies but implores them to take a taxi home as the bus is too dangerous. When they heed his advice, they are accosted by a deranged serial killer, Bob (D’Onofrio), who drives a cab and whisks them away to his remote home.

After he kills the mother, he makes the son, whom he re-names Rabbit, his slave, reducing him to household chores and a somewhat accomplice to the subsequent victims he brings home.

As the years pass and Bob continues to kill, he is determined to have, a now mature, Rabbit, follow in his footsteps.

A large chunk of Chained (and the film is aptly named because Bob commonly keeps Rabbit chained) takes place in Bob’s lonely home and Bob and Rabbit are all each other have for support. Bob presumably earns a living by stealing the cash his victims carry.

Many scenes of a binding nature, albeit perverse, are featured as the two dole away the time between Bob’s kills, almost like a father and son.

Jennifer Lynch wisely moves the film at a slow pace for appropriate build-up.

Bob’s psychologically troubled childhood is told through flashbacks as he is victimized by his abusive father and forced to have sex with his mother, who blames him rather than her husband.

As a result, Bob hates women, and lures victim after victim into his cab and then slices and dices them back at his home.

Bob is sympathetic, like a wounded bird, and whether he rapes the victims before killing them is unclear, as much happens off-screen.

The cabin is purposely suffocating and when Bob teaches Rabbit intellectual facts and encourages him to read and study to become smart, it is a bonding experience.

Slowly, Bob trusts Rabbit more and more.

When Bob makes Rabbit pick out a young girl in a school yearbook to kill, the film kicks into high gear. Suddenly, it becomes vague whether Rabbit is loyal to Bob or still determined to escape. Will he help his intended victim instead of killing her?

David Lynch’s imprint is blatant in both the pacing of the film and more specifically in the low hum musical score, common in his films.

Daughter Jennifer knows her father’s techniques as they continually come into play. A nice homage to Mulholland Drive (1992) appears when a sweet older couple rides in the back of Bob’s cab, reminiscent of the older couple featured in Mulholland Drive.

The gloomy ambiance is highly effective in Chained and the relationship between Bob and Rabbit, not sexual or overly violent, becomes rather sweet in some moments.

The rushed conclusion of the film is disastrous and Lynch’s attempt at a twist goes haywire in the “makes sense” department.

After a compelling fight scene with Bob, Rabbit finally kills him, escapes his clutches, and returns to his father’s open arms (now newly re-married with another son) only to reveal to his father that he knows he orchestrated Rabbit and his mom’s abduction years ago and that Bob is Rabbit’s uncle!

To matters even more confusing, after a dramatic event, Rabbit is sent away yet again and returns to the cabin as his only safe place.

This final act is a real dog, makes little sense, and is tough to digest.

I will give some liberties to 2012’s Chained since the director is spawned from the great David Lynch and the mood and several characteristics mirror his work, but still with her unique vision an obvious characteristic.

Most of the film is a solid effort, but due to the ending of the film being such a letdown, the body of work seems incomplete.

2010 Films, Comedy, Doug Langway, Independent, Independent Comedy, LGBTQ+ Comedy, LGBTQ+ Films

BearCity-2010

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BearCity-2010

Director Douglas Langway

Starring Joe Conti, Stephen Guarino

Scott’s Review #626

Reviewed March 19, 2017

Grade: B

BearCity is a small, independent, LGBT, coming-of-age film that tells of a young man living in New York City, and his exploration of a sub-culture within the LGBT community and the subsequent romance that follows.

The film is a comedy and has a “Sex in the City” or “Queer as Folk” approach to its storytelling- a group of close-knit friends and raunchy and gratuitous to be sure.

The budget is very small and some aspects are rather amateurish, but the film is enjoyable, especially for those exposed to the LGBT lifestyle.

The film is not heavy nor are any of the characters dealing with “coming out” issues, but rather it is a fun sex comedy romp.

Our central character, Tyler (Joe Conti), is a young man in his twenties, an aspiring actor, who moves to New York City to pursue his career, with a mind for casual dating.

His roommates encourage him to date Abercrombie and Fitch types, but Tyler comes to realize he prefers “bear” types- mature, hairy men.

