The moving experiences come from sharing the expressed gastronomical artistry. The art of those fears is in unique masterful cooking. The cooking comes from the two-decade partnership between Eugénie and Dodin. Their partnership has blossomed to a long-term love of understanding and freedom that has avoided the culminating step of marriage. Simply put, food is merely the setting of shared quality time for the rest of life.
Read MoreIn a terse 80 minutes, The Long Night of Francisco Sanctis locks its suspenseful build and holds your attention. Open-ended as it is, the film could have employed additional time to hammer its points home and offer a payoff. However, it’s minimal surface and suddenness feels intentional to mirror the mysterious fates that befell so many people of this era. Quietly powerful, the effect and feeling are convincing.
Read MoreSofia Coppola's film may have been lauded at the Cannes Film Festival, but The Beguiled was a bit of a miss for me, despite its rich aesthetics. Here my full review, complete with new intro music and title card, and watch an interactive whiteboard lesson of notes and fun created by the ShowMe app for iPad over on my YouTube channel and "Movie Classroom" series.
Read MoreFeelin' Film host Aaron White and I hashed out our thoughts on Sofia Coppola's The Beguiled, debuting this weekend in theaters after wowing the Cannes Film Festival last month. It hit Aaron more than it hit me, but this counts as a wickedly entertaining remake from Coppola. We try to inform you so you can decide whether this seductively complex, yet simple, film is one for you.
Read MoreThe transitive verb “beguile,” as defined by the Merriam-Webster Dictionary, means “to engage the interest of” or “lead by deception.” Hoodwink and divert are synonyms. Director Sofia Coppola’s remake of The Beguiled means to charm our corsets and britches off right in line with its title’s root definition. Methodically and dastardly, the film wishes to seduce us with a heightened intrigue of challenged sexual repression.
Read MoreI, Daniel Blake is unabashedly a “bleeding heart” film on literal and figurative levels. If this was a Hollywood film, it would be overrun with shouted speeches and orchestrational swells trying to manufacture emotional peaks. Fluff like that is unnecessary if you have the right poetic realism, For Loach, that’s second hand and he picks the right soapbox placement and thickness.
Read MoreWith a minimalist style and unadorned simplicity to reflect on racial intolerance, Jeff Nichols crafts “Loving” as a reminiscence of history without the histrionics. Devoid of soapboxes, speechifying, and manufactured swells of forced emotion seen in far too many historical dramas, “Loving” cuts a different cloth, trading in Hollywood glamor for blue collar truthfulness. Nichols brilliantly lets the honesty and grace of Richard and Mildred Loving stand on their own without an unnecessary pedestal. Cite this film as proof that “tell it like it is” does not require bombastic noise and volume.
Read MoreCloying as it may be to some, “The Sea of Trees” still contains a poetry and a message of forced reflection and vitality with incorporeal nudges. These are touchy musings, for sure. Audiences that have the reflective capacity for tapping into those feelings and fears will appreciate this effort and the dedicated performances. Close-hearted and discomforted cynics that do not will flatly dismiss it instead and tell you (and it) to keep your feelings to yourself. This writer is openly capable of being in the first audience welcoming the deep thoughts.
Read MoreIf I was trying to create a snazzy pull quote to add to the "Hell or High Water" lobby poster (one that is already filled with oversold promises), it would be "redneck edge." Fashioned as a genre-advancing Modern Western from the same screenwriter that knocked us out with "Sicario" last year, director David Mackenzie's new film is inspired in ambition but lax in execution. Its edge is the inability to decide whether to bark or bite.
Read MoreMany of my personal most-anticipated picks and my crystal ball Oscar prognostications are still coming, but I have been lucky enough to see over 50 film films in the first half of 2016. Since it's only been a half-year, I'll split a year-end "10 Best" list into a Top 5. True to this website's theme, I present you my picks for the "Best of 2016 (so far)" coupled with their best life lesson from my full reviews.
Read MoreWith intentionally languid brushstrokes, "The Lobster," from Greek director Yorgos Lanthimos in his English language debut, creates a challenging moral setting that twists the realities and consequences of two human conundrums and fears: What happens when you are single and what happens when you die. His muse at the center is Colin Farrell in arguably the most understated performance of his career. With more talent and a high concept at play, "The Lobster" is missing the charm to tie it all together.
Read More"Louder than Bombs" is the English language debut of Norwegian director Joachim Trier and his writing partner Eskil Vogt, best known for their 2006 Academy Award-nominated foreign language film "Reprise." Their newest work was a competitor for the Palme d'Or at the 2015 Cannes Film Festival, Norway's first since 1979. Possessing a compelling rotation of inner monologues, the heavily dramatic film observes a fractured family of men dealing with the overhanging aftermath of losing their iconic matriarch.
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