Godard Mon Amour - Movie Review by Monte Yazzie

Godard Mon Amour

Director: Michel Hazanavicius

Starring: Louis Garrel, Stacy Martin, Micha Lescot, and Bérénice Bejo

Trying to understand the mind of an artist, of almost any capacity, is a difficult task. Art is subjective and the determination of whether the artistic creation is worthy of praise can be contentious ground. Film critics, on a weekly basis, provide criticism of the artistic digital medium that is used for both pure entertainment and philosophical engagement. And everyone is right, even when they are wrong, no matter what their opinion is, because art is subjective and the connection an artist makes with their creation is a complicated vessel. This aspect is one of the primary reasons art is so beautiful and why the artist is so fascinating.

Filmmaker Jean-Luc Godard, also a film critic in his early career, is one of the masters of cinema and an icon of the French New Wave form of filmmaking. Godard’s catalog is littered with masterpieces, “Contempt”, “Breathless”, “Weekend”, “Alphaville”, “Pierrot le Fou”, and “Band of Outsiders” are just a few of the classics. But the filmmaker, now in his late 80’s, has never stopped utilizing the film medium to express his passion for politics, America, racism, media, religion, and numerous other themes; in fact the director has a film coming later this year. Mr. Godard is an artistic force; defiant, arrogant, confident, compassionate, romantic, stubborn, eccentric; all the terms used to describe the complicated yet also the captivating aspects of art.

Filmmaker Michel Hazanavicius, who directed the Oscar winning film “The Artist”, tackles the complex artist in the new film “Godard Mon Amour”. This film is less about the highlights of Godard’s career and more about the few years when the director was transitioning away from the popular dramas and comedies that had come to define him and more towards films dealing with the uprising happening around the world.

Jean-Luc Godard (Louis Garrel) is living in Paris in 1967, he is idolized by critics, intellectuals, and movie fans for the films that made him an international film icon. During the filming of “La Chinoise”, a film detailing the political tract of Maoism, Godard falls in love with actress Anne Wiazemsky (Stacy Martin) who is sixteen years younger than the director. Anne admires Jean-Luc, she’s as much of a fan of the artist as she is desperately in love with him. As the revolution happening around them begins to consume Jean-Luc, Anne becomes less of a priority.

“Godard Mon Amour” is at times a fascinating and frustrating experience. Godard is an intriguing character study, an artist struggling with the foundation that has come to define his artistic work while also breaking free of preconceptions and making an impact with the artistic tools at his disposal. Calling Godard eccentric is an understatement, the director understands that he was instrumental in revolutionizing cinema and his focus on starting another revolution will not be challenged by any barriers, person or otherwise. This makes Jean-Luc a difficult personality, he seemingly despises anyone who brings up his past work, argues with his critics in public forums, and ridicules his girlfriend Anne when she is not worshipping at his feet.

Actor Louis Garrel is provided the unenviable task of portraying all of this emotion and angst, his performance is over-the-top in argumentative moments yet subdued with glances and glares during moments of self-examination. Stacy Martin plays Anne and does a worthy job of keeping pace with Mr. Garrel, her performance shines brightest in moments when it is just the couple exploring the outlets of their relationship. In one of the best scenes Ms. Martin speaks volumes with her body language during a disastrous car trip.

Godard fans may find frustration with some of the simplistic, lighthearted bits concerning the character composition of the director. While the film is based on the book “Un An Après” written by Anne Wiazemsky during her time with Godard, some of the aspects just never hit the mark. Moments of comedy and drama playing together feel forced and some of the stylings concerning the filmmaking elements, which tries to emulate some of Godard’s more unique touches, comes off pretentious. Conversations about the exploitive nature of nudity while two characters are nude doesn’t connect the way it should and aspects concerning the struggle of the artist, which could have propelled this film into something more meaningful, are never completely examined.

“Godard Mon Amour” may be a treat for those new to the auteur, but those familiar with the works of the cinematic groundbreaker will be left wanting to revisit the original works from the acclaimed director. That may not be a bad outcome.

Monte’s Rating

3.00 out of 5.00

Locating Silver Lake - Movie Review by Ben Cahlamer

Locating Silver Lake

Director: Eric Bilitch

Writer: Eric Bilitch

Starring: Josh Peck, Amaury Nolasco, Valerie Cruz, Aubrey Peeples, Finn Wittrock

“There’s a world outside every darkened door

Where blues won’t haunt you anymore

Where brave are free and lovers soar

Come ride with me to the distant shore.” ~ ‘Life Is a Highway,’ Tom Cochrane

We understand so very little about the human brain, yet one of the greatest gifts we can give to ourselves is the ability to begin again; to start over. This is not a religious statement, but a statement about the human condition that allows us the mental freedom to reset ourselves.

In the case of writer-director Eric Bilitch’s “Locating Silver Lake,’ Daniel (Josh Peck, “Red Dawn (2012)”) is forced to begin again as life is just supposed to be starting. As friends are starting college in different cities or taking a job and moving on with their lives, Daniel finds himself on a road trip to Los Angeles.

As a writer, Daniel moves forward with a sense of purpose, but has no real destination in mind. Yes, I mentioned he physically ends up in Los Angeles, but a writer needs inspiration to create something, otherwise the blank white screen of a Microsoft Word document looks very, very lonely. Mr. Bilitch is keen to bring Daniel into LA as a virgin, which is important because Daniel doesn’t believe he can make friends, or start over.

To that end, Mr. Bilitch surrounds Daniel with people from all walks of life. One of the most critical is Jose (Amaury Nolasco), who has a unit available in his two-unit bungalow. The catch is that the bungalow is in the barrio, something that makes small-town Daniel uncomfortable. As Daniel’s journey progresses, Mr. Bilitch’s witty dialog and the interactions between Mr. Nolasco and Mr. Peck make you feel as if Daniel is a part of la familia.

The next door neighbor is Luisa (Valerie Cruz). She is a divorcee with two young boys. This is the second layer on Daniel’s journey. Between Luisa and Jose, Daniel learns to accept who he is; something that he could not do on his own. Together, they force him out of his enclave and into the real world, to socialize.

There’s a scene after Daniel establishes himself in which Jose and his crew are sitting around a fire pit, enjoying carnitas. They invite Daniel to join them on the condition that he play them a tune on his guitar. Whether it was Mr. Peck’s performance or Mr. Bilitch’s story and direction, in that poignant moment, we see Daniel’s soul poured out.

This is all in service of the third layer in Daniel’s journey. On his first night out, he awkwardly tries to order a drink at a bar, but to no avail. In a flash of brilliance, the noble laureate poet Seth swoops in, his eyes on fire with wild abandon, but also a purpose. Finn Wittrock plays Seth with a playfulness that matches Daniel’s forlorn nature. Mr. Bilitch imbues both characters with a sense of purpose, one driven towards an ultimate goal, the other with more focus.

In each of his journey’s layers, Daniel meets someone who could potentially be a love interest or a friend. It takes a spark to ignite the senses, especially in matters of love. There’s no greater spark for love than danger, and Mr. Bilitch inserts Talya (Aubrey Peeples) into this equation.

It is this balance between the characters and the layers of Daniel’s journey that make Mr. Bilitch’s story so appealing and earned the film a place in the 2018 Phoenix Film Festival’s Narrative Feature Film competition.

Ultimately, Mr. Bilitch’s story is about finding oneself and acknowledging our faults as a way of moving forward. Daniel’s resolution is as much about himself as it is the world and the people around him. As he’s locating Silver Lake, he’s finding himself.

And that’s a journey well worth taking.

3.5 out of 4 stars

Wildling - Movie Review by Ben Cahlamer

Wildling

Directed by Fritz Bohm

Written by Fritz Bohm and Florian Eder

Starring Bel Powley, Brad Dourif, Liv Tyler, Collin Kelly-Sordelet, James LeGros, Mike Faist, Troy Ruptash

I am in the middle of a quandary. On one side, coming of age stories are a dime a dozen. It’s not to say that there aren’t good coming of age stories, but they are far and few between. On the other side, I grew up not liking horror films, so I actively avoided most of them. As I’ve gotten older, I’ve learned to appreciate the stories they tell, but the younger version of me is still apprehensive.

Fortunately, movies provide a safe environment in which storytellers can explore the genre and I can safely watch them (and let my wild imagination go., well . . . wild.) What I didn’t expect was an effort to combine the two genres together in Fritz Bohm’s “Wildling”.

