Friend of the page Aaron White, co-host of the Feelin’ Film podcast and member of the Seattle Film Critics Society, has reignited his FF+ brand of smaller plate podcast episodes. His goal is to collect spoiler-free discussions of several current movies combined into one show. Rather than fly solo, he’s using his FF+ platform to invite other critics to share in the chat. For this episode, Aaron invited me to help cover the stunning documentary Desert One and the new Disney+ entry The One and Only Ivan. Enjoy!
Read MoreFor wishful reasons beyond the exploitative ones, people want to believe in ghosts. They would be alright with even the creepiest voyeur version or novelty of that to be real. Why? Because the existence of ghosts would mean there’s something else out there after our inevitable deaths. A tangible afterlife creates massive spiritual implications that stir so many. Molding their fictional clay, movies love plucking that particular heartstring, and the new streaming film Endless follows that convention.
Read MoreThe Tax Collector feels like David Ayer’s 2 Samuel 1:27 moment for his current career. He elevated his settings and craft with Fury. He aimed behind his grasp with Suicide Squad. The “mighty have fallen.” That puts the stung and smeared David Ayer back to Los Angeles in a B-level movie and the three things he appears to be good at: 1) urban criminal underworlds, 2) seedy ethnic flavorings, and 3) spurts of graphic violence. These are his comfortable and dirty roots that brought forth Training Day, Dark Blue, Harsh Times, and End of Watch.
Read MoreActors are often asked by the many curious people fascinated by their work where they find the inspirations for the characters they play. Dropped by talk show hosts and adoring fans alike, it’s a common question, but a welcome open-ended one. The answers are almost always a fascinating blend of intentional craftsmanship and revealed individual quirks. If you know the personal history of Liam Neeson away from his tough and towering screen personas, you will know he, and his son Micheal Richardson, did not have to dig far for their characters in Made in Italy.
Read MoreEvery braided shoestring of DIY indie filmmaking on Lake Michigan Monsters swings a proverbial kitchen sink of derring-do flair on the end of it. Editor and animator Mike Cheslik of Netflix’s The Get Down (the MVP of this film) splashes buoyant pacing and endless layers of light visual effects that have creativity and energy to spare. Each sink of eye-popping detail is wielded like a medieval flail used to dispatch dragons of snobbery and doubt. Never ever look down on this class of movie because this is where you find true commitment.
Read MoreHospitality jokes aside, manners come into play. The wrinkle is when pleasing homeliness mixes with the negative connotation of hospitality. Summerland, the feature film directorial debut of playwright Jessica Swale, emanates pleasantry around a central character who is the rude opposite. No matter how uncouth or ill-tempered Gemma Arterton’s hermetic author Alice behaves, an honorable heart shines through. That’s the narrative oil and water of this nostalgic film.
Read MoreTo pull off holding court without reducing matters to the preening or showy variety, the performer must have screen presence. Deneuve, the ageless ingenue, “frigid femme fatale,” and “grandes dame” of French cinema, has wattage for a thousand cameras, even now in her mid-70s. With that stature, compelling shockwaves come at will. The acting awe within The Truth is that Deneuve’s prestige is matched moment-to-moment by Academy Award winner Juliette Binoche, a contemporary, if you will, every bit as powerful as the senior. Their pairing as an estranged mother and daughter in the celebrity world writes cinematic scripture.
Read MoreFor anyone over the age of five-years-old who doesn’t have “The Gravel Foot” anymore, we know not all natural surfaces are easy and lush. The sensation of each pace toughens and prepares the heels and toes for the next one. Such is life as well. The literal and figurative barefoot steps of the characters from Tim Winton’s celebrated novel have tread over the hard grounds of loss and regret. The developed calluses mix with the ever-present dirt for messy lifestyles. Any songs present croon to that lamentation. Alas, the titular melodies advertised to break down the melodrama blow away weakly with the wind.
Read MoreWhen no flowery language is flowing to fill our ears, another ambiance is necessary. The sweep of Felipe Tellez’s musical score is astounding. His arrangements were performed by the Budapest Air Orchestra and their lovely strings keep Farewell Waltz soaring with the remembrance and regret of the narrative. One would not readily imagine a 10-minute short film could reach heartstrings so assuredly and effectively, yet this throwback from Levy does so with lingering beauty above films ten times its length.
Read MoreDocumentaries often carry a sharp specificity by design. The backers and filmmakers have zeroed in on a pointed topic or singular issue they feel needs a spotlight or, even stronger, a public wake up call. Sometimes, they downright demand it. The challenge of an exemplary documentary is to convince next to its natural aim to inform. Their demands need worth, especially if the subject is too narrow to the point that it is inconsequential. That’s where the documentary No Small Matter lives up to its title. The demand matches the worth.
Read MoreWilled by Beharie’s solid lead, this small film is a gratifying drama fit for the holiday of its namesake. This feature writing and directing debut of Channing Godfrey Peoples (TV’s Queen Sugar) is an absorbing and honorable celebration of traditions, futures, culture, and family free of harsh judgment and wrongly-placed stereotypes that would have come from disingenuous sources. Miss Juneteenth has as much sincerity as it has struggle. The worthy themes ring true for a positive and willing audience that can pause looking down on pageants and see the bigger preparatory importance.
Read MoreThe title of The Short History of the Long Road is plain, simple, and true. This is but a small jaunt of a bigger journey for this broken family. The flashbacks are just that: flashed for mere seconds. They show enough to throb the heart and that’s plenty. Any extended testimonials and cherished memories come out in small talk and stay small talk without a grand speech in earshot. What’s personal is personal and not for crowds. Big and lofty is the sky above it, not the grounded individual. Once again, that’s the wavelength: plain, simple, and true. Those are fitting and admirable qualities.
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