Category Archives: Independent

Glass Chin-2015

Glass Chin-2015

Director Noah Buschel

Starring Corey Stoll, Marin Ireland

Scott’s Review #470

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Reviewed August 28, 2016

Grade: B-

Glass Chin, an independent drama film from 2015 contains some positive and negative qualities.

The film has two rather intriguing central characters, a working-class appeal, and some fun moments of Quentin Tarantino-style influence. The villains are unappealing and downright annoying so these elements detract from the main story.

Still, a solid effort.

The premise is straightforward and comfortable. Corey Stoll plays Bud Gordon, a former New York boxer with a level of one-time success.

He now lives in a small apartment in New Jersey with his girlfriend Ellen (Marin Ireland). Yearning to get back into the game, he aligns with crooked businessman, JJ Cook, played by Billy Crudup.

Along for the ride is JJ’s odd henchman, Robert.

Framed for murder so that he is now “owned” by JJ, Bud must struggle to escape the mess he has gotten himself into.

The interesting parts of Glass Chin belong to Stoll and Ireland as they make Bud and Gordon likable and genuine. They are a great team, once successful and now struggling to pay the rent.

They encompass blue-collar appeal.

They are nice people, happy to dine at cheap diners, and clip coupons, but want a comfortable life. When Ellen tries caviar for the first time at a fancy hotel, she dislikes it. She is a happy working-class girl, comfortable in her skin. Bud misses the boxing lifestyle, not for the glamour, but for a purpose.

Having owned a failed restaurant, he is now forced to take a job with a shady character to make ends meet.

I would have preferred to focus only on Bud and Ellen and their life struggles, perhaps with more emphasis on their aspirations, his feelings of failure, and more story involving his training as a young boxer, Kid Sunshine.

But sadly these aspects are secondary to the emergence of villains JJ and Robert.

I am not sure why the filmmakers decided to make both JJ and Robert so weird, and I assume they were going for a Quentin Tarantino influence, but this did not work and led the film to lose some continuity.

Both characters, especially Robert, meander with monologues of nonsense dialogue and downright crazy talk that is rather over the top.

It adds nothing to the story.

They are high-class thugs- the point comes across. The female characters, besides Ellen, are Tarantino-influenced in their left-of-center actions (the wedding dress outfit, the statuesque model who beds Bud), but we know almost nothing about them.

As a side note, I love the constant outdoor locales of New York City and New Jersey, which add authenticity to the film. When Bud drives around in his beat-up 1980s Country Squire station wagon in the snowy New York weather, it adds atmosphere.

More of Bud and Ellen would have been preferred and less of JJ and Robert would have helped Glass Chin be a better film.

Still, there is some appeal, but overall Glass Chin (2015) is quite uneven.

Independent Spirit Award Nominations: Best Supporting Female-Marin Ireland

James White-2015

James White-2015

Director Josh Mond

Starring Christopher Abbott, Cynthia Nixon

Scott’s Review #465

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Reviewed August 15, 2016

Grade: A

I am always struck with a warm feeling, and my faith in the film is reaffirmed when I can watch an interesting independent film (or mainstream studio film for that matter) that has the guts to tell a dark character-driven story and tell it very well of sympathetic characters written exceptionally well.

2015’s James White is an appreciative offering about life and death and how the main characters deal with the roadblocks of life and the effects of death.

This film is quite dark, however.

A fantastic young actor, Christopher Abbott, plays the title character of James White.

We meet James in a loud nightclub, wearing headphones, with soft music, mixing interestingly with the pounding beats of the club music.

The audience immediately can tell that James is wound up, aggressive, and troubled. His estranged father has just died and while he is not too upset by his father’s death, he cares deeply for his mother, Gail, and is worried about her.

No sooner than a service, hosted by the father’s new wife, is held, we learn that Gail is suffering from stage four cancer and will not live much longer.

The film is about how James deals with his problems, from his mother’s illness to finding a job, a rocky relationship with a teen girl, and his reflections on his life, all while filled with rage.

The film takes place over three months, culminating in the dead of winter, an obvious irony.

Abbott and Nixon give astounding performances as son and mother, the apple of each other’s eye, and how they each deal with Gail’s inevitable, impending death.

James is bottled up with anger throughout the film and frequently needs to escape before losing it.

In one amazing scene though, he does lose it during a drunken hotel bender with pals Nick and Jayne. The sheer emotion and desperation that Christopher Abbott gives during this scene are inspirational for any aspiring actor to emulate.

One wonders if director Josh Mond allowed his actors to improvise most scenes as the compelling, raw feeling of scenes is evident.

Nixon, since her fame in television’s Sex And The City, has chosen daring and complex roles and this is to her credit.

As Gail, we see her desperate, emotional, filled with rage, and at times delusional, as she wonders what will become of her son after she is gone and how her world has spiraled out of control.

We also see Nixon successfully play motherly as she coaches her son through his anger and pleads with him to take care of her. It is a powerful performance.

Two slight knocks to the film- James’s best friend Nick is gay (and black), but despite their different sexual orientations, they are the closest of friends. While this aspect reaps heaps of praise for being incorporated into the film, we know very little about Nick, his family, or his inner feelings.

James’s new girlfriend Jayne is also a mystery. She is significantly younger, and is dutiful, but what are her motivations?

Yet, given the very short run time of the film (one hour and twenty-seven minutes), I can see why the filmmakers chose to focus on the mother/son relationship.

A slight criticism.

A film such as James White (2015) is purely character-driven and must be enormously rewarding for actors to play these two raw characters.

Painful, for anyone dealing with a loved one suffering from cancer to watch, but a fantastic journey into the world of wonderful acting and dynamic screenwriting.

Independent Spirit Award Nominations: Best Male Lead-Christopher Abbott, Best Supporting Female-Cynthia Nixon, Best First Feature

Killer Joe-2011

Killer Joe-2011

Director William Friedkin

Starring Matthew McConaughey, Emile Hirsch

Scott’s Review #450

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Reviewed July 14, 2016

Grade: A-

Killer Joe (2011) is a must-see for any fan of director Quentin Tarantino because this small, independent, gem of a feature is worth checking out.