What caught my attention with this film was its premise. Anna has spent most of her life locked in an attic and attended to by a man she refers to as “Daddy.” As the story begins, we know that her captivity is not normal nor is “Daddy’s” treatment of her. She is prone to nightmares of something called the Wildling that lives in the forest surrounding their house and “Daddy” does his best to keep her fears at bay.

As the story progresses Anna, who is played by Bel Powley knows there is a symbolism to her dreams. Horror favorite Brad Dourif plays “Daddy.” The script by Bohm and Florian Eder establishes their relationship, but also provides a counterbalance for the end of the film. As Anna breaks out of her prison, she is introduced to modern life, having been taken in by a local sheriff, Ellen Cooper (Liv Tyler).

It is as she learns to integrate into society that Anna learns her true nature. Bohm and Eder are careful to transition the caretaker role from a father figure, who you might say was abusive beyond the captivity aspect, to a mother figure who tried to nurture Anna. A nice counterbalance to this nurture theme is the inclusion of a rebellious teenaged son, Ray (Collin Kelly-Sordelet). For Anna, her emotions and bodily functions start to take hold, with murderous consequences.

This transition period sets us up for a fantastical third act in which Anna battles the old guard, who were meant to protect Anna from herself. It was a bold choice to allow Anna to develop as the character did, both in exposition and in terms of special effects. As stunning as her transformation becomes, the story falters, leaving the third act to be more of an afterthought than a satisfying conclusion.

I give props for Mr. Bohm and Mr. Eder for even trying something like this. It’s themes parallel society’s struggles for equality and its disdain for torture. I appreciated the performances and the camerawork, especially when Brad Dourif was on screen.

As I write this and I think about it, some of the best coming of age stories use the horror genre and successfully. This is a bold attempt at telling the story from a female protagonist’s point of view, one that I’m happy was screened at the recently concluded International Horror and Sci-fi Film Festival, part of the 2018 Phoenix Film Festival. It doesn’t entirely succeed, and it didn’t need to either. It makes its statement successfully enough that we are entertained by its themes.

2.75 out of 4 stars

The Rider - Movie Review by Ben Cahlamer

The Rider

Directed by Chloe Zhao

Written by Chloe Zhao

Starring Brady Jandreau, Lilly Jandreau, Tim Jandreau, Lane Scott, Cat Clifford

Chloe Zhao’s second film, “The Rider” is as much an examination of family dynamics as it is the drive of the human spirit. It premiered in the Directors’ Fortnight section at the 2017 Cannes Film Festival where Sony Pictures Classics acquired the film.

Ms. Zhao’s film is centered around a young man, Brady Blackburn who is driven to be a rodeo champion. An accident during a rodeo causes him to fall off of his horse resulting in a serious injury to his brain. His recovery from that injury is the basis for this compelling story.

There are many compelling reasons to watch this film. None is more remarkable than the fact that Ms. Zhao was able to cast untrained actors in their respective roles. Brady’s struggle to recover and his desire to get back into the saddle is a compelling enough reason to watch this story unfold. Ms. Zhao layered in Brady’s real life family members into the film in an effort to heighten the drama and the emotional impact of Brady’s story.

As he is recovering, his family is suffering. His dad, Wayne is an alcoholic and is barely making ends meet. Wayne is played by Tim Jandreau, Brady’s real-life dad. Brady’s sister Lilly is in need of constant support as she lives with Down syndrome. Lilly is played by Brady’s real-life sister, Lilly Jandreau.

Ms. Zhao’s story is full of many poignant moments which characterize his internal struggle as well as his physical struggle. One of the side effects of the brain injury is uncontrolled spasms. We are witness to one such event during the course of the film; the physicality of the spasm is so visceral.

On the other side of the spectrum, family and friends are as important to his recovery as they are to the story. There’s a scene in the middle of the film where Brady and his friends are sitting around a campfire, under the open night skies. The scene concerns itself with his friends’ desires to see the best for him. But Brady has other ideas. Cinematographer Joshua James Richards and Ms. Zhao exemplify Brady’s desires with brilliant night sky full of stars.

The campfire scene is a turning point in the story as Brady realizes that he must take action for the family. And that’s the crux of the story – his struggle to adapt between his desires and his responsibilities.

The ever vibrant Lilly questions something at one point and Brady responds. As this interaction occurs where you can see a fiery spirit in Lilly; her eyes say so much and I wanted nothing more than to hug her as I watched the film. I appreciated her independence and her thirst for knowledge. More importantly, he recognized that he needed to take care of himself so that he could be there for his sister in the future.

I had a chance to sit down with Brady at this year’s South by Southwest. His demeanor is as fiery in person as it is on screen; we’re getting the real Brady. Knowing this, his struggle to want to recover so that he can get back into the saddle is so much more personal. Ms. Zhao’s confidence in this story and her cast also serve to paint an authentic picture of life in South Dakota’s Sioux community.

Brady’s story is the very essence of humanity and humility and Ms. Zhao perfectly captures that essence through desire, responsibility, struggle and ultimately, family. During this hero’s journey, you are empathetic, but you never pity Brady’s struggles because his indomitable spirit and his courage to persevere represent the best human traits.

4 out of 4 stars

Backstabbing for Beginners - Movie Review by Jeff Mitchell

‘Backstabbing for Beginners’ lacks advanced nuance

Directed by:  Per Fly

Written by:  Per Fly and Daniel Pyne, based on the book by Michael Soussan

Starring:  Theo James, Ben Kingsley, Jacqueline Bisset, and Belcim Bilgin

“Backstabbing for Beginners” – “It’s like a surprise party without the cake.”

A character in the big screen adaptation of Michael Soussan’s memoir of the same name utters the aforementioned line during the third act, but this particular quote might sum up one’s experience with this 1-hour 48-minute movie.  Actually, that is not accurate, because “Backstabbing for Beginners” – a recounting of Soussan’s experience with the United Nation’s Oil-for-Food Programme just prior to and also during the 2003 Iraq War - does not include many surprises, and it does not feel like a party.  

Theo James – probably best known as Four from the “Divergent” trilogy -  plays Michael Sullivan (not Soussan), a highly competent 24-year-old upstart who interviews for and then lands a special assistant position, reporting to a United Nations undersecretary general named Pasha (Ben Kingsley) who oversees the famous or infamous (depending upon your point of view) programme.

Sullivan, an idealist who aspires to make a difference, dives - straight away - into the job but quickly learns his boundaries from Pasha, whose frequent and curt curses straighten the new diplomat’s spine.  Although Sullivan needs to hear tough talk, because Pasha places him on a plane to Baghdad to help ensure Oil-for-Food continues its funding for the next 180-day cycle. 

Pasha bends rules and ignores pleasantries but admittedly stays within the lanes of acceptability, relatively speaking.  Certainly, the programme distributes food to hungry Iraqi people but also includes litters of kickbacks along every stop in a silent case of whatever happens in Baghdad stays in Baghdad.

The film centers around Sullivan’s moral compass and how far will it remain north, as he experiences corrupt commerce in the Middle East. 

Now, a few specific personalities enter his life - a questionable Russian irritant, Rasnetsov (Brian Markinson), a beautiful local ally, Nashim (Belcim Bilgin), and Pasha’s rival, Christina Dupre (Jacqueline Bisset), who wishes to see the programme end - but from the moment that each character steps into the audience’s view, their individual story arcs become painfully obvious. 

This 20-something wonderkid - who can whip up a 75-page report in less than a day and speak in front of the United Nations like the leader of the free world - sometimes successfully cuts through the designed smokescreens, but then completely misses others.  Meanwhile, any novice “Law & Order” fan can repeatedly predict the various backstabs 20 minutes before they strike.  Rather than claim victory for every correct guess, an air of boredom may unfortunately enter your personal space. 

Even though the events may be true via Soussan’s book, the conversational pacing does not translate very well on-screen.  Sure, diplomats do not usually concoct the thrills of your everyday secret agent, but typing up reports, inspecting food containers and navigating through very few key characters - who telegraph their every move to the audience - are not exactly ingredients for cinematic success. 

Writer/director Per Fly does not really give James much to do either.  Then again, although the actor’s eyes are wide with curiosity throughout Sullivan’s journey, his monotone energy does not help lift the film.  An even keel temperament may be a great skill for a diplomat, but not necessarily for a lead protagonist delving into bureaucratic corruption.  For some unknown reason, Fly decided that James should also narrate the picture, but the frequent guided expositions feel unnecessary.

Well, at least we know Michael’s name, because James – as the narrator – states, “My name is Michael Sullivan,” about three times.  Hey, if we had any doubt, right?