On the sly, he begins to pursue this subculture and makes many friends. The apple of his eye, handsome Roger (Gerald McCullough) is a popular mature man, distinguished in the bear circle, and risks his reputation with “the bears” by falling in love with Tyler.

The two men spend the greater part of the film conquering their respective fears and finding their way into each other’s arms in a predictable ending.

BearCity is a fun farce and nothing very heavy and the feature of a strong circle of friends is a nice, positive portrayal- all of the friends connect well and stick by each other through thick and thin.

Comical sub-plots abound such as one couple (Brent and Fred) awkward parlay into the world of threesomes with unsuccessful results.

Another bear who is unemployed, and grossly obese, decides to undergo weight loss surgery much to the chagrin of his hunky boyfriend.

The main story though belongs to Tyler and Roger and their inevitable reunion can be seen miles away. The film throws various hurdles in their ways, such as a third-person briefly dating Roger, or Roger’s commitment issues, but the climax of the film will be no surprise to anyone.

Tyler and Roger make a nice couple as a whole, but perplexing is how the film makes Roger the undisputed leader of the bear group when he is a lean, muscular man- not a “bear” at all!

This is odd to me, but BearCity is so light-hearted that I suppose I can let this detail slide in favor of a good romance.

Critically, the film is nice but quite amateurish, and super low-budget. The acting, especially by some of the supporting characters (the pre-surgery guy’s boyfriend is the most glaring example), is not great.

I half-expected him to accidentally look at the camera.

Additionally, the film has a low-budget look and feel, which on one level is fine, but combined with the not-so-stellar acting, enhances the inexperience of the cast and crew. The film is tough to take too seriously- if this is even the intention of the filmmakers.

The film is a logistical treat for anyone privy to popular gay hangouts in New York City- specifically The Eagle and The Ramrod, both locales are featured prominently, and the use of many real-life people who hang out at those establishments are used throughout the production.

BearCity (2010) is not a bad experience and a film that is light and comical within the LGBT community seems rather fresh compared to the myriad of dramatic and heavy films that exist.

At the same time, the film teeters towards goofy too much with more than one silly, sex-crazed, stereotypical gay man, that it almost gives a bad impression, so the film has mixed results for me.

2016 Films, Drama, Independent, Independent Drama, Riley Keough

American Honey-2016

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American Honey-2016

Director-Andrea Arnold

Starring-Sasha Lane, Shia LaBeouf

Scott’s Review #622

Reviewed March 6, 2017

Grade: A-

American Honey is an unconventional coming-of-age drama that deserves kudos for not only being shot on a shoe-string budget, but also for having something of substance to tell.

The film is mostly shot outdoors throughout the scouring summer months in heat-drenched Oklahoma, Nebraska, and Kansas, as the film follows a group of rebellious, lonely teenagers as they attempt to sell magazines as part of a shady con organization.

Their female leader uses cult-like rallying techniques to achieve loyalty.

The film is shot mainly by hand-held cameras and only uses natural light, which is an admirable feat in film.

The film’s central character is an eighteen-year-old girl named Star, played by novice actress, Sasha Lane.

Saddled with a deadbeat boyfriend with two young kids that she is forced to care for, she takes food from dumpsters to survive.

One day, she is approached by a charismatic, handsome bad boy, Jake (Shia LaBeouf). Jake, along with a group of teenagers, offers her a job in Kansas.

Hesitant, but realizing her dead-end existence, she accepts the mysterious job and travels with other unsavory characters across the bible-states, where they prey on wealthy, religious types willing to lend a hand, under the guise of selling them magazines.

The main story envelopes Star, her romantic feelings for Jake, and the quandaries that she faces on the road. She drinks, smokes, curses, and is sexually active, yet also savvy and wise beyond her years.

The audience wonders if she will continue this lifestyle and worries when she comes into contact with older men- all rather well-mannered and some affluent.

Will they pay her for her magazines or some other form of entertainment? How will Star handle propositions and scrapes in and out of precarious situations? Star grows up throughout the film. Star is also a kind and confident character.

At two hours and forty-three minutes long, American Honey is extremely lengthy, especially given the fact that the film is an independent feature and also seems not to contain many concrete plot points nor much of a conclusion.