Tarantino’s films influence the film in style, characters, and violence. The violence mixed with humor, wit, and great writing is stamped on the film.

Surprisingly, given the influence of another director, Killer Joe is directed by William Friedkin, who is a very acclaimed filmmaker in his own right. Classics such as The Exorcist (1973) and The French Connection (1971) were created by this talent.

Matthew McConaughey owns Killer Joe and he has thankfully graduated from silly, fluffy, romantic comedies to smart, delicious roles in independent films of late. He has come to be a respected Hollywood actor.

His lengthy nude scene is daring for such an A-list actor.

The film is satirical, without being too campy, and the setting of a suffocating, trailer-trash, Texas town is extremely well done.

I loved the violent and gruesome fried chicken dinner table scene the best.

I especially liked the overall food references throughout the film which adds even more macabre comedy to this dark (on the surface) film.

Independent Spirit Award Nominations: Best Male Lead-Matthew McConaughey

Your Sister’s Sister-2011

Your Sister’s Sister-2011

Director Lynn Shelton

Starring Emily Blunt, Rosemarie DeWitt

Scott’s Review #448

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Reviewed July 9, 2016

Grade: C+

Your Sister’s Sister is a small, 2011 independent film, with a central cast of only three characters- the two sisters mentioned in the title and a young man (Mark Duplass), who is a rival for their affections.

The story tells of a love triangle, of sorts, between two sisters and one man. I admire the improvisational method that is used in the dialogue, ala Robert Altman style, where the characters merely have conversations and discuss issues rather than a structured dialogue.

This works well in the film.

The standout is Rosemarie DeWitt (“Mad Men”). I also enjoy the remote, cabin setting, which makes for a claustrophobic experience.

Emily Blunt’s performance, though, seems bland to me and I did not find her character rather relatable.

The ending of the film leaves everything up in the air and no clear conclusions are drawn, something I could see coming from miles away.

I admired the style of Your Sister’s Sister (2011) but was unsatisfied with the outcome.

Independent Spirit Award Nominations: Best Supporting Female-Rosemarie DeWitt

The Witch-2016

The Witch-2016

Director Robert Eggers

Starring Anya Taylor Joy, Ralph Ineson, Kate Dickie

Scott’s Review #446

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Reviewed July 7, 2016

Grade: B+

The Witch is a slow-build 2016 horror film that plods with sinister wickedness and leaves viewers thinking well beyond the credits.

Is it a message movie?

Good versus evil, with a definite religious umbrella encompassing the entire film, is God against the devil. Guess which one wins out?

To be transparent, this film will undoubtedly offend the staunch religious.

Set in 1600s New England and entitled “The Witch—A New England Folktale,” the story follows a Puritan family banished from the village they inhabit.

They are forced to begin a life on their own and build a farm, struggling to survive by secretly selling family heirlooms. William and Katherine are the parents, followed by a teenage daughter, Thomasin (Anya Taylor-Joy), a son, Caleb, and youngsters, Mercy and Jonas.

Their recent addition to the family, Samuel, is snatched by a mysterious creature in the shape of a witch. We only see her draped in red as she sneaks into the woods holding the infant.

From the family’s perspective, they do not know who (or what) has taken Samuel) and tell themselves that it was a wolf, but soon they are not so convinced, and Thomasin is assumed to be a witch.

I adore the fact that this film is not set in modern times, which undoubtedly turns off some viewers. The thick English dialect is almost Shakespearean at times and challenging to follow at others, but it is also rich in culture.

The period and the absolute purity of the family are unsettling. Is it too good to be true? Unlike many horror films, much of the film is shot in the daytime, which adds to the tension.

It is combined with the creepy musical score- strings are used.

At one hour and thirty-two minutes, the very short film feels longer- it truly does move at a snail’s pace, but the final act makes up for this as something told me it would.

It has a creepy feel, and nightmarish events occur at the film’s finale.

Some of The Witch is open to interpretation. Sometimes, I suspected one family member or another of perhaps evil, but the film is not that straightforward, and some complexities arise.

For instance, do spirits possess animals? When Thomasin milks a goat and blood runs out, is this supposed to represent female menstruation?

A thinking man’s horror film, which is refreshing within the horror genre or any other genre for that matter, The Witch (2016) is unorthodox and thought-provoking, which makes it a winner in my book.

Independent Spirit Award Nominations: 2 wins-Best First Screenplay (won), Best First Feature (won)

Ruby Sparks-2012

Ruby Sparks-2012

Director Jonathan Dayton, Valerie Faris

Starring Paul Dano, Zoe Kazan

Scott’s Review #442

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Reviewed July 4, 2016

Grade: B

Ruby Sparks is a smart, creative, indie film released in 2012.

The film’s theme is fantasy versus reality as the main character is a troubled writer who envisions a character he has created is real.

Is she real or isn’t she?

The film centers around a writer (Paul Dano) with writer’s block who creates an imaginary dream girl (Zoe Kazan), who magically comes to life, one day.

This is an interesting premise and the film has some big-named actors (Annette Bening, Eliot Gould, Antonio Banderas) in small roles which is a delight to see.

The chemistry is lacking between the two leads and the film delves too much into a typical romantic comedy.

Additionally, the film never explains if it is going for seriousness or purely the writer’s imagination, but I admire its creativity and thoughtful premise.

Independent Spirit Award Nominations: Best Screenplay

Gayby-2012

Gayby-2012

Director Jonathan Lisecki

Starring Jenn Harris, Mathew Wilkas

Scott’s Review #441

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Reviewed July 3, 2016

Grade: C+

Gayby (2012) is a sketch-type comedy about two best friends (a gay man and a straight woman) who decide to have a child together.

Both have reached a certain age and are unhappy to have not found the perfect mate. The story is not novel and feels more like a Saturday Night Live sketch than a film.

The film is also playing on the success of television comedies like NBC’s Will and Grace, the obvious dynamic of the central characters.

The two leads are quite appealing in a comic way, have wit (Jenn Harris is deliciously neurotic), and have great timing.