“Backstabbing for Beginners” does offer insight into a regrettable period in Iraq, but as a film, it is rightfully named.  The predictably-written characters and their conflicts never come close to raising the material into intriguing advanced nuance, and given the subject matter, they really should.  

Maybe I’ll buy the book.

(1.5/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Avengers: Infinity War - Movie Review by Monte Yazzie

Avengers: Infinity War

Director: Anthony and Joe Russo

Starring: Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlet Johansson, Benedict Cumberbatch, Zoe Saldana, Chris Pratt, Mark Ruffalo, Chadwick Boseman, Don Cheadle, Tom Holland, Elizabeth Olsen, Paul Bettany, Sebastian Stan, Tom Hiddleston, Idris Elba, Dave Bautista, Anthony Mackie, and Josh Brolin

In 2008 Marvel Studios released “Iron Man” and the beginning of the Marvel Cinematic Universe was launched. The film, directed by Jon Favreau and starring Robert Downey Jr. as the eccentric Tony Stark, can be seen as the movie responsible for changing the landscape of the modern superhero franchise. What Marvel has done over the last 10 years is craft a series of films that have brought solo hero stories to the screen while also supplying films for all the heroes to interact. These stories and characters have always been treated as puzzle pieces, “Avengers: Infinity War” is the final piece of a ten year puzzle of world building.

Anthony and Joe Russo are the directors behind this superhero extravagance that features nearly every hero that has graced the screen since 2008. It’s an amazing sight to see so many characters interact with one another, especially during the big action sequences that offer prime opportunity for the characters to display what makes them “super”. With so much going on in the near 150 minutes of film here, “Avengers: Infinity War” does its best to tie up loose ends and open a new chapter in the Marvel Cinematic Universe.

Earth has seen its fair share of threats from villains both local and intergalactic, however at every turn of near world destruction, The Avengers have been the force to reckon with. But things have become more complex for the team. Tony Stark (Robert Downey Jr.) and outlaw Steve Rogers (Chris Evans) are still at odds, Bruce Banner (Mark Ruffalo) and Thor (Chris Hemsworth) are working together somewhere in space, and in other hero news Peter Parker (Tom Holland) is still in high school, King T’Challa (Chadwick Boseman) is making changes in Wakanda, and the Guardians of the Galaxy are trying their best to make an honest living. What ties all these heroes together is a common foe, the evil titan Thanos (Josh Brolin) who is making his way to Earth with a powerful weapon that could destroy half of all existence.

In the 10 years that Marvel has been crafting storylines for all these characters, the constant through line seen with small clues or post credit scenes has been aimed at tying the worlds together and bringing all these characters into one story. The villain Thanos serves as the key tie that binds. Marvel has always had a difficult time crafting villains, however the CGI constructed Thanos provides some interesting characteristics that serve in creating a troubled humanity for the dominating antagonist. Thanos, voiced with bravado by Josh Brolin, has come to the conclusion that he is the weapon of balance for all existence, it’s a concept that Thanos has accepted wholeheartedly. Thanos is the most complicated character in this story.

While this composition of the adversary is important, especially for this film, it’s equally as important for the heroes to have the same detail. Tony Stark has been struggling for some time with the ultimate threat that he knows is coming to Earth, Steve Rogers understands that war comes with consequence and sacrifice, and Thor has lived lifetimes guarding realms fighting against their own demise. This quality of making humans out of superheroes is what Marvel has done best, which makes it somewhat surprising that “Avengers: Infinity War” struggles with finding that balance of emotion and spectacle in the film. Viewers know that this film is the changing of the tide; the heroes we have grown to love over the last 10 years may not be standing at the end of this film. The emphasis on Thanos as a legitimate threat is present from the beginning but the emotional turmoil for the lives of these characters never comes through with the kind of impact that it should have. With so many characters to find space for, the emotional punches seem pulled, or better yet, glazed over. With the exception of one scene which helps to further shape the idea of Thanos’ purpose, characters are here one moment and simply gone the next.

All the previous movies have established a foundation, one that firmly allows “Avengers: Infinity War” to build upon. This is especially clear in the maneuvering of characters throughout the film; it all fits so nicely when Thor meets the Guardians or when Iron Man meets Dr. Strange. Every character is nicely paired with the attitude and charisma that allows for good banter and interesting contrast of skills. Add Thanos’ serious demeanor to the mix and the heroes shine even brighter when forced to compete with the villain.

The highlight for this film is the undeniable spectacle taking place, it’s exciting and breathtaking watching your favorite Marvel characters fight together on the screen. The Russo Brothers have been building bigger action moments with every film that they compose, this film is their pinnacle for action.

“Avengers: Infinity War” is big and boisterous in all the ways one might expect, unfortunately the drama of all the chaos doesn’t add up towards as satisfying of an emotional finale as one might expect. There is more to come from the Marvel Cinematic Universe of course, and maybe the pieces left unsatisfied here will all be corrected when the saga continues. Still, this is a summer blockbuster movie that is sure to please dedicated fans.

Monte’s Rating

3.50 out of 5.00

An interview with the team behind "The Best People" by Jeff Mitchell

Interview with “The Best People” writer Selina Ringel and director Dan Levy Dagerman by Jeff Mitchell

From Left PFF Exec Director Jason Carney, The Best People writer Selina Ringel, The Best People Director Dan Levy Dagerman, PFF Program Director Greg Hall

The 2018 Phoenix Film Festival proudly screened “The Best People”, a comedy/drama about a couple’s engagement that frustrates the bride-to-be’s sister and the groom-to-be’s friend.  The minds behind this intriguing festival competition film are writer Selina Ringel and director Dan Levy Dagerman, who founded a production company, Two Hands Productions, and are also happily married!

Selina and Dan are keeping a busy schedule these days.  "The Best People" is stopping at WorldFest-Houston on the festival circuit.  Shoreline Entertainment (a sales agent) picked up "The Best People" for worldwide sales, and Selina and Dan graciously found time to speak with the Phoenix Film Festival!  

We discussed the film’s tone, insight into the characters, Selina’s and Dan’s wedding song, and much more!

PFF:  “The Best People” is a comedy, but it definitely weaves darker themes too.  How did you settle on the film’s tones?

SR:  Comedy comes from real pain, so we really wanted to be honest with everybody’s pain place.  I think the funnier comedies that we enjoy come from honest pain places, and the characters (need) to figure out how to (overcome them).

PFF:  The cast did a great job, especially Anna Evelyn who plays the older sister Anna.  She has terrific comedic gifts but also handles the dramatic moments in a very believable way. 

SR:  Our cast was phenomenal, and the actors were named after their own names, because I wrote the parts with them in mind, not (the actors’) personalities, (but) their voices.  So, I wrote (the screenplay) with how I think they speak, because I knew I wanted those actors to play those roles.  

PFF:  Claire (Claire Donald) and Johnny (Johnny Cannizzaro) probably had one of the most miserable engagement announcements in recent movie-memory, no thanks to Anna and Johnny’s friend, Art (Arthur Napiontek).  Claire and Johnny are nice people, and they treat each other with respect.  They are not too young to get married, but Anna and Art definitely have a problem with this future union.  What makes their relationship such a threat to Anna and Art?

SR:  Anna and Art are both very lonely people who are having a really hard time figuring out their own lives.  Claire and Johnny are the last thread of what is working (for them).  For Anna, Claire is the one relationship that she can count on.  In Anna’s and Art’s minds, (these two) getting married is the loss of one thing too many.  They just can’t handle one more thing to not be working for them.

PFF:  Instead of present day, if the film took place in the 1950s, would Anna and Art be more outwardly supportive of Claire and Johnny?

DLD:  They would have to be supportive on the surface (to) fall into the norms (of society).  Here in this world, they were sort of rushing into a (marriage), so Anna and Art were able to pick at (Claire’s and Johnny’s) relationship more.  (In the 1950’s), they couldn’t take such an issue, at least externally.

PFF:  Claire and Johnny seem like a healthy couple, with the possible exception of their pet names for each other (in which other characters in the film find them difficult to listen to).  Although, I’ve thought up pet names as well.  Most of us have.

Conversely, Anna is running through men a bit, starting – in the opening scene - with a guy at the bar who was labeled Prison Break Guy.  Is there truth to positive energy attracts positive energy and negative energy attracts negative energy?

SR:  First, all the pet names are real.  So, every single pet name between Claire and Johnny is a real one that we (Selina and Dan) have for each other.  The names are pretty crazy, there’s “Goosemonster”, there’s “Egg Nog Latte”.  There’s really, really weird stuff in there, (and it’s) definitely all real.  