It seems to just go on and on and on.

Despite this, the film never bored me and I was quite enraptured with the antics of the story’s characters, finding myself quite fond of the surprising love story shrouded amongst the hip hop and rap soundtrack.

Star and Jake (thanks in large part to the talents of Lane and LaBeouf) have true chemistry and likability as a couple.

The mystery surrounding Star is we know nothing about her parents or family or how she came to this existence at such a young age. At one point, she does mention her mother dying of a meth overdose, but it is unclear whether she makes this story up for the benefit of a magazine sale or if it is the truth.

Star is rebellious, but very intelligent and capable, all the while exhibiting kindness to strange children and her “colleagues”.

Interesting to note about American Honey are two key aspects: the film uses almost all non-actors- most of the kids were scouted and offered roles at local malls or various hangouts by director Andrea Arnold, so the film has a rawness and energy that is powerful given that the film is largely improvised.

Also, the film is almost entirely shot using a basic hand-held camera or cellphone eliciting a shaky, documentary-style feel. Instead of these characteristics giving American Honey an amateurish feel, it gave the film an authentic quality.

The left of the center approach of featuring male frontal nudity and same-sex relations gives the film much credo as an alternative film- the teens also swear and use drugs quite a bit, which could turn some off.

Receiving a heap of 2016 Independent Film award nominations (but winning none), my reason for watching the film, American Honey breathes some fresh air into the world of independent cinema, where sometimes too many big-name stars appear in the indies to garner some credibility.

Watching a film of novices or individuals with no acting aspirations simply create a good story is worth something in itself. And kudos to Arnold for spinning such a fresh tale.

Independent Spirit Award Nominations: Best Feature, Best Director-Andrea Arnold, Best Female Lead-Sasha Lane, Best Supporting Male-Shia LaBeouf, Best Supporting Female-Riley Keough, Best Cinematography

2016 Films, Drama, Independent, Independent Drama, Kathryn Hahn

Captain Fantastic-2016

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Captain Fantastic-2016

Director-Matt Ross

Starring-Viggo Mortensen

Scott’s Review #616

Reviewed February 10, 2017

Grade: B+

A thought-provoking story that raises a question of home-schooled, non-traditional book intelligence versus the lack of social norms and interactions, and debates which upbringings are more relevant, Captain Fantastic is a terrific film with a moral center.

Starring Viggo Mortensen, who is not afraid to tackle complex and thoughtful roles, the film is a family drama with a unique spin and an edgy subject matter.

Perhaps not as gritty as it could have been and feeling a bit safe, it still entertains and elicits thought, which is an important aspect to film and is oftentimes lacking in modern films.

Director Matt Ross immediately treats us to aerial views of green and mountainous Pacific Northwest where a family of seven- 1 father and 6 children ranging in age from five to seventeen- silently prey on and kill a deer grazing in the forest- this is their dinner.

The family is unorthodox, to say the least. Led by Ben Cash, he teaches the children how to fight, how to survive, and how to be ready for any situation. They are highly intelligent kids- able to recite the Bill of Rights and the most complex of literature.

Soon, it is revealed that their mother, Leslie, has committed suicide and a battle ensues between her parents (Frank Langella and Ann Dowd) who are determined to bury her “properly” with a Christian funeral, and Ben and his children, who are determined to honor her last wishes for cremation.

Ben and the gang travel via their run-down school bus to New Mexico, meeting local townspeople along the way as a battle of cultures takes place.

I commend Ross for creating a story that challenges the viewer to think- depending on the viewer’s religious or political views, there is a risk of people either loving or hating the film.

The film is skewed toward the left, certainly, like dinner and sleepover with Ben’s sister and her very “Americanized” family is awkward- the families having completely different styles.

Ross makes it clear that Ben and his families are the intelligent ones and his sister’s kids quite dumb- not even knowing what the Bill of Rights is and mindlessly playing violent video games.

The fact that they are a “typical American family” is sad and quite telling of what Ross’s view might be.

Captain Fantastic wisely shows that either side is not perfect. His oldest son, Bodevan, blooming sexually, has an awkward encounter with a pretty girl, proposing marriage to her with her mother present because he knows no social norms.