The subject matter is interesting, though as years go by and more LGBTQ+ topics are covered,  it is becoming rather dated and not novel anymore.

The negative is the frenetic, quick pacing of the film, ultimately making it rather off-putting and annoying, to say nothing of the irritating stereotypical, supporting characters.

They are written so over-the-top that it is tough to take the film as seriously as it should be taken.

Independent Spirit Award Nominations: Best First Screenplay

Safety Not Guaranteed-2012

Safety Not Guaranteed-2012

Director Colin Trevorrow

Starring Mark Duplass, Aubrey Plaza

Scott’s Review #440

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Reviewed July 3, 2016

Grade: B-

Safety Not Guaranteed is similar in style to another 2012 independent film, Ruby Sparks, in that they pose the question of “Is this fantasy or reality”?

The film deals with the subject matter of time travel.

The story centers around a magazine journalist, who, along with two interns, follows a man convinced that he is building a time travel machine.

The story then develops into a romantic comedy of sorts and the audience is unsure if the guy is crazy or purely a genius.

It’s an interesting concept, intelligently written, and Aubrey Plaza and Mark Duplass are both quite likable in the lead roles.

The one flaw for me was, at times, the movie dove into slapstick territory with a silly secondary story of a stereotypically written Indian character attempting to lose his virginity.

Besides that, Safety Not Guaranteed (2012) has intriguing intentions.

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

Arbitrage-2012

Arbitrage-2012

Director Nicholas Jarecki

Starring Richard Gere, Susan Sarandon

Scott’s Review #437

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Reviewed July 1, 2016

Grade: B+

Arbitrage (2012) is an exciting, interesting, little indie thriller starring Richard Gere as a successful, but troubled, CEO, whose life begins to unravel around him through a series of circumstances.

He is a billionaire but at risk of losing everything due to shady dealings and fraudulent activity.

The film is the type that keeps the audience guessing and is never predictable. The plot slowly unravels into something of a pot-boiler. It is tense.

Richard Gere is the standout as he gives a wonderful, believable performance. Once known as little more than a hunky Hollywood star, Gere has blossomed in recent years, taking on more compelling and complex roles.

Arbitrage (2012) contains some Hitchcock elements throughout in its complexities, though Gere’s character is an anti-hero whereas Hitchcock’s were frequently good guys in bad circumstances.

The car crash scene is brilliantly done.

I wish this movie had received more attention than it has as it is a fun, thrill ride.

Compliance-2012

Compliance-2012

Director Craig Zobel

Starring Dreama Walker, Ann Dowd

Scott’s Review #435

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Reviewed June 30, 2016

Grade: A

Compliance (2012) is a ninety-minute riveting experience that will leave you thinking, talking, and feeling for days or weeks after viewing it.

The film is that intense.

The fact that it is based on true events is even more startling. It is, at times, quite disturbing and unsettling to watch, and if one likes their movies happy and wrapped in a bow, this will not be for you, but for film fans who truly want an emotional experience check it out.

At times I wanted to scream at the characters, look away from the screen, and shake my head in disbelief.

A truly riveting experience.

Major props to actress Ann Dowd, who does a bang-up job as the restaurant manager, and main character. What an amazing talent this actress is.

My range of emotions toward this character (sympathy, confusion, anger, disbelief) blew me away.

Compliance (2012) is one of the best modern films of late.

Independent Spirit Award Nominations: Best Supporting Female-Ann Dowd

Seven Psychopaths-2012

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

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Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

Celeste and Jesse Forever-2012

Celeste and Jesse Forever-2012

Director Lee Toland Krieger

Starring Rashida Jones, Andy Samberg

Scott’s Review #421

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Reviewed June 19, 2016

Grade: D

Celeste and Jesse Forever (2012) was a major dud for me.

I am not a fan of romantic comedies, but since the film received a nomination for an Independent Spirit Award for Best First Screenplay, I decided to watch it.

Why this film was nominated for that award I cannot understand. Perhaps someone knows someone who knows someone?

There is nothing impressive about the writing whatsoever. It’s a tried and true romantic comedy formula: couple together, the couple splits, the couple reunites, throw in some misunderstandings for good measure and that is pretty much the film.

The central characters and supporting characters are either dull, annoying, or both.

To be fair, there is nothing loathsome about the movie, but rather, it’s your standard-by-the-numbers romantic comedy that warrants no award nominations.

Bland.

Independent Spirit Award Nominations: Best First Screenplay

Mustang-2015

Mustang-2015

Director Deniz Gamze Erguven

Starring Güneş Şensoy

Scott’s Review #417

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Reviewed June 18, 2016

Grade: A-

Mustang (2015) is a powerful, relevant, Turkish film released in 2015 and nominated for many awards, including the Best Foreign Language Film Oscar.

I fully support the nomination as I feel it is a top-notch piece.

A coming of age story but with no clichés, and a real, true-to-life feel to it. It tells of various generational beliefs and how these conflict with other viewpoints and ideas.

It also focuses on blossoming life, and sadly, tragic death.

The story tells of five beautiful young sisters living in a remote village in Turkey, a thousand long miles outside of Istanbul. The girls range in age from eight to eighteen and live with their Grandmother and Uncle Erol.

The sister’s parents had died years earlier.

The main protagonist is Lale (Güneş Şensoy), the youngest of the siblings, who is wise well beyond her years as the plot unfolds. We first meet her as she bids an emotional farewell to her teacher when she moves to Istanbul.

The film is told largely from Lale’s point of view, but each of the girls plays an important role.

As the girls play an innocent game in a lake with a group of boys, the game causes a scandal in their “old world” village, and the girls are banished inside the house by their Grandmother and Uncle, who fear their progressive ideas will hurt and shame them.

The main crux of the story is the conflict between different generations and the yearning of the girls to be free and independent, both sexually and intellectually.

Their older relatives, and others in the town, prefer the old ways and are prudish.

The oldest daughters enter into arranged marriages, while the younger ones fear the same will soon happen to them.

The film wisely does not portray these conflicts in a clichéd way or make them over-obvious.