As far as energy goes, I definitely think that where you are in life energetically attracts (likeminded) people.  Always.  Anna is attracting a certain kind of person.  She (doesn’t wish) to sit with herself, because she is having such a hard time with her feelings.  She also (takes) a lot of different types of drugs, sleeps with different men, drinks when she can, so she is (practicing) escapism (whenever) possible.  (These behaviors take) different forms throughout the movie, until she can come to terms with the fact that she doesn’t want to live like that any (longer).

PFF:  If friends or family aren’t supportive of a marriage, should they just go along with it, or should they step up and make their opinions known?  What’s the right approach?

SR:  Oh, that’s really tough.  It depends on the situation.  If one person is cheating on the other, and you know that, it might be a situation (where) it is your (place) to say something.   On the other hand, a lot of couples fight all the time, and that’s how they live, in a dramatic up-and-down (way).  It’s tough to watch your friends get married in that situation, but at the same time, that might be (their) lifestyle choice. 

It depends on how close you are to the people getting married and if your actions are selfless or selfish.  If you are stepping in to help, then I think it’s sometimes okay to (speak up) without saying that you shouldn’t marry this person. 

It’s (better) to say, “Look, this is what’s happening. You should just really think about it, but I’m here to accept whatever decision (that) you make.” 

PFF:  Is an older sister’s jealousy over a younger sister’s impending marriage a real thing with sisters in general?

SR:  I think that it’s really, really hard when the younger sister gets married before the older sister in most situations, but it depends upon the degree of the older sister’s journey in what she wants her life to be.  For example, if Anna had a great job, a great boyfriend and was probably going to get engaged soon, Claire’s engagement would be a little weird, but it wouldn’t be the same.  In this film, Anna is really lost in all aspects of her life, so Claire’s engagement makes it a lot harder for her to (cope). 

PFF:  Did you play with lighting to track Anna’s mood during the film?

DLD:  For sure.  We played with lighting and Anna’s wardrobe.  In the beginning, she was more disheveled, and then as the story evolves, she got herself more put together. 

PFF:  Anna has a conversation with her father.  Was this a moment when she begins to see clarity?

DLD:  Yea, that is definitely the turning point with Anna, and she starts to understand others’ perspectives and (begins) to mature a little bit.

PFF:  Do you think that Anna will straighten out her life in the future and could she look to Claire for help?

DLD:  I think she will and will use Claire.  The story brings them together.  Anna feels that she can count on and trust Claire, and they will get closer.  Will Anna change?  She learns a lot and changes a little bit, but it’s a question of how long that will last.

PFF:  “99 Luftballoons” is a notable song in the film.  Is that one of your favorites, and did you have a favorite song at your wedding?

DLD:  We had a couple different wedding songs.  “Home” (by Edward Sharpe & the Magnetic Zeros) and “Can’t Help Falling in Love” by Elvis Presley.  

For “99 Luftballoons”, we wanted a really recognizable song, and we thought it really fit, however we only have festival rights for (it).  We had to replace it, when we got into the distribution-mode.  Now, we have a great song called “Romanticise” by Chela. 

SR:  The festivals will still have “99 Luftballoons”.

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Super Troopers 2 - Movie Review by Jeff Mitchell

‘Super Troopers 2’ is worth the wait

Directed by:  Jay Chandrasekhar

Written by:  Jay Chandrasekhar, Steve Lemme, Paul Soter, Erik Stolhanske, Kevin Heffernan

Starring:  Jay Chandrasekhar, Steve Lemme, Paul Soter, Erik Stolhanske, Kevin Heffernan, Brian Cox, Emmanuelle Chriqui, Rob Lowe, Will Sasso, and Lynda Carter

“Super Troopers 2” – More often than not, comedy sequels are not as funny as the originals, and one can point to many, many examples.  This is not a universal law, like the inevitability of death, taxes and hitting every red light when running late, but the list of films is lengthy. 

“Airplane II: The Sequel” (1982), “Ghostbusters II” (1989), “Grumpier Old Men” (1995), “Meet the Fockers” (2004), and “The Hangover Part II” (2011) are just a few that semi-infamously stand out.

Regardless of the script, movie audiences can still give these films a chance, because they offer golden opportunities to experience additional adventures of beloved celluloid characters, like Ted Striker, Dr. Peter Venkman, Max Goldman, John Gustafson, Jack Byrnes, and Alan, respectively.   Then again, if the actors – who play these characters – don’t return for a second appearance, disaster can strike.  “Caddyshack II” (1988) – minus Rodney Dangerfield and Bill Murray - is one of the best-known fiascos.    

“Super Troopers 2” is no fiasco, and in fact, quite the opposite.  Seventeen years after “Super Troopers” (2001), these five slacker Vermont Highway Patrol officers – Thorny (Jay Chandrasekhar), Mac (Steve Lemme), Foster (Paul Soter), Rabbit (Erik Stolhanske), and Farva (Kevin Heffernan) – and their misadventures are back with “Super Troopers 2”.  Yes, the gang, including Captain O’Hagan (Brian Cox), Governor Jessman (Lynda Carter), and Ursula (Marisa Coughlan), return to the big screen, and yes, their sequel is funnier than the first movie.

Even though almost two decades have come and gone in real time, the film takes place only a few years after “Super Troopers”.   We discover that the boys have collectively found a very different career after a “forced retirement”…due to an unfortunate off-screen incident.  Their time away from law enforcement, however, is short-lived, because Governor Jessman asks them to help manage a border dispute between Vermont and the Province of Quebec.

Naturally, the five and Chief O’Hagan clash with a rival police force, the Canadian Mounties, and comedic mayhem and mischief ensues. 

Since the Troopers enjoy a built-in audience, Chandrasekhar’s, Lemme’s, Soter’s, Stolhanske’s, and Heffernan’s challenge was to write a funny script while also balancing the familiar quirks of their characters without the gags becoming overly repetitive.  Four of the five officers – Thorny, Mac, Foster, and Rabbit – still banter like close high school buddies, who look for the next prank or bout with foolishness. 

The fifth, Farva, continues his lone irritant persona, like a porcupine on speed. 

His rapid-fire – but sometimes strangely innocent – social commentary pokes and pricks everyone in his path, and he delivers the most quotable lines in both movies.  As much as Farva aggravates his colleagues, his chief and Canadians in general, Heffernan’s seminal character and his associated adolescent buffoonery are comedic joys to watch.  When he is not on-screen, you might find yourself anticipating and hoping for Farva’s latest analysis on dating, Canadian culture and liters of cola.  Chandrasekhar – who also directed the film –  includes enough of Heffernan’s antics without making it “The Farva Show”.   Trooper fans will leave the theatre more than satisfied with Farvaisms and not overwhelmed by them.  What is that old saying?  Leave them wanting more. 

Speaking of more, the U.S. vs. Canada ethos entanglement truly is the new and key element that delivers a freshness to the sequel.  Complaints about the metric system, pronunciation of basic words, debates about universal healthcare, and obsessions with hockey are constant sources for humor.  The five Vermont Highway Patrol officers plus Chief O’Hagan dive headfirst into the lowbrow fun, but they absolutely meet their matches with a local Canadian mayor (Rob Lowe) and three Mounties hilariously played by Hayes MacArthur, Tyler Labine and Will Sasso. 

The laughs are not exclusively reserved for American law enforcement, as the Canadian Mounties deliver equal amounts of funny barbs and insults towards the Troopers.  In the first film, the rival police officers from Spurbury were a faceless collection of jerks, sans Ursula (Coughlan), of course.  Here, the Mounties are petulant, but also deliver entertaining one liners, including a bit about Danny DeVito that will leave television aficionados very amused. 

No, “Super Troopers 2” will not win any Academy Awards.  It will not please your grandparents and has no aims to split the atom, but that’s not the intention here.  The Broken Lizard comedy troupe (Chandrasekhar, Lemme, Foster, Stolhanske, and Heffernan) – who met in college in the 1980s – stay within their lanes and deliver a sidesplitting adventure for their fans and/or anyone who enjoys movie experiences like the “Jackass” films, “Dumb and Dumber” (1994) and “Airplane” (1980).   This film is the best effort from the Broken Lizard team yet, with “Beerfest” (2006) and the original “Super Troopers” (2001) rounding out the top three.   Although Heffernan’s Farva does mow down the audience with the biggest belly laughs, all of the guys certainly get their moments in the sun too. 