A younger son is attracted to a “normal” life with his grandparents, who are a wealthy couple. The grandparents are not presented as bad people, but rather, wanting the best for their grandchildren, and fearing how their lives will turn out without better structure or what they perceive as a better upbringing.

Some of the kids blame Ben for their lack of social skills and being what they perceive as “freaks”.

The film does end safely as a happy medium is ultimately reached, but I never felt cheapened by this result. I found Captain Fantastic to be rich in intelligent writing and a challenging tale.

Many moments of “what would you do?” were brought to the forefront. Mortensen portrays Ben Cash flawlessly mixing just the right vulnerability with stubbornness to the character, and it is a great film for anyone fearing being intelligent is not cool, because it is.

Oscar Nominations: Best Actor-Viggo Mortensen

Independent Spirit Award Nominations: Best Male Lead-Viggo Mortensen

2015 Films, Alexander Skarsgård, Bel Powley, Christopher Meloni, Comedy, Drama, Independent, Independent Drama, Kristen Wiig, Marielle Heller

The Diary of a Teenage Girl-2015

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The Diary of a Teenage Girl-2015

Director Marielle Heller

Starring Bel Powley, Alexander Skarsgard, Kristen Wiig

Scott’s Review #614

Reviewed February 2, 2017

Grade: A-

I was not sure what I expected from the Independent Spirit award-winning film, Diary of a Teenage Girl (2015).

I surmised that I would be treated to a light-hearted, yet well-written coming-of-age story, but the film is much darker than I would have thought, and this is a plus.

The film is edgy.

There is so much depth to the central characters and an incredibly complex performance by newcomer, Bel Powley in the title role.

Stars Kristen Wiig and Alexander Skarsgard also give tremendous performances.

The film is based on the graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures by Phoebe Gloeckner.

Set in 1976 in San Francisco, a time filled with hippies, drugs, music, and life, fifteen-year-old Minnie, an aspiring comic book writer, is as insecure as any typical fifteen-year-old is.

With wide eyes and stringy hair, she is cute, but rather quirky looking, not the prettiest girl in her class, and records her deepest thoughts into a cassette recorder. Minnie is intelligent and worldly, accepting of alternative lifestyles and drugs.

She is wise well beyond her years.

Minnie’s mother Charlotte (Wiig), lives a bohemian lifestyle, constantly partying and losing jobs, and is divorced from Minnie’s and sister Gretel’s affluent, but mostly absent father, Pascal (Christopher Meloni).

The girls refer to him as “Pascal” instead of “Dad”, which he hates. Determined to lose her virginity, Minnie is man crazy and develops a sweet relationship with her mother’s boyfriend, Monroe (Skarsgard).

Things begin slowly but develop into a full-blown sexual relationship. A controversial piece to the story is that Monroe is thirty-five years old- Minnie is only fifteen. Both Monroe’s and Minnie’s feelings are challenged due to circumstances and Minnie’s emotions spiral out of control.

The subject matter of The Diary of a Teenage Girl will undoubtedly be off-putting for many folks as the actions are technically statutory rape.

The film never goes in that direction.

Rather, director Marielle Heller crafts a tender story of young love, and when there is too much drama comic relief is added.

Monroe is never the aggressor and Minnie is. She is a young girl who knows what she wants.

Since the director is female there is no hint of Minnie being taken advantage of or regretting her affair- the film is not about this.

Rather, it is about a young girl with blooming sexuality and emotions finding herself in the world. I admire this left-of-center approach to the story immensely.

Other aspects of the film may be too much for some. Minnie and her best friend pretend to be prostitutes and orally service two young men in the men’s room on a lark.

Later, Charlotte uses filthy language to describe Monroe’s and Minnie’s relationship.

The film is not safe, but daring and honest. I admire its courage.

Enough cannot be said for the three principal actors in Diary of a Teenage Girl. Bel Powley is a find!

Nominated for an Independent Spirit award, this amazing young actress should have been recognized by the Academy Awards, but she no doubt has many years and films ahead of her.

She is a “regular girl” type and reminds me of actress Lena Dunham in her looks and her rich delivery.