Rather, the film feels real, fresh, and like a slice of small-town Turkish life. Istanbul is mentioned as a paradise of open-minded thinkers and progressive ways, and “the place to be”.

The girls fear life in the doldrums, cooking and cleaning for their men, married off to older men without any love.

It is unclear if the Uncle is molesting any of the girls- the film alludes to it, but the point is not made obvious. What is clear, though, is the girl’s desire for sexual freedom, experimentation, and love.

They are modern thinkers.

The young actress who plays Lale is a marvel. So natural, earnest, and clever, she befriends an older man who teaches her to drive and they embark on a sweet friendship.

The film is shown through Lale’s eyes and her reactions to situations. Knowing nothing of sex, she sneaks a peek at a sex education book and is fascinated by her older sister’s sex discussions.

The ending leaves events open to interpretation, and I believe happiness awaits those featured at the conclusion.

Mustang (2015) is a wonderful film, filled with truth, conflict, great acting, and food for thought. A must-see for foreign language film lovers.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

The Kid with a Bike-2011

The Kid With A Bike-2011

Director Jean-Pierre Dardenne, Luc Dardenne

Starring Thomas Doret

Scott’s Review #416

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Reviewed June 18, 2016

Grade: B

The Kid with a Bike is a small French film from 2011 that has received acclaim and recognition worldwide.

The film tells the story of a troublesome young boy abandoned by his struggling father and various dramas that unfold.

I found the film somewhat disappointing as I expected a bit more than I was given.

Throughout the very short one hour and twenty-seven-minute run-time the young boy broods and defies either authority or his caregivers, or fights with various people he encounters as he attempts to find his father.

The boys bond with a local hairdresser who takes him in and is interesting, but her motivations are not made clear other than being kind.

Why would she take in a strange kid? We do not learn all that much about this character and that is a shame.

There is one element towards the end of the film that was shocking and well done, but overall I expected something a bit deeper from this movie given all of the praise surrounding it.

Independent Spirit Award Nominations: Best International Film

The Perks of Being a Wallflower-2012

The Perks Of Being A Wallflower-2012

Director Stephen Chbosky

Starring Logan Lerman, Emma Watson   

Scott’s Review #415

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Reviewed June 18, 2016

Grade: A-

The Perks of Being a Wallflower (2012) is a coming-of-age gem of a film.

It reminds me of a strange combination of The Ice Storm (1997), Donnie Darko (1999), and American Beauty (1999), but a bit more straightforward and less weird than those films.

Perhaps with a bit of The Breakfast Club (1985) thrown in for a lighter touch.

This movie felt very real to me and not like the typical high school schmaltz usually crowding the cinemas these days. It’s dark at times but also humorous and well-written.

Each teen in the group of friends has demons to face and complex, intricately written characters. All are insecure in some form and many teen issues are addressed, in a mature, sensitive way.

It’s nice to see Emma Watson breaking away from her Harry Potter image.

The Perks of Being a Wallflower (2012) is a character-driven treat worth seeing.

Independent Spirit Award Nominations: 1 win-Best First Feature (won)

Robot & Frank-2012

Robot & Frank-2012

Director Jake Schreier

Starring Frank Langella, Susan Sarandon

Scott’s Review #414

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Reviewed June 18, 2016

Grade: C

Robot & Frank (2012) is one of those films where I am left with a “meh” reaction after having viewed it.

It’s not that it’s a bad movie, but there’s nothing particularly special either- it is quite ordinary and rather forgettable after the credits have rolled.

The premise, on paper,  seems novel: a future with robots that grow attached to humans. Unfortunately, the movie did not live up to the idea.

I was hoping for an interesting 2001: A Space Odyssey (1968) type robot idea (HAL) but received nothing of the kind.

I’m a big fan of Frank Langella and I felt he was the main attraction in this movie.

On a side note, why is Susan Sarandon suddenly playing every meaningless supporting role these days? Another wasted role. She deserves better.

Several plot points had no follow-through and the ending, while not exactly predictable, was nothing spectacular.

Meh.

Independent Spirit Award Nominations: Best First Screenplay

The Sessions-2012

The Sessions-2012

Director Ben Lewin

Starring John Hawkes, Helen Hunt

Scott’s Review #413

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Reviewed June 18, 2016

Grade: B-

The Sessions (2012) is a cute, sentimental type film that is pleasant but not much more.

I found the film to be a bit safe, although Helen Hunt’s full-frontal nude scenes are surprising to me and quite brave of the actress. I’ve never been much of a Helen Hunt fan and I have always found her to be overrated, but her performance is very good.

I felt, for the subject matter, the film is too sentimental and too Hollywood, though I do admit to enjoying it.

It might have been grittier and the characters explored a bit more though.

I did not enjoy William Macy’s silly priest character. His character seems rather unnecessary to the rest of the film and has no real point except being the unnecessary moral compass.

The dynamic between John Hawkes and Helen Hunt’s characters is the best part, otherwise, The Sessions (2012) is a mediocre offering.

Oscar Nominations: Best Supporting Actress-Helen Hunt

Independent Spirit Award Nominations: 2 wins-Best Male Lead-John Hawkes (won), Best Supporting Female- Helen Hunt (won)

Bone Tomahawk-2015

Bone Tomahawk-2015

Director S. Craig Zahler

Starring Kurt Russell, Patrick Wilson, Richard Jenkins

Scott’s Review #403

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Reviewed May 10, 2016

Grade: B+

Bone Tomahawk is a film from 2015 that almost nobody saw or heard of, and is a unique independent horror/western hybrid. It has strong influences on Quentin Tarantino and contains an impressive cast for such a low-profile film.

Bone Tomahawk is the proverbial diamond in the rough and is worth seeing for film fans with patience enough to sit through the slow-moving pace to get to the good stuff.

It largely comes in the final thirty minutes of the film.

Notably, the film was recognized by the Independent Film Committee and received two Spirit Awards, for Best Supporting Male (Richard Jenkins), and Best Screenplay.

It won neither.

The film does not have a “star”, but rather a myriad of heavy hitters in a clear ensemble. Kurt Russell plays Franklin Hunt, sheriff of a tiny town named Bright Hope, presumably somewhere in the west (Wyoming?) circa 1890. His deputy sheriff, Chicory,  is played by Jenkins.