These old friends are also friendly faces for their fans (full disclosure: including this film critic), and “Super Trooper 2” offers an aforementioned golden opportunity to see your favorite Vermont Highway Patrol officers wrapped in 1 hour and 40 minutes of American and Canadian flags and beautiful absurdity.   This movie is worth the wait, but here’s hoping that “Super Troopers 3” arrives sooner than 2035.  No pressure.  

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Final Portrait - Movie Review by Ben Cahlamer

Final Portrait

Directed by Stanley Tucci

Written by Stanley Tucci

Starring Geoffrey Rush, Armie Hammer, Clemence Posey, Tony Shalhoub, James Faulkner, Slyvie Testud

Searching for the meaning in life affects us all, especially artists who are always trying to capture something at its best. For famed painter Alberto Giacometti (Geoffrey Rush), it is about finding just the right stroke of the paintbrush. No better place exists to do that than in Paris where in 1964, Giacometti convinces his old friend, American critic James Lord (Armie Hammer) to delay his return to the United States to model for Giacometti’s latest portrait.

Stanley Tucci’s touching story of friendship, love and most of all, art, sees an audience exercising as much patience as Lord must have exerted while he modeled for Giacometti in 1964. Or Hammer for this film. The beauty is in the humanity between two old friends, as we explore Giacometti’s idiosyncracies and his drab, slate grey surroundings. This is perhaps the starkest, yet calming reminder of the chaos and patience each friend had to express during the creation of the artist’s last masterpieces.

Even those in his life, his wife Caroline (Clemence Poesy) have trouble working through Giacometti’s chaos. His biggest champion and biggest disappointment is his brother, Diego (Tony Shalhoub). Yet, they share a common humor; they see the world for what it is, not what they want it to be, ultimately causing Lord to see the painful beauty of the chaos.

I got the sense that Stanley Tucci enjoyed torturing Armie during the production. I’ve seen Mr. Hammer speak publicly and he is very poised; the perfect subject for an extended painting. Where I think Mr. Hammer delivers on his performance is in his roguish humor or cheekiness. As Giacometti constantly utters profanities when he messes up, Mr. Rush and Mr. Hammer have glints of humor in each of their eyes: each is enjoying the others idiosyncratic nature.

There’s a scene early in the film where they are dining together and, Mr. Rush plays an ‘older character’, rough around the edges. As such, he plays “rough-around-the-edges” so very well, while he imbibes exceptionally fast while shunning his meal. All the while, Mr. Hammer is enjoying is bottle of Coca Cola. Through this interaction, we get a sense of where each of the friends stands; the level of commitment each has to the other. They find one another frustrating, but they realize they need each other.

There is a purpose in the flow of the film, adding a layer of frustration while watching the film. Like a fine painting or a glass of wine, it takes time to come to mature. I actually enjoyed seeing two friends enjoy one another’s company, a family that cares for one another even if they cannot stand one another as they use humor to diffuse the frustration; Geoffrey Rush is a genius at swearing at the right tempo. It’s not enough to distract you, but it will make you laugh.

I saw this at SXSW and it played to a sold-out crowd at the recently-concluded Phoenix Film Festival. It isn’t for everyone, but the cast, the deliberate pace and the comradery caught me up in the films’ charm.

3.5 out of 4

Interview with the cast of Super Troopers 2 by Jeff Mitchell

Interview with the “Super Troopers 2” cast

Your five favorite Vermont Highway Patrol officers are back!  Yes, Thorny (Jay Chandrasekhar), Mac (Steve Lemme), Foster (Paul Soter), Rabbit (Erik Stolhanske), and Farva (Kevin Heffernan) return to the big screen in “Super Troopers 2”, the sequel to the 2001 cult comedy hit. 

In this film, Governor Jessman (Lynda Carter) pulls the guys out of their “forced retirement” to help manage a border dispute between Vermont and the Province of Quebec, and they inevitably clash with three Canadian Mounties. 

The Troopers stopped in the Valley for a “Super Troopers 2” screening, and the next day Lemme, Soter, Stolhanske, and Heffernan sat down with the Phoenix Film Festival and two other movie critics for a fun and lively group interview. 

These personable comedians – who met in college and formed the Broken Lizard comedy troupe - talked about American/Canadian banter, wanting to make a great sequel, their writing process, and Heffernan’s law degree.  Yes, the man who plays Farva is a lawyer!

“Super Troopers 2” also stars Brian Cox, Will Sasso, Emmanuelle Chriqui, and Rob Lowe, and the film arrives in theatres on Friday, April 20.

Q:  Do you believe that “Super Troopers” fans have a stake in wanting the sequel to be great?

KH:  There’s a lot of pressure.  Are people going to like this movie or not?  There are so many fans of the first one, (they don’t want us) to screw it up.  It’s like a wedding toast situation.  They want you to succeed.  They are on your side.  They are like family, so we can (put ourselves out there) and hopefully not screw it up. 

PS:  Our fans have never been shy about saying what they feel.  We’ve shown (this) movie a few times, and people are so positive, so I really believe that they (are/will be) satisfied. 

SL:  You feel a sense of relief.  (Our fans) say this across the board: “I just didn’t want it to suck.”  Thankfully, it doesn’t.  A lot of people are saying that it’s as good as the first one, maybe better. 

PS:  Certainly, we spent a lot of time on both scripts, but what I like here is we spent more time thinking about what makes a good story.  You look at the first (film), and I think that we all admit, it was an excuse (to create) set piece after set piece, but we really wanted (the sequel) to be an interesting story.  We have this cool hook about a chunk of Canada (involved in a border dispute).  

SL: Let’s face it, we made a great movie!

Q:  Canadian culture is a predominant topic in the film.  Did you research what it means to be Canadian?  

KH:  There are times we’d go (to Canada) to have fun, like Montreal for the Just for Laughs Festival and (observe) the funny (cultural) elements.  French Canadians don’t want to speak English to you.  There are (others) who are gruff, and you think of Canadians as nice people.  So, we thought it would be a cool area to (explore) and have some fun.

SL:  Plus, (The U.S. and Canada) are neighbors, and we know nothing about each other, truthfully.  We were in Calgary and met a Canadian guy.  We asked him, “How many states do we have, and he responded, ‘I don’t know, 48?’” 

We thought, “That’s a ridiculous answer, and he asked, ‘How many provinces are in Canada?’” 

I said, “I don’t know.  What’s a province?”

In the movie, we are the ones who come over the border and make fun of them, but (the script) gets flipped immediately, and we become the bad guys.   Our philosophy is (to) never be mean-spirited.  So, we joke about how silly Canada is, but we set ourselves up intentionally to have Canadians smear us all over the place. 

Q:  What do you enjoy about playing these characters?

KH:  A lot of our (work) is based on being friends first.  (Our) philosophy is:  we are going to (tap into) this world, and you (will) hang out and be happy.  We’re having a good time and so (will you).    

SL:  We’ll write a scene where (our characters) are joking around and having fun with each other, and then there’s the one assh*le who everybody has in their workplace.  (The person who will) ruin everyone’s time.  That’s this guy (Steve points to Kevin).  So, (if we have) any obnoxious, non-PC lines, we just pop them into Farva’s mouth.

KH:  But you still like me!

SL:  But we still like you.

PS:  You’re loveable.

SL:  And now we (also) have a French-Canadian version of Farva!  (Paul Walter Hauser - who played Shawn Eckardt in “I, Tonya” (2017) - appears in “Super Trooper 2”.)

KH:  I did a live comedy show with (Paul), and we were trying to cast a Canadian Farva.  (Paul) is fantastic and (put him in contact) with our casting director.  We did “Super Troopers 2”, and then “I, Tonya” was casting their movie.  We had the same casting director, and he got the part!

Q:  So, Rabbit gets a love interest in “Super Troopers 2”. 

ES:  It’s about time, right?

Q:  Did you all draw straws to determine who gets a movie-girlfriend?

ES:  No, I demanded it!

SL:  You know, when we made our first movie, all of the guys wanted to do a love scene.   Now, it’s the last thing that I want to do. 

Q:  Is there a girl out there for Farva?

KH:  I don’t know, we talked about that.  Maybe in “Super Troopers 3”, Farva finds love.  In this movie, I locked lips with Lemme, so I’ll stay with Mac.

PS:  If you are going to (be) romantic, sure, why not with a guy who you know?

Q:  How does the writing process work?  How do you bring it all together?

PS:  In “Super Troopers 2”, the world was already built.  In every phase of the writing, (we) are always throwing out bits or comedy that (are kept) off to the side.  When we build the structure of the storytelling, then we (add) as much comedy as we can.

