I joined Jeff York recently as his guest for a special 20th-anniversary 35mm screening of 1997's Oscar-winning L.A. Confidential at the storied Music Box Theatre as part of the Noir City Chicago Festival. As an added treat, author James Ellroy was in the house to kick things off with an expletive-laden bang. After the screening, he and I hunkered down in Frio Gelato near the theatre to share our admiration and examination of Curtis Hanson's masterpiece.
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Director Matt Ruskin’s Crown Heights presents a true story incarceration as it happened to an innocent man. Just when you think two undue years awaiting trial are shameful enough, it turns into twenty over the course of four presidencies and 99 tidy minutes. To tell the story of Colin Warner is to tell a story shared by too many thousands of other wrongfully incarcerated people within the U.S. prison system.
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Dashes of kink and horror mix within Lee Amir-Cohen to create moments of shock and heat shared with Amanda Maddox in the short film The Other Place. The star, who also writes and directs this short, has crafted something creepily captivating in front of and behind the camera. Contracted properly as a short film that leaves you wanting more, this shot glass of venom is a properly measured jolt.
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In 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.
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The buzzing North Carolina public within the film Logan Lucky dub the central robbery a “hillbilly heist” and an “Ocean’s 7-11” perpetrated by “redneck robbers” and “Hee Haw heroes.” With diegetic puns like those being thrown around, how could you not be entertained by Steven Soderbergh’s first feature film in four years? It’s almost an invitation to pile on. How does “clodhopper caper” sound? What about “Podunk pilfering” or “backwoods buffoonery?” I’ll settle for “hayseed hijinks.”
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Mulling over the many layers and events of Destin Daniel Cretton’s film adaptation of Jeanette Wells’ memoirs The Glass Castle, I keep coming back to the same essential question: "Who am I to judge someone else's life story or life choices?" If the real Jeanette Wells is able to make peace with the events of her childhood, how can I, or anyone, tell her she's wrong? The answer is we can’t (and shouldn’t) and that’s a hurdle not everyone has shown to be prepared for or able to separate from critique.
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Through every snowflake and gunshot, Taylor Sheridan cuts to the marrow and keeps Wind River firmly on track with its layered stages of discovery. Tighter than Hell or High Water and more humane than Sicario, this film creates a tone of toughness balanced adroitly by human realities occurring in a dangerous place with a different set of rules. The end result is a highly engrossing mystery with the edge we have come to appreciate and admire from Sheridan.
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Asking someone if they subscribe to the science of climate change might as well be as tenuous as asking a person if they believe in God. Climate change has become a divisive firebrand topic like few others in the decade since the Oscar-winning and punctually motivating documentary An Inconvenient Truth. In several ways, the topic has come a long way in some places only to slip backward in other measures. An Inconvenient Sequel: Truth to Power is a persuasive update on the matter.
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Add all of The Dark Tower up, the ineffective length, the nonsensical plot, threadbare mythology, leashed acting, and limited thrills, and you get the lowest sum of calculations. You get the sheer absurdity we started with. I'm sure it's all meant to be substantial and worthy of audience investment, but how is any of it supposed to give us gravity to grasp if it's all presented in such a cursory degree?
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Weinstein writes and directs what constitutes as a love letter to a culture, a community, and to the essence of fatherhood. The lead’s personal plight is a compelling one done with grace and admiration for attaching the right layer of empathy. It’s not overly heavy in any particular way, but Menashe carries enough honesty, enough will, and enough power to break any father’s heart. There’s strength to be found in that.
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If you remember from my recent appearance on an minisode of the Feelin' Film podcast, I cannot be the only person who needed a therapy session after this film. David Lowery's film has been a transcendental experience for some audiences and something oddly impatient that sends others that will walk out scratching their heads. See where I fall with the "Movie Classroom" version of my review
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Excellent romantic comedies have been a rare thing for the entire 17 years so far of this century. For one to arrive and stand above the crowd as one of the best romantic comedies in years and one of the best films of the year, period, is special. If you haven't already, meet The Big Sick starring Kumail Nanjiani, Zoe Kazan, Holly Hunter, and Ray Romano. Through the ShowMe app on the Every Movie Has a Lesson YouTube channel, hear and see what my review has to say about the film and why it's my #2 film of 2017 so far.
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