When drifters kill some travelers, they accidentally stumble upon a mysterious Native American burial ground and taint its contents, leaving one brutally murdered by the tribe.

The other (played by David Arquette) stumbles into Bright Hope and is immediately deemed suspicious. When he, a female Doctor’s assistant, and a young local man disappear, it is realized that they have been abducted by the owners of the burial ground, who are feared to be cannibalistic savages.

Hunt, Chicory, a foreman named Arthur (the doctor’s assistant’s wife), played by Patrick Wilson, and a local playboy played by Matthew Fox, decide to trek long terrain to find and rescue the missing.

The pace is slow and will undoubtedly turn off some folks seeking slicker, high-tech viewing, or even some CGI, but the payoff for patience is immense.

The group’s trek through the desert in pursuit of the accosted seems endless, and I did have thoughts of what the point was, but the forthcoming turn of events makes this tedium worth it.

In defense of the long plodding journey, this aspect does make the audience get to know and begin to care about the characters- some make it out alive, others are not as lucky. The fun part is finding out who does and doesn’t.

Bone Tomahawk contains one of the most gruesome scenes that I have ever witnessed in my thousands of viewed films. A male character, nude, is brutally scalped and a spear is hammered into his throat in full view of the prisoners.

As if this is not shocking enough, he is then turned upside down, split down the middle, and chopped in half, as his insides spill to the ground. The snapping sounds of his bones and the visual horror of the guts are even tough for the non-squeamish to view.

It is uncanny that Kurt Russell plays a similar character in another 2015 film, the much higher profile, The Hateful Eight. Sure, he is a bounty hunter, but the period, setting, and costumes are almost identical.

One might wonder which was made first.

Bone Tomahawk is a guy’s movie, but not in the traditional sense- there are no explosions, no unnecessary machismo, or apparent clichés.

But at the end of the day, it is a Western and the cast is mainly male. Besides the Doctor’s assistant, the only other females are wives with small roles.

The most glaring is Sean Young- given hardly anything to do in a cameo appearance. Otherwise, the Native American females, blind, deaf, pregnant, and missing appendages are the only other females in sight.

A unique hybrid of film genres, Bone Tomahawk (2015) is a clever, different experience.

I am a champion of independent film and this film is a good example of why I am. Evidently, with a stellar cast of A-list or former A-list stars banding together to make a piece of art, it seems others champion good films too.

Independent Spirit Award Nominations: Best Supporting Male-Richard Jenkins, Best Screenplay

Hello, My Name Is Doris-2016

Hello, My Name Is Doris-2016

Director Michael Showalter

Starring Sally Field, Max Greenfield

Scott’s Review #390

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Reviewed April 1, 2016

Grade: B

Sally Field shines in Hello, My Name Is Doris (2016), a sweet-natured indie romantic comedy that tells of a lonely Staten Island woman and her mostly fantasy-laden relationship with her colleague, a much younger, hunky man (Max Greenfield).

The film is somewhat predictable but sweet and honest and works well. It hardly reinvents the wheel, but it is a lovely character-oriented story about a woman’s reawakening from a dull life.

This is refreshing in a world of retreads and superhero flicks.

Doris Miller meanders through life at her crappy data entry job at an Advertising Agency in mid-town Manhattan. Having worked in the same role for decades, she is overlooked and more or less invisible to colleagues.

She is the “weird old lady” or the “wallflower” who goes unnoticed. Her personal life is a dud. She lives with her recently deceased mother, who is a hoarder and severely marginalized. She has no dating possibilities.

One day, on the elevator heading to the office, a kind young man named John Fremont innocently pays attention to her, and she becomes enamored with him.

Later, she is stunned to realize that John is the new Art Director at her job.

Her crush escalates as she and John become friends, and a series of misunderstandings ensue, with the added conflict of her friends thinking she is living in a fantasy world, worried she will wind up hurt.

Sally Field carries this film in every way. It is nice to see her in a lead role again, which, sadly, is a rarity these days for a seventy-year-old actress.

She convincingly plays quirky, shy, and awkward and has one melt-down scene that is a powerful testament to her continued acting ability.

The character of Doris slowly blossoms and becomes rich with zest. We discover she is much more than meets the eye, and these moments in the film are wonderful to experience, thanks to Field’s charisma.

My favorite scenes involve the lovely bond between Doris and the thirteen-year-old granddaughter of her best pal, Roz, played by Tyne Daly.

Despite the age difference, the granddaughter views her as a peer, giving daring dating advice to the inept Doris. This leads to a nice portion of the plot and some funny moments.

One unique aspect of Hello, My Name Is Doris is that it is not a film about a May-December romance between a man and a woman—at least, I did not see it that way. Instead, it is about a woman who finally decides to live regardless of age.

I felt her stifled and smothered by her brother and sister-in-law, who clearly did not understand that she hoarded “stuff” in her home to cope with her loneliness, and to be surrounded by things that gave her comfort helped her deal.

Granted, Doris clinging to one broken wooden ski from the Dark Ages was amusing in its cuteness.

Tyne Daly, who can recite the phone book, is worth a considerable note from an acting standpoint. I’d be happy to do that. She is one of those natural, confident, engaging, real actresses, and her scenes with Field glistened with raw talent and emotion.

Perhaps a female buddy movie with Field and Daly?

The remainder of the supporting characters are capable but not spectacular. They are somewhat clichéd and one-note.

For example, Doris’s colleagues view her as invisible with the classic office jokes, especially the female boss thrown into the film- possessing a hard-as-nails personality and coldness.

I have seen these characters time after time in comedy films.

Supporting actors from Orange is the New Black (2013-2019) and Mad Men (2007-2015) are featured as a couple of the colleagues.

Indie, fun, and with a freshness made in large part by Sally Field, Hello, My Name Is Doris (2016) is an innocent comedy with a romantic edge and some nice laughs.

It is far from a masterpiece but a good-natured escape, which is refreshing, especially for the middle-aged or senior crowd craving a non-stereotypical female character.