SL:  The French-Canadian Farva is a good example.  He first existed in dialogue, but we wanted to actually see this guy, (so) we wrote him into one scene.  We loved (Paul’s) audition tape so much, we (thought that) American Farva and Canadian Farva should (also) meet up at some point.  Each draft, you come up with three, five, ten new jokes that make the script better.

ES:  You have to form an alliance, because you (need) “three of the five” on your side to get a joke approved.  Sometimes, you have to act it out.  If you are really passionate about a joke, you have to (perform it) and sell it.  

PS:  You can also sabotage a joke, by reading it in a sh*tty voice. 

(Paul then recites a line in a whinny voice for us.) 

Then the (writer) will say, “Well, when you read it like that, Assh*le, of course it’s not funny.” 

ES:  That’s the best way to sabotage!

SL:  When you get into these creative disputes, you (sometimes) just want to win a fight.  (Two guys) get (their) heels dug in and go toe-to-toe, while the (other) three will just sit back, watch and smirk.

PS:  There’s nothing more fun than watching two guys fight (over a bit).  You don’t want to get involved.  Just sit back and eat popcorn. 

Q:  Now, Kevin, you have a law degree and passed the bar in two states.

KH:  I did!  Yea, two states.

Q:  If you pursued a legal career full-time and never joined Broken Lizard, how would you feel about watching the other guys in these movies?

KH:  I’d feel like they needed a Farva!

PS:  Everybody needs a Farva!

Q:  Did you guys think about other careers before joining Broken Lizard?

SL:  I don’t know what else I’d do.  I had a desk job for one month.

ES:  I’m not qualified for anything else.

PH:  You guys could come work for me at the law firm, if you want.  Make some copies!

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Journey's End - Movie Review by Jeff Mitchell

‘Journey’s End’ delivers an affecting, timeless war story

Directed by:  Saul Dibb

Written by:  Simon Reade, based on the novel by R.C. Sherriff and Vernon Bartlett

Starring:  Sam Claflin, Asa Butterfield, Paul Bettany, and Toby Jones

“Journey’s End” – “Most war films tend to be about men, and this, I think, is about how men deal with fear.” – Saul Dibb

Since “Journey’s End” is a war film, the title implies that the on-screen soldiers’ story will most likely conclude on the battlefield.  They might rise in victory or suffer agony (or worse) in defeat, and judging from the first few minutes of director Saul Dibb’s movie, an ominous silent drumbeat points to the latter.   

Set in 1918 France, World War I will soon end, although the British soldiers - dug into trenches on their distinct border of No man’s land – do not own a crystal ball or deal tarot cards, so the future resolution is currently unknown. 

Their job is to wait for orders.  Wait in the mud.  Wait in the cold.  Wait in a dank wooden bunker.

The soldiers, however, are not wooden.  Far from it.  They are filled with emotion, but unfortunately, their foundations are composed of fear.   Led by a discouraged and bitter Captain Stanhope (Sam Claflin) - and yes, his name is soaked in irony – no good news has blessed this particular company in recent weeks and months.  Under gray skies, too many of his men have stepped foot into the abyss and cruelly died via bullets, bombs or poison gas, or survived and now reliving the horrors in safe quarters.  

Today, this affliction is called post-traumatic stress disorder (PTSD), but in 1918, there was no name for it.  Dibb, however, shines a light on PTSD in full view within tight spaces. 

“Journey’s End” was also a play and the movie-version feels like one as well, as large set pieces and epic battle scenes are void from view.  Instead, the men mostly engage in intricate exchanges during the movie’s 1-hour 47-minute runtime.  At times, the tired, battle weary soldiers just avoid discussing the war in order to feel normal under abnormal circumstances.  Ones in which German artillery – sitting 60 yards away - could rip through them in a second.   Stanhope knows this all too well.  All of the men do, but they handle the trauma in different ways. 

Osborne (Paul Bettany) - Stanhope’s best friend – attempts to conceal his emotional turmoil like a business professional managing a crisis.  He projects good-natured optimism but - nonetheless – remains completely aware of the dire predicament.  Raleigh (Asa Butterfield), on the other hand, newly arrives, and this fresh-faced kid has not experienced a lick of combat.

Raleigh’s eager-to-serve persona serves as a stark contrast between the other glum, shell-shocked men who occasionally enter and exit the screen.  Although a kid like Raleigh exists in just about every war film, since the picture works as a close-knit character study, the before/after disparity between this said rookie and the weary soldiers smashes the audience with emotional gut punches.  These blows deliver the message that war can wear down one’s humanity and bliss over repeated episodes or immediately strip it in an instant of chaos.  

Dibb and writer Simon Reade only give us small glimpses of this chaos, but do so very effectively.  Other than a lone – and very short - drone shot, Dibb keeps his camera only a few feet from the bedlam.  Without a clear view of the actions on the battlefield, the audience feels the soldiers’ confusion, and this bitter taste of war helps clarify the lingering, miserable atmosphere within the trenches.   The only reprieve that we receive is from a cook named Mason (Toby Jones), who usually explains the latest bland meal with deadpan wit.  For instance, Stanhope asks Mason about today’s soup, and he responds, “Yellow.”

Mason is a most-welcome gift as the sole provider of the movie’s very, very few light moments.   

“Journey’s End” is a grim, affecting picture that does not shy away from the colorless life of trench warfare: waiting for horribly long stretches and then suddenly stepping into suicide missions composed of mud and gunfire.  The movie is set exactly 100 years in the past, and this particular critic wondered if these men could imagine war in 2018.  Can we imagine war in 2118?  Well, today’s drone technology would make 1918 trench warfare tactics completely obsolete.  Then again, war is war, and soldiers coping with fear and emotional scars unfortunately remain timeless tragedies.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Ready Player One - Movie Review by Monte Yazzie

Ready Player One

Director: Steven Spielberg

Starring: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Lena Waithe, T.J. Miller, Simon Pegg, Philip Zhao, Win Morisaki, and Mark Rylance

In the corner of my 10-year-old bedroom was an autographed picture of Freddy Krueger, a die cast metal Voltron, and an overused Nintendo that could only be started when the right combination of maneuvers was conducted. That connection to the past continues to engage my participation in old school video arcades, museums that recreate the mom and pop video stores of my childhood, and retro toy companies that reconstruct the characters I had epic battles with in the sand box. Nostalgia is a powerful tool.

Steven Spielberg is solely responsible for many childhood memories for numerous film fans. It’s undeniable how much influence the director had on novelist Ernest Cline, who fashioned the book “Ready Player One” as an ode to popular culture and ultimately an ode to nostalgia.

The film adaptation of “Ready Player One” is composed to the edges with pop culture everything, literally everything you might possible imagine from the video games and movies you remember from the 70’s, 80’s, and 90’s. Flying DeLorean’s, King Kong, Freddy Krueger, the Iron Giant, and many more populate the cinematic frame. Leave it to Steven Spielberg to add his distinguishable design to make this visual chaos have a narrative purpose, one that underneath all the flash and bang offers social commentary concerning technology’s ever expanding grasp on our lives.

Game designer James Halliday (Mark Rylance) and his partner Ogden Morrow (Simon Pegg) changed the world with a revolutionary program called The Oasis, a virtual reality world where imagination has no limits. In The Oasis the player can craft their character however they want and play a variety of games to attain coins that give them in-game perks. When Halliday dies, he unleashes a competition in The Oasis that will give the winner ownership of the trillion dollar business to whoever can find the hidden golden “easter egg”.

The style and structure of “Ready Player One” is pure Spielberg, which makes sense considering novelist Ernest Cline references the director’s catalog throughout the novel. Mr. Spielberg has been redefining the action scene since the car chase in “Duel”. Every single action sequence in “Ready Player One” is amazing, breathtaking, and inspiring. A racing scene that feels like Super Mario Kart, an ode to a Stanley Kubrick classic, and a battle scene reminiscent of the Battle of the Pelennor Fields in “The Lord of the Rings: The Return of the King”; it’s complete chaos in the best way possible because of the director’s seasoned skill.

While the action and adventure elements are sure to be enough for some fans, the film is also trying to get across a message concerning the advancement and abuse of technology. At the center of the story is Wade Watts (Tye Sheridan), a young man who admires James Halliday and is trying to win the prize hidden in The Oasis. Wade, also known as Parzival, meets Art3mis (Olivia Cooke) and the two team up. But a company, that encourages gameplay then enslaves gamers to work within The Oasis when they can’t pay the debt they build within the game, has motives of their own. The story at its basic function feels similar to “The Goonies” or “Willy Wonka & the Chocolate Factory”, Spielberg and writers Zak Penn and Ernest Cline infuse so many different commentaries that it becomes somewhat distracting and ultimately takes away from the development of the characters in the film. With this kind of epic adventure amongst a slew of iconic characters featured throughout the film, Parzival and Art3mis should stand firmly in charge of the emotional tone of the film, unfortunately that doesn’t happen.

