If thespian glory is indeed the ultimate goal, we are presented with a determined and vivacious candidate ready to knock the socks off the world. Yet, we are all too aware how difficult and woolly this road may be. Through this collaborative screenplay effort by Smith and Stam, Hekla takes audiences into these casting sessions filled with professional pitfalls and unexpected hoops to craft a gem of a character arc.
Read MoreThe title of the film reveals the desired end destination for Magaro’s matriarch. The pleasant Nevada weather allows the windows to be rolled down and burned CDs to blare old family favorite songs. Smiles sneak in to make Omaha a proper road movie with a glimmer of hope. Yet, for every blissful moment of optimism granted by the long highway carrying them to the Great Plains, reality remains inescapable in both the rear-view mirror and the windshield aimed forward.
Read MorePut a good cast to root for in any a disaster scenario, and we’re intrigued. Hire Hell or High Water director David Mackenzie, and we’re filling up the popcorn bucket to witness something with edge. Unfortunately, Fuze erratically combines multiple tonal narratives and throws in an extremely misguided third plotline to smear whatever doesn’t explode when the bomb detonates.
Read MoreOnce again, Michael makes its artistic (and commercial) decision to remember the time the world fell in love with a child star elevating to become a one-of-a-kind legend. This film should be allowed to shine on its own merits and entertainment value in recapturing the performing art and lasting influences that still captivate the masses 17 years after the icon’s passing.
Read MoreLike most adaptations of Hamlet, Aneil Karia’s take lives and dies, literally and figuratively, by the lead performance coming from his top muse and collaborator. Through Riz Ahmed, all the private asides and whispered portending, venting, and plotting still stir the Bard’s vengeful pot, even with simplifying trims from Lesslie. This is a well-deserved and provocative showcase for Ahmed. He’s the reason to witness and appreciate this film.
Read MoreYou, Me & Tuscany is an unashamedly female-gaze romantic comedy, and there is nothing wrong with that. Borrowing all the necessary tropes of the genre, it knows exactly what its audience wants to see. All it takes is one glimpse at the attractively appetizing Regé-Jean Page, whether you catch him on the poster or wait until his introduction in the movie, and everything about the gaze, all of a sudden, makes obvious sense.
Read MoreAt the 57-minute mark in Heads or Tails?, Reilly’s transported icon speaks the promise again to say, “Mark my words, boy, this is going to be quite the story.” At that point, with only 50 minutes to go of running time, there’s a good chance that, outside of the charismatic involvement of Reilly, you haven’t felt or fallen for the ensured charm of the film.
Read MoreTheir competing attitudes of care are warranted, but take away from the cinematic possibilities of the surreal and existential, like that aforementioned billiards scene. Through all the external squabbling around him, the impressive lead performance of Hugo Armstrong shines. Sam Bullington rightfully steals his share of the spotlight, but the gravitational weight of Watching Mr. Pearson always moves through Armstrong.
Read MoreWithout that type of dramatic weight that pushes harder than a liar’s loose regret, the most performance range we get out of Emanuelle Chriqui and Hayes MacArthur is a minor shift and transformation towards a balanced plane of apology when disagreements create a verbal blow-up. The pain registers differently between the two as the reservation clock is running out.
Read MoreSome of the best acting moments in any given film can happen without dialogue. A facial expression or a piece of body language can mean as much as a multi-page monologue. Those performers who can nail that moment are onto something special in their roles. When possible, Fantasy Life, from writer-director-star Matthew Shear, seeks to make the most of those wordless character statements.
Read MoreWhat is more important: the creation or the creator? While we could open that very debate to a movie and its director—especially this one returning to the director’s chair for his first feature in a tumultuous eight years—this film focuses on the field of architecture. So, more specifically, does the created structure matter more than the artist who conceived the design?
Read MoreAs a short-form storyteller, Marcellus Cox nails this thematical platform with his dialogue, and Cofield gives those lines the proper meaningful heft. All in all, the previous foreboding question remains for where Jamarcus’s life can go after this new partnership. The low angles and those aforementioned shadows which frame his home life are juxtaposed with the symbolic blue sky of potential above that ballfield.
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