Independent Spirit Award Nominations: 1 win-Piaget Producers Award (won)

Obvious Child-2014

Obvious Child-2014

Director Gillian Robespierre

Starring Jenny Slate

Scott’s Review #387

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Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy/drama nominated for a couple of independent spirit awards, that has mixed results.

It works on some levels but has an irritating underbelly and some unneeded components that ultimately give it a thumbs down.

The major success is star Jenny Slate, a real-life Brooklyn stand-up comic with immeasurable comic timing, who will hopefully become a rising star.

Slate starred in a 2009 short film of the same name before said film graduated to a full-length feature.

Slate stars as a twenty-eight-year-old Brooklyn-ite, who moonlights as a stand-up comic in a dingy bar while working in a desolate bookstore that is soon closing.

Conversely, her parents are successful- her mother is a famed professor. When she is unceremoniously dumped by her steady, she takes up with a handsome young man for a one-night stand filled with fun.

Predictably, she winds up pregnant and forges ahead with a plan to abort their child.

The abortion story is quite interesting since there is never a doubt about what will happen. Unlike films that make abortion the main focus of conflict, Obvious Child wisely does not- every character supports, and even encourages her to have the procedure, including her mother and best friend.

Having been written and directed by women, this is intentional and a way of empowering women, which is one of the high points. If one is on the fence about the topic of abortion or is a pro-life stance, this film may be very tough to watch as its slant is made crystal clear.

Slate is the other high point of the film.

She exudes confidence and comic range. Jewish and slightly awkward looking, she is not the leading-lady type and this arguably makes her wit and sarcastic language all the more comical. She is a natural in the comedy department and hope she will go far.

Two slight props for me worth mentioning are the wonderful mention of the classic film Gone with the Wind (1939) and the setting of Brooklyn. This was a great nod to film history and the setting gave Obvious Child an authentic New York City feel.

On the other hand, an utter annoyance about Obvious Child is the shameless and constant use of blatant and off-putting bathroom humor- not just once or twice, but numerous times.

How is this necessary to the plot? I can’t say, but surmise that it was deemed necessary by the filmmakers to show that females can give as good as males can.

Almost saying, “men can make poop jokes, why can’t women”? Why this is necessary for any film is beyond me and it gives Obvious Child a crass, ugly feel.

The film also has an unrealistic quality to it. Max is portrayed as prince charming. He can do no wrong, supports Donna in any decision she makes, is enamored by her sole being, and loves her unconditionally after only a one-night stand.

This would not happen in real life.

The fact that Donna is Jewish and quirky and Max is Christian and straight-laced is not explored. What conflicts would they undoubtedly face? Why were his parents not featured?

Highly uneven, with a great premise and an interesting slant on a still-controversial social issue, Obvious Child (2014) succeeds in the story department but fails in its uncalled-for use of potty humor to elicit cheap laughs.

Independent Spirit Award Nominations: Best Female Lead-Jenny Slate, Best First Feature

Beasts of No Nation-2015

Beasts of No Nation-2015

Director Cary Fukunaga

Starring Idris Elba, Ama Abebrese

Scott’s Review #380

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Reviewed February 21, 2016

Grade: B+

Having been made aware of this film following the healthy number of independent film award nominations heaped upon it in 2015, Beasts of No Nation is a war drama, set in an unnamed West African country.

It tells of dire events from the perspective of a young boy, who has lost his family.

He is forced into a life of brutality and death, taken under the wing of a charismatic commander.

Beasts of No Nation is sometimes raw, sometimes gorgeous, but at all times thoughtful and a powerful telling of the devastation of human life, in a world very few can comprehend.

We first meet Agu (approximately aged eight or nine), wonderfully played by unknown child actor Abraham Attah, during happy times.

He plays with his childhood chums and adores his older brother who is attempting to woo a pretty girl. His father is a leader and the family lives in a small village protected by troops.

They allow refugees in for care.

Their country is in a civil war, but the family happily survives and makes a life for themselves, sharing meals. Suddenly, the government has fallen and rebels seize the area.

Soon, Agu’s family is gone, leaving him alone and scared.

His world turns upside down, he becomes involved with a militia commandant, played by Idris Elba, and a fellow child soldier named Strika, who takes him in.

The film belongs to two actors, Attah and Elba, though all actors perform their roles with precision. The relationship between the characters is interesting and complex, like a father/son mixed with mentor/protégé, and is the most compelling part of the film.

The commander is a father figure to Agu. He sees a warrior in him, taking him under his wing, feeding, and caring for him. He is never violent or abusive towards Agu and in one powerful scene, Agu is sodomized ( mostly off-screen yet very much implied) and Agu seeks comfort in his best friend Strika, who has also met the same actions prior.

One cannot help but think sexual assaults like this are perceived and handled differently in Africa.

Rape is a subject that comes up numerous times in the film, mostly against women.

I noticed throughout the film the beauty of the cinematography as most scenes are set outside. Lush, green forests and the villages are tranquil and beautiful, contrasting starkly with the violence.

Agu does some terrible things- in one brutal scene an innocent student is hacked to bits by Agu and Strika at the commander’s coaching as a sort of initiation.

Agu sees the student as responsible for his family’s fates and goes berserk.

Agu then tearfully mistakes a village woman for his mother and angrily shoots her dead as she is being raped by his cohorts. The film is not soft and contains lots of violence. But again, this is a world unknown to most viewers.

At times we despise Agu and the violent rage he emits, but then we remember he is a young boy being turned into a warrior by savages.

He talks to God and his mother and knows what he does (and what is happening to his country) is wrong.

I would have liked to have learned more background about Elba’s character. What makes him tick? Has he lost loved ones long ago as Agu has?

I surmised that the answer is yes. He is brutal, but a calm, calculating, thoughtful man, but one that is in control at all times.

As war rages on Agu and his fellow tribe question what they are doing. Such smarts for a young boy and the audience admires his views. He is intellectual and worldly way beyond his years.