“Ready Player One” has its moments of greatness, scenes that will have pop culture fans swooning in admiration of the visual indulgence happening on screen. With themes of capitalism, insights into the negative aspects of gamer culture, and warnings of technology’s stranglehold on our attention, the film has message to impart but forgets to connect it to strong characters that we are meant to root for along the path. Still, this film is pure nostalgia for fans of pop culture and it never hides that fact.

Monte’s Rating

3.50 out of 5.00

Isle of Dogs - Movie Review by Ben Cahlamer

Isle of Dogs

Directed by Wes Anderson

Screenplay by Wes Anderson; Story by Wes Anderson, Roman Coppola, Jason Schwartzman, Kunichi Nomura

Starring Bryan Cranston, Edward Norton, Bill Murray, Jeff Goldblum, Bob Balaban, Kunichi Nomura, Ken Watanabe, Greta Gerwig, Frances McDormand, Fisher Stevens, Harvey Keitel, Liev Schreiber, Scarlett Johansson, Koyu Rankin, Tilda Swinton, Yoko Ono, F. Murray Abraham

In the first of two dystopic releases this week, Wes Anderson’s animated tale, “Isle of Dogs” expands to Phoenix. The story is set in a near future where dogs have become ill with a ‘canine flu’ and are quarantined to a garbage island off the coast of Megasaki City. In an attempt to retrieve his lost dog, Spots (Liev Schreiber), Atari Kobayashi searches the island garbage dump, enlisting the aid of other abandoned dogs.

The story by Mr. Anderson, Roman Coppola, Jason Schwartzman and Kunichi Nomura, screenplay by Mr. Anderson is infused with heart, soul, honor and is a strong tip of the hat to famed Japanese director, Akira Kurosawa. The top-notch voice cast includes Bryan Cranston as Chief, Edward Norton as Rex, Bob Balaban as King, Bill Murray as Boss, Jeff Goldblum as Duke, Koyu Rankin as Atari Kobayashi, Scarlett Johansson as Nutmeg and Greta Gerwig as Tracy Walker.

The film is so much a product of the techniques used to create the film. It is also a testament of the films that were presented at SXSW, where “Isle of Dogs” had its North American premiere to close the 25th annual fest. “Isle of Dogs” is very much about passion, and it can be seen in every animated frame across its 101 – minute run time. The use of color was extremely limited, conveying the sense of loss. There are a few scenes on the garbage island that were full of color. During the Q & A that followed the screening, Mr. Anderson said that “the color scheme was ‘garbage’,” implying a monochromatic look.

The emotion and humor that permeates every character is only enhanced by the look and feel of their environment. Who wouldn’t love to have a dog who was voiced by Bryan Cranston, or a dog who could make you laugh with Bill Murray’s voice? Each actor was chosen for not only their distinctive voices, but their inflections and their emotions. More importantly is our guide, voiced by Courtney B. Vance. His voice over is welcomed and never intrusive as the story unfolds, easing us through the humor and the more difficult times. Harvey Keitel, F. Murray Abraham and Yoko Ono also make cameo voice appearances.

All of these layers build a story that is more than being an adventure about “a boy and his dog.” Mr. Anderson’s collaboration with Kunichi Nomura ensures that traditional Japanese heritage and culture are respected and honored. There are elements in the story which are predictable, something that has not been a part of his prior films. The story uses several flashbacks to convey pertinent information, and though it is an Achilles Heel, it is a necessary element. My initial reaction to its inclusion was not positive, but on a second viewing, it strengthens the story.

Music has long been a staple of Mr. Anderson’s films, more specifically pop music. An extended version of the West Coast Pop Art Experimental Band’s song “I Won’t Hurt You” is heard in the film. Its use explores the main themes of the story. Alexandre Desplat’s use of Taiko Drums is symbolic of the courage and adventurous spirit of the film, creating a lush, rhythmic score.

“Isle of Dogs” is another winner in Mr. Anderson’s already strong catalog of films. The story is very adult-oriented, but it’s PG-13 rating should not put families with older kids out. There are many life lessons to be learned and enjoyed.

3.8 out of 4 stars

Finding Your Feet - Movie Review by Jeff Mitchell

Despite a great cast and message, ‘Finding Your Feet’ trips

Directed by:  Richard Loncraine

Written by:  Meg Leonard and Nick Moorcroft

Starring:  Imelda Staunton, Celia Imrie, Timothy Spall, Joana Lumley, and David Hayman

“Finding Your Feet” – “You make feel like dancing.  I’m gonna dance the night away.”  - Leo Sayer, October 1976

Sandra (Imelda Staunton) has not felt like dancing in decades.  Thirty-five years to be exact.  Now, she has enjoyed her marriage to Mike (John Sessions) for that said amount of time, but dancing was never a priority for him and therefore, not a priority for her.  Dancing – her childhood passion – just tucked itself away into a distant place in her brain, sitting next to her belief in Santa Claus and the joy of Saturday night drive-in movies.  Her time, instead, became consumed with keeping Mike happy, maintaining their huge home and socializing with his colleagues and their friends.  On the surface, they have a successful marriage, but looks can be deceiving.  Sandra unexpectedly discovers that Mike is having an affair with her friend, Pamela (Josie Lawrence). 

Mike and Pamela immediately shack up, and Sandra moves in with her sister, Bif (Celia Imrie). 

This, of course, begs the question:  Since Mike cheated on Sandra, why should she leave their gorgeous estate?     

Well, in director Richard Loncraine’s (and writers Meg Leonard’s and Nick Moorcroft’s) world, Sandra no longer lives in the house, because the narrative illogically calls for it.  This is just one example of lazy writing that unfortunately becomes a recurring theme for 1 hour and 51 minutes in “Finding Your Feet”, a film with good intentions and a very likable cast. 

Timothy Spall, Joanna Lumley and David Hayman join Staunton and Imrie, as they play 60 and 70-somethings who relish their local dance group and prove that age is never a limit to have fun and embrace life.   Charlie (Spall), Jackie (Lumley), Ted (Hayman), and Bif already possess this enlightenment, but Sandra needs lots of convincing.  Living with her sister will lay the groundwork, while they foster their roles as an “Odd Couple”, a female Felix-Oscar duo.  

The film embodies dual roles too.  It volleys between light comedy and troubling drama about reaching the third trimester of life.  For instance, Jackie brings down the house with a hilarious reason for her fifth marriage’s failure, but then Charlie desperately struggles with his wife’s illness.  Loncraine devotes generous screen time to his supporting players, and these moments are well-spent in helping tap into the audience’s emotions.  Sandra bears the longest journey to redefine the rest of her life and cope with wasted decades but puts her best foot forward (pardon the pun) with Bif’s help.

With very capable actors and dance as a backdrop, “Finding Your Feet” has all the ingredients of a warm, cathartic and relatable picture, but it excels in isolated moments.  We get flashes of what the movie strives to be, but it is missing connective tissue.  Sure, we care about these characters, but the vehicle for reaching their nirvana – the dance team itself – ironically becomes an afterthought.

What is the name of their dance group?  That’s a great question. 

What is the cute and bubbly dance instructor’s name?  According to imdb.com, her name is Corrina. 

The dance group receives two opportunities to perform in front of live audiences, but – organically – how do these chances materialize?   Well, Corrina (if that is her name) walks into the dance hall and announces their upcoming performances to the class, like a director stepping on a set and saying, “Okay people, quickly, let’s get ready for the next scene.  Isn’t this exciting?” 

How often do the students practice for the big events, and are they ever stressed about performing?   Hardly ever and no. 

Although, Sandra (spoiler alert) oversleeps for the grand finale and rushes around town to arrive on time.   This, of course, raises concern for everyone on-screen, but meanwhile, the movie audience might wonder why this particular dance recital begins at 8 a.m. or so.  Your guess is as good as mine. 