Kristen Wiig is fantastic and is evolving into a great dramatic actress. As Charlotte, Wiig is wonderfully insecure and an offbeat mother. She does not discipline, but rather befriends her daughters, showering them with hugs and kisses and giving vulnerable neediness to the character.

Wiig, dynamite in the comedy/drama The Skeleton Twins (2014), has embraced small, but important indie films, and kudos to her for this.

Lastly, Skarsgard, mainly known as HBO’s villainous Eric on True Blood, is as inspiring as Monroe.

Providing his character with sympathy and humanity (tough when having an affair with a teenage girl who also happens to be your girlfriend’s daughter), Skarsgard evokes so much emotion into the role that you almost root for Monroe and Minnie before remembering that she is too emotionally fragile.

Skarsgard is brilliant in Monroe’s breakdown scene. I hope audiences see him in more of these complex roles as he is far more than a hunky actor.

Diary of a Teenage Girl (2015) intersperses graphic novel/animated elements into the story told from the perspective of Minnie and the character narrates parts of the film.

This authentic story is not only for teenagers but for smart thinkers and anyone who has ever been over their heads in the emotions of love.

Independent Spirit Award Nominations: 1 win-Best Female Lead-Bel Powley, Best First Screenplay, Best First Feature (won)

2016 Films, Billy Crudup, Drama, Independent, Independent Drama

20th Century Women-2016

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20th Century Women-2016

Director-Mike Mills

Starring-Annette Benning, Greta Gerwig, Elle Fanning

Scott’s Review #611

Reviewed January 22, 2017

Grade: A-

Annette Benning gets to shine in her leading role in 20th Century Women, a film directed by a formidable independent director, Mike Mills, whose credits include 2010’s Beginners, and 2005’s Thumbsucker.

In 20th Century Women, Mills serves as both director and writer, so the film truly is his vision.

All of the five principal characters are quirky and well-written, though Benning’s is the most nuanced and fascinating to me.

The time is 1979, Santa Barbara. Despite the image of Santa Barbara as a wealthy, grand town, dripping with the wealthy and powerful (perhaps due to the sweeping 1980’s daytime soap opera of the same name), Mills does not present this film as such. He presents Santa Barbara as a more artsy town as least where his characters are concerned.

Benning plays Dorothea Fields, a fifty-five-year-old divorced mother of a fifteen-year-old boy, Jaimie. She is a free spirit and allows two borders to live with her-Abbie (Greta Gerwig), a twenty-five-year-old aspiring photographer with fuchsia-colored hair, recovering from cervical cancer, and William (Billy Crudup), a handyman.

They are joined by Jaimie’s good friend, Julie (Elle Fanning), a depressed neighbor.

The film nicely dives into the trials and tribulations of each character as well as their interactions with each other, in a highly quirky manner, and we fall in love with each of them. Dorothea enlists the help of Abbie and Julie to assist in having a positive influence over Jaimie after he nearly dies after a foolish teenage prank.

Mills successfully gives a slice of life feel to the period as punk rock and the political climate of the times are heavily used in the film. Bands such as Talking Heads and Black Flag are focused as Dorothea strives to learn what young people like, herself striving to remain youthful and in touch with her charges.

Dorothea is a chain-smoker and many scenes of her pondering a situation while taking long drags, are featured. I love this aspect of the film as it showcases Benning’s cerebral performance. She is a thoughtful woman, only wanting her son to grow up sane and productive since his father is absent.

Sex and feminism are big parts of the film. Abbie loans Jaimie two books by female feminist authors to allow him a better understanding of women.

When he begins to discuss orgasms and a strange conversation about sex and virginity ensues during a dinner party Dorothea is hosting, the graphic detail is a bit too much for Dorothea.

She is a conflicted character- open-minded and caring, when it comes to her son, she has a more conservative edge while trying to remain open to his new experiences as a teen.

20th Century Women is strictly a character-driven film, which is an enormous strength. Each character is in a different place in their lives and I adore how the film gives a conclusion to each of the characters’ lives in the years to come.

Certainly, the film does go the “happily ever after” route, but this does not bother me. Rather, the film is so well composed that I was enraptured by the characters’ lives. Admittedly, the film is slow-moving at times, but this is due to the richness of the dialogue- nothing is rushed along.