That is what makes Beasts of No Nation a compelling character study. I more than once thought that I had seen this type of film before (Last King of Scotland, 2006, comes to mind in recent times), but never to the extent of what a character-driven story it was, especially in the eyes of a child.

Beasts of No Nation (2015) takes the viewer to an unpleasant world of brutality and a world where there is no rule book. We are exposed to a once innocent child’s experiences and conflicted feelings in the face of danger and heartbreak, and learn its complications.

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Cary Joji Fukunaga, Best Male Lead-Abraham Attah (won), Best Supporting Male-Idris Elba (won), Best Cinematography

Room-2015

Room-2015

Director Lenny Abrahamson

Starring Brie Larson, Jacob Tremblay

Scott’s Review #373

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Reviewed January 31, 2016

Grade: A

Room (2015) is a compelling story of a woman’s battle in captivity with her five-year-old son in tow.

The film also tells of the after-effects of reclusive living as they both strive to adapt to their changing world.

Receiving a slew of Academy Award nominations, the film is more than a one-dimensional story of peril or rescue, but rather, a smartly woven tale that delves into the psychological issues involved with being confined in a room for years, giving the film a deeper meaning.

Room is adapted from the novel of the same name, written by Emily Donoghue.

We meet twenty-four-year-old Joy (Larson) and her five-year-old son Jack, who live in squalor in a shed made into one room. They exist from food and supplies delivered by their captor “Old Nick”, who abducted Joy seven years prior.

He periodically rapes her and is Jack’s father, though there is no affection on either side. Joy has attempted escape before but has failed.

She is determined to break free once and for all and allow her and Jack a normal life.

In the first half, we learn about Joy and Jack and how they exist and forge a life together. Joy tells Jack they are real and the outside world and people on television are not.

They live in a fantasy world and Jack periodically treats objects (chair, toilet, bed) as real-life things, giving morning greetings to these objects- this is both cute and sad. His only channel to the outside world is a small skylight, which he endlessly gazes at.

I love how the film suddenly changes course at the halfway point and shifts focus to the aftereffects taking a dark, complex, psychological turn.

The first half takes place entirely in the “room”, and suddenly, a new world has blossomed. A monumental event changes the course of the film.

From this point, the film deals with the traumatic effects of being shut away for years. Joy suffers from depression. Jack sees a new world. We see how other characters deal with the turn of events.

Joy’s parents, wonderfully played by Joan Allen and William H. Macy react in completely different ways.

How have their lives changed because of Joy’s abduction? Will they see Old Nick every time they lay eyes on Jack? How will Joy’s mother’s new boyfriend react?

There is a strong theme of coping throughout the film and how all the characters cope with life events and attempt to resume a life of normalcy. There is such a unique humanistic feel to the film that makes it deeper than I would have expected.

Sure, Brie Larson gives a dynamic performance, but the film offers reflection and thought.

The direction and camera work are a marvel. We see a blurred view of what Jack sees in “the real world”.  It is almost like the audience is reawakening to life and we see it through a child’s eyes- the sights, the sounds.

Jack has created an imaginary dog in his mind and the film introduces more than one real dog that plays a pivotal role. We see Jack’s joy and terror at the new experiences.

Room (2015) encompasses thought-provoking ideas making what might only have been a basic story and turning it into an intricate journey into human psychology through many different nuances and facets.

What a wonderful, dark experience this is.

Oscar Nominations: 1 win-Best Picture, Best Director-Lenny Abrahamson, Best Actress-Brie Larson (won), Best Adapted Screenplay

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Brie Larson (won), Best First Screenplay (won), Best Editing

Dancer in the Dark-2000

Dancer in the Dark-2000

Director Lars von Trier

Starring Björk, Catherine Deneuve

Scott’s Review #365

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Reviewed January 9, 2016

Grade: A

Dancer in the Dark is in my opinion one of the most important, inventive films of the 2000s and proudly is one of my favorites of all time.

However, the film is not pleasant to watch, and is quite painful and depressing, if the truth be told. But the relevance and sheer emotion the film elicits is more than enough reason to be exposed to it- if only, but perhaps, once.

Director, Lars von Trier, is a master at creative and disturbing, dream-like films that are either odd, non-linear, or otherwise open to interpretation in some way.

He has directed such gems as 2011’s Melancholia and 1996’s Breaking the Waves, to name but two.

With Dancer in the Dark, he uses handheld cameras which add much grit to the film so it almost feels documentary style, and a grainy, shaky look.

The addition of musical numbers mostly written and performed by the star, Bjork, is a wonderful touch.

Speaking of Bjork, words cannot express what a brilliant performance she gives in the film, and the raw emotion she expresses in her starring role is awe-inspiring.

So much was the stress of filming Dancer in the Dark, that she, to my knowledge, has never made another film.

She was shamefully overlooked in the Best Actress Oscar category- an omission that is one of the biggest fails in Oscar history.

Tensions were reportedly high on the set of Dancer in the Dark, as Bjork reportedly despised her director, never missing a chance to tell him so, disappeared from the set for days on end, and spat in his face. Co-star Deneuve, a former French mega-film star, reportedly did not get along well with Bjork.

Despite all the drama, the stars managed to pull together a masterpiece.

Bjork plays Selma, a Czech immigrant, living in Seattle with her young son. The year is 1964. Selma is poor, struggling to survive by working in a clothing factory along with her best friend Cvalda (Deneuve).

Selma and Cvalda escape their dull lives by watching classic musical films at their local cinema. To make matters worse, Selma is suffering from a degenerative eye disease causing her to gradually lose her sight. She struggles to save enough for surgery for her son, who is sure to suffer the same fate without it.

Selma frequently imagines musical numbers in her day-to-day life involving friends and co-workers. When a tragic turn of events occurs and Selma is accused of a crime, the film goes in a very dark direction.

The conclusion of the film will always require handkerchiefs as it is as powerful as it is gloomy.  The aspect I love most about Dancer in the Dark is that it smashes barriers about what film art is and throws all of the rules out the window.

Lars von Triers, famous for this created a dreamy, independent hybrid musical and drama, a dynamic, tragic, emotional experience all rolled up into one great film.