It is not terribly difficult to guess the number of ensemble films that tackle significant life changes during a lead character’s golden years.  They are somewhat rare, so this critic appreciates Loncraine’s attempt with “Finding Your Feet”.  The picture is a harmless time at the movies, even though the film trips along the way, but “Unfinished Song” (2012) – starring Terence Stamp, Vanessa Redgrave and Gemma Arterton – is a story about a widower joining his late wife’s choir group.  That 2012 film works much, much better and is everything that “Finding Your Feet” wants to be.  I don’t know if “Finding Your Feet” will make you feel like dancing, but I am nearly certain that “Unfinished Song” will make you feel like singing.  Just a thought and a light suggestion.

(2/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

The Death of Stalin - Movie Review by Jeff Mitchell

‘The Death of Stalin’ brings comedic life to the screen

Directed by:  Armando Iannucci

Written by:  Armando Iannucci, David Schneider, Ian Martin, and Peter Fellows

Starring:  Steve Buscemi, Michael Palin, Jeffrey Tambor, Simon Russell Beale, Paddy Considine, Tom Brooke, Olga Kurylenko, Andrea Riseborough, and Adrian McLoughlin

“The Death of Stalin” –  Meddling in the 2016 U.S. Presidential Election, hacking into U.S. infrastructure systems and poisoning a former double agent and his daughter in Great Britain, Russia has not exactly won many friends over the last couple years.  Rightfully, Western democracies have looked at Russia with disdain, void of warm feelings.  

With writer/director Armando Iannucci’s “The Death of Stalin”, perhaps that might somewhat change, because in his new film, he covers the events of 1953 Soviet Union in a very comedic and sarcastic way.  Actually, after watching this movie, one will not look at the U.S.S.R. with genial regards.  Blood was spilled as a result of Stalin’s (Adrian McLoughlin) passing, but this 1-hour and 47-minute satire will make you laugh.  With a sharp script and several comedic actors’ well-placed timing and delivery, the film captures the absurdity of it all.  

Now, the material certainly is timely in today’s political climate, but Iannucci did not create his movie as a response to Donald Trump winning the U.S. Presidency and the United Kingdom voting for Brexit.  The cast and crew filmed this movie prior to both events, as he states in a 2017 interview.

“(The film) was made in the spirit of ‘My God, this happened,’ and it is now released in the spirit of, ‘God help us, please don’t let this happen again,’” Iannucci said.

Iannucci directed and co-wrote the hysterical ensemble comedy “In the Loop” (2009), about the lead up to the Iraq War.   “The Death of Stalin” is not as strong as Iannucci’s 2009 creation, but it is carries similar pacing and heartbeats.

The picture begins with a beautiful orchestra concert in Moscow, and two men in the sound booth – Andreyev (Paddy Considine) and Sergei (Tom Brooke) - receive a call.  A call from Josef Stalin himself!  Stalin wants to listen to a recording of the performance, but alas, he asks too late, as the concert is just ending.  Andreyev and Sergei then attempt to move mountains to garner an encore performance straight away, and their actions are caused by fear. 

Fear of being shot.

Two important components of “The Death of Stalin” immediately jump off the screen during this opening scene. 

First, no one attempts to speak with a Russian accent.   Considine and Brooke are both born in England, and they speak every word of dialogue with their native tongues, as if they are performing in a play at London’s West End.  It does take a minute or two to realize that the film transpires in Moscow, and no, the characters are not British, even though no one hides their accents.  Second, individual actions are ruled by fear, in which double-crosses and gunplay could always transpire. 

The movie feels like a blend between the historical, political and horrible stress of “To Be or Not to Be” (1983) (albeit, that film occurs in Poland during WWII) and – of course - the rapid fire comedic exchanges of “In the Loop”.  

With Stalin passing away, a collection of Soviet underlings must fill a massive void, and a power grab is well…up for grabs.  Well-known actors jump into the fray including Jeffrey Tambor, Michael Palin, Steve Buscemi, and Simon Russell Beale, as their characters wind through verbal minefields and plot against one another.  One of the actors (who will not be named in this review) plays Nikita Khrushchev, the most prominent name that this critic recognized, but the other monikers are less important, and quite frankly difficult to sort out without a trusty history book by your side. 

The fact that Stalin’s cabinet fumbles with these sudden affairs, just like ordinary people, but simultaneously plot and scheme to raise their own political advantages is the film’s hook.  (By the way, as a fair warning, executions usually fall into the mix of the plots and schemes.) Most of the exchanges between the four aforementioned actors, the opening orchestra concert conundrum and actually dealing with Stalin’s body are the best moments in the picture, but admittedly, it is difficult not to follow your eyes at Khrushchev’s every move, because of his place in history.  

Well, let the record show that the movie’s third act loses some momentum, but there is no denying that this film about the former Soviet Union will deliver plenty of laughs, and in 2018, that is certainly a welcome change.  Although, not really…and oh, watch your back.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

Midnight Sun - Movie Review by Ben Cahlamer

Midnight Sun

Directed by Scott Speer

Written by Eric Kirsten based on “Midnight Sun” by Kenji Bando.

Starring Bella Thorne, Patrick Schwarzenegger, Rob Riggle, Quinn Shephard

We live in a world full of boundaries. Some of them are artificial while others are real. Scott Speer’s romantic melodrama, “Midnight Sun” touches on both. For Katie Price (Bella Thorne), she suffers from a rare, life-threatening genetic condition, xeroderma pigmentosum. For Katie, exposure to the sun would literally kill her.

The story by Eric Kirsten does not make Katie feel as if she is trapped. Her dad, Jack (Rob Riggle) supports her through every step, making sure to protect her from exposure. Though she has physical boundaries, she is as well-adjusted as any of her peers, thanks to her amazing friend Morgan (Quinn Shephard). It is Katie’s quest to find the poet in herself though that she falls in love with the boy-next-door, Charlie (Patrick Schwarzenegger), watching him pass by throughout the years. A chance encounter allows them to finally meet.

Patrick is the consummate jock, though that role has changed since I was in high school. Every girl wants him and every guy wants to be him. Through their chance meeting, the story has a chance to flourish, giving our characters’ obstacles both real and artificial to overcome.

Mr. Speer’s (Step Up: Revolution) direction is assured as our two betwixt lovers learn about each other. The story doesn’t waste time avoiding its destiny and it makes great use of its characters. I swore several times throughout the movie that I was looking at a newer version of “Somwhere in Time” without the time travel. Ms. Thorne manages to belt out several original songs throughout the film, while Mr. Schwarzenegger carries his father’s build and his mother’s grace. I swear, looking at them together, I felt like I was looking at his father and in her, I felt like I was looking at a young Annette O’Toole, footloose and fancy-free.

The real highlight of the film is Mr. Riggle. He continues to surprise me with a tender, dramatic prose which I do not expect as an audience member, given that his natural inclination is humor. It’s a nice against-type casting choice for him to take on. He absolutely glows next to Ms. Thorne and they both know it.

Ms. Thorne’s career began in music and in Mr. Speer’s expert hands as a music video director, the scenes where she sings are absolute dynamite as her voice just leaps off the screen.

The story does have some challenges, namely with how Katie chooses to deal with her condition as it relates to her relationship with Patrick. Yes, it leads to the crux of the film, and gets us to that cursed destiny thing I mentioned. Yet, as many problems as I have with its function in the story, the payoff in the end is sweeter because of it. In many ways, this is a better version of “The Space Between Us,” and we all know how badly that one turned out.

Is the film for everyone? No. But the audience I saw the film with reacted positively to the film’s morals and the story. It is a good vehicle for Mr. Speer to continue build his dramatic story telling. For the cast, these smaller films allow them to play against type.

2.75 out of 4

Unsane - Movie Review by Jeff Mitchell

‘Unsane’ bends the rules but effectively gives us the creeps

Directed by:  Steven Soderbergh

Written by:  Jonathan Bernstein and James Greer

Starring:  Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, and Amy Irving

“Unsane” – The title of director Steven Soderbergh’s “Logan Lucky” (2017) is self-explanatory.  In his hilarious, extremely clever heist film, the Logan family wishes to rob the Charlotte Motor Speedway, and they not only need airtight, solid plans in place but a bit of luck too.  

The title of Soderbergh’s new film, however, is a little perplexing.

“Unsane”.  Is unsane a word? 

Per review of The Official Scrabble Players Dictionary, it is not listed, nor does it appear in Webster’s Pocket Dictionary.  Well, according to Google, unsane means lacking in sanity, a synonym of insane.  Since we live on Planet Earth in 2018, one can only assume that unsane’s legitimacy is now established in the English language via the wisdom of Google.

Regardless of this film’s title, the crux of the story centers on a problem infinitely more serious:  Is Sawyer Valentini (Claire Foy) imagining her on-screen experiences or are they 100 percent authentic?   The difference could cost