Posts in Independent Film
MOVIE REVIEW: Blackbird

Quite quickly into Roger Michell’s Blackbird, Susan Sarandon stamps exactly what kind of terminally ill character this film intends to portray. You may see the Academy Award winner’s aged luminosity but, let me tell you, this is far from a retread of her beloved 1998 film Stepmom. Her Lily is tired of the pretend pleasantries as she summons her extended family to her and husband’s beachfront homestead. She is done with the constant “who are you” questions, “are you OK” observation checks, and her own cordiality to retort with “glad you’re here.”

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GUEST CRITIC #32: Blue Valentine

by Lafronda Stumn

As busy I get from time to time, I find that I can't see every movie under the sun, leaving my friends and colleagues to fill in the blanks for me. As poetically as I think I wax about movies on this website as a wannabe critic, there are other experts out there. Sometimes, it inspires me to see the movie too and get back to being my circle's go-to movie guy. Sometimes, they save me $9 and you 800+ words of blathering. In a new review series, I'm opening my site to friend submissions for guest movie reviews.

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MEDIA APPEARANCE: Guest on "Feelin Film'" FF+ podcast for "Mulan"

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 with his usual co-host Patrick Hicks to fawn over Disney+’s Mulan. He sure didn’t have to twist my arm.

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GUEST CRITIC #31: Clemency

by Lafronda Stumn

As busy I get from time to time, I find that I can't see every movie under the sun, leaving my friends and colleagues to fill in the blanks for me. As poetically as I think I wax about movies on this website as a wannabe critic, there are other experts out there. Sometimes, it inspires me to see the movie too and get back to being my circle's go-to movie guy. Sometimes, they save me $9 and you 800+ words of blathering. In a new review series, I'm opening my site to friend submissions for guest movie reviews.

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MOVIE REVIEW: I'm Thinking of Ending Things

Is there brilliance in the indecipherable within this adaptation of Iain Reed’s horror fiction? That’s both the knock and modus operandi of Charlie Kaufman. That’s where peculiarity pisses on a good piece of art. His abstract creations are wholly unique, yet aimless and tedious to the nth degree. For every poetic word, cinematic moment, or striking idea that ignites a challenging neuron in I’m Thinking of Ending Things, a triple helping of something obscure destroys momentum and snuffs any flicker. When he’s right, lucidity outshines the oddity, but that is not this film.

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MEDIA APPEARANCE: Guest on the "Feelin' Film" FF+ podcast for "The One and Only Ivan" and "Desert One"

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!

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MOVIE REVIEW: Endless

For 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.

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MOVIE REVIEW: The Tax Collector

The 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.

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MOVIE REVIEW: Made in Italy

Actors 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.

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MOVIE REVIEW: Lake Michigan Monster

Every 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.

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MOVIE REVIEW: Summerland

Hospitality 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.

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MOVIE REVIEW: The Truth

To 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.

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