Oscar Nominations: Best Original Song-“I’ve Seen It All”

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

It Follows-2014

It Follows-2014

Director David Robert Mitchell

Starring Maika Monroe, Debbie Williams

Scott’s Review #306

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Reviewed December 23, 2015

Grade: A-

It Follows (2014) is a mysterious, unique, dreamlike (or shall I say nightmarish!) independent horror film that is a pleasant throwback to old-school horror films (my favorites!), with a supernatural twist thrown in.

The film is directed very well by newcomer David Robert Mitchell containing wonderful cinematography and creative camera angles.

This film is not glossy and has a raw, almost videotaped feel, which I found quite wonderful. The film was shot entirely in and around Detroit giving it a cold, industrial look.

The film begins on a dramatic note leaving the viewer immediately curious.

A young woman flees her suburban home and nervously stands on the street looking back at her house.  A neighbor asks if she needs help. She returns, collects her things, and hurriedly drives to the beach. She suspects something or someone is watching her. She tearfully phones her father and tells him she loves him.

The next scene appears to be the following morning and the woman is lying murdered on the beach in a grotesque position- her leg strangely bent.

This is a fantastic way to begin the film.

From this point, the premise is quickly revealed. The main character is Jay (Maika Monroe), an attractive college-aged girl. She lives with her sister Kelly and is good friends with their next-door neighbors Paul and Yara. An additional neighbor and classmate, Greg, also figures into the plot.

Jay is on a date with Hugh and things are going well. They attend a classic film. They sneak into a deserted lot and have sex. Afterward, Hugh chloroforms Jay and the weirdness begins.

A strange woman appears and Hugh tells Jay she must pass on a curse. Otherwise, an entity in the form of another person that nobody else can see but the victim will get Jay and she will be doomed.

I love the throwback elements to 1970s and 1980s horror but it’s vague when the film is set- purposely so I imagine- as many cars are 1970s and 1980s models. Only one cell phone is used throughout, but mostly the time could be present or past.

Even the houses appear dated.

Story-wise, It Follows is tough to figure out and open to a certain level of interpretation. Is the film anti-sex? Is the story a metaphor for sexually transmitted diseases?

The victims become possessed by the entity after sex and then must pass it to another unwitting victim, sexually.

I notice some similarities to John Carpenter films- specifically the classic Halloween from 1978. Jay sits in a classroom (ironically in the back row next to the window ala Jamie Lee Curtis in Halloween) and sees a strange old woman slowly lumbering towards her, eyes fixed on her.

Later, the three principal girls casually walk around the neighborhood engaging in small talk similar to the characters of Laurie, Lynda, and Annie on Halloween.

The ending- a scene in the indoor community swimming pool where the kids try to catch the spirit is a bit hokey and unresolved. However, I did enjoy the final scene- a peaceful one in which I was unsure if the entity had been destroyed or remained.

A sequel perhaps?

I give It Follows (2014) major props for its styling, and creativity while giving classic horror fans a good old-fashioned treat without much CGI necessary.

Independent Spirit Award Nominations: Best Director-David Robert Mitchell, Best Cinematography, Best Editing

Tangerine-2015

Tangerine-2015

Director Sean Baker

Starring Mya Taylor, Kitana Kiki Rodriguez, James Ransone

Scott’s Review #301

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Reviewed December 17, 2015

Grade: A

On the rare occasion that I am lucky and privileged enough to stumble upon a gem like Tangerine (2015), it reaffirms my faith in film and creative filmmakers in general.

Here is a universal lesson- it does not require oodles of money to make a great film. This film was shot with three smartphones!!

It takes talent and creativity.

Tangerine is a groundbreaking film- the first (that I am aware of anyway) to feature transgender actresses at the forefront of the feature.

The film has been honored with multiple Independent Spirit Award nominations.

Shot documentary style, with grittiness and a frenetic pace, while mixing in unique styles of music (hip hop to classic) as the musical score (a child-like tune begins the film), Tangerine is unique from both a story perspective and a visual style.

The film’s first scene begins with two transgender sex workers- Sin-Dee Rella and Alexandra, having a conversation in a coffee shop. Sin-Dee has just been released from jail and learns that her boyfriend, and pimp, Chester (James Ransone), has been cheating on her.

It is Christmas Eve.

The film explores Sin-Dee’s rage and subsequent search all over Los Angeles for Chester, and the girl he has been with. She vows revenge on them both.

However, beyond this story point, the heart of the film is of loneliness and isolation that most of the characters (trans and otherwise), share, in one form or another.

Interspersed with the Sin-Dee story, are stories involving Alexandra’s feud with a “john”, and her pursuit of a singing career.

Another interesting story is that of a straight male, Razmik, an Armenian cab driver who is enamored with transgender sex workers.

This may sound bizarre or too out there for some, but Razmik’s story is quite tender and compelling. He has a wife, child, and other relatives and is the breadwinner. He is also very conflicted. He does not “use” the sex workers, but rather cares for them and admires them.

I found all three principal characters interesting in different ways- Sin-Dee and Alex are over-the-top, yet sensitive. While Sin-Dee is aggressive and vengeful, Alex is the kinder of the two and the more sensible and rational.

She is a sex worker but aspires for more out of life. Razmik is even more interesting- does he have a fetish? Is he shameful for spending money on prostitutes while supporting a wife and child?

All of the characters are victimized in one form or another and all are dysfunctional- at the same time, they are all weirdly likable.

I witnessed moments of Quentin Tarantino’s film style coming across the screen- most notably in the coffee-shop scenes (the beginning and final scenes) as all hell breaks loose, and the characters delve into all sorts of crazy behavior.

Tangerine is a sweet tale about friendship too.

It is a memorable and powerful film experience.

In the end, all the characters are hurting, living such sad lives, especially since the time is present-day Christmas Eve, which might make this film sound depressing, but it is not.

I found it almost uplifting in a way.

Tangerine (2015) is a completely original, groundbreaking film that I hope will be remembered and appreciated fifty years from now.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Sean Baker, Best Female Lead-Kitana Kiki Rodriguez, Best Supporting Female-Mya Taylor (won), Piaget Producers Award