Kudos to the cast- specifically Gerwig and Fanning are wonderful. Fanning’s Julie is a unique character- her mother is a psychiatrist who forces her to attend group sessions that she holds. Julie has a step-sister with cerebral palsy, so Julie frequently sleeps at Dorothea’s house as a way to escape her life.

Sexual active, Julie has a pregnancy scare during the story.

A coming of age type film set in an interesting time, 20th Century Women showcases the talents of a stellar cast, led by Benning, takes its audience into a wonderful, character themed world, and discusses the lives of its intriguing characters with a clear portrayal of life in the late 1970s.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: Best Female Lead-Annette Bening, Best Screenplay

2016 Films, Action, Drama, Independent, Independent Drama, Marin Ireland

Hell or High Water-2016

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Hell or High Water-2016

Director-David Mackenzie

Starring-Jeff Bridges, Chris Pine, Ben Foster

Scott’s Review #609

Reviewed January 16, 2017

Grade: B+

Reminiscent of the Coen Brothers No Country for Old Men or a classic Sam Peckinpah film from the 1970s, Hell or High Water is a splendid tale of bank robbers being chased by lawmen in rural, western Texas.

The film provides a good story with a tale of morality so the viewer is unsure who to root for the good guys or the bad guys. This gives the film substance compared to the typical action, guy film, done to death.

Odd, quirky, small characters are interspersed throughout the film which adds comedy and a unique feel. The film is directed by David Mackenzie- up until now an unknown to me.

Chris Pine and Ben Foster play Toby and Tanner, two brothers who embark on a series of small-town bank robberies to save their recently deceased mother’s ranch.

Tanner (Foster) is the more seasoned criminal of the two, having spent time in jail and being more volatile than his brother. Toby (Pine) is a family man with two kids and is more intelligent and sensible than his brother.

They are pursued by two Texas Rangers, Marcus Hamilton (Bridges), a grizzled man-weeks away from retirement, and his partner, Alberto Parker (Gil Birmingham).

What I enjoyed most about this film is the authenticity of the setting.

The film was shot in New Mexico, but, meant to be in west Texas, this is believable and the cinematography is gorgeous. The vastness of the land, the sticky desert heat are filmed very well.

Small town Texas is portrayed as tiny characters are introduced as townspeople, giving many credos to the film.

My favorites are the diner waitress-smitten with the handsome Toby (and her $200 tip), and t-bone waitress- grizzled and rude after forty-four years in the same place- their sassy and abrasive behavior works and adds much to the film. Dale Dickey is a treat in any film and her turn as a bank employee is a joy.

How nice to see Chris Pine in a challenging role. His character is conflicted morally- not wanting to hurt anyone, he struggles with the robberies and wants to do right by his kids and his mother. He is a decent man caught in uncertain circumstances and Pine does an excellent job at portraying him, proving the actor is becoming more than just a pretty face.

Bridges play anger quite well and how nice to see the actor succeeding career-wise in his golden years. His Texas Ranger character is determined to uphold the law, but below the surface is more than a bit worried about his upcoming retirement, closing a chapter in his life that undoubtedly is important to him.

His relationship with his partner is jovial, and buddy-like, but is there an underlying physical attraction between the men? The film does not go there, but perhaps on a subconscious level, it is hinted at.

A fantastic scene laced with tension occurs near the end of the film when two of the main characters are killed. It is a stand-off of sorts, atop a desert mountain ridge. One of the characters loses it, which results in a shoot-out and a shocking loss of life.

The scene is great in that it is good, old-fashioned shoot ’em up done well.

Hell or High Water is a gritty action film that contains great elements, nice characterization, and good, clean fun. A throwback to a crime-western of long ago, without the standard stock characters.

This film is more layered than the traditional sort of film and is intelligently written, thereby achieving something unique in its own right.

Oscar Nominations: Best Picture, Best Supporting Actor-Jeff Bridges, Best Original Screenplay, Best Film Editing

Independent Spirit Award Nominations: Best Supporting Male-Ben Foster (won), Best Screenplay, Best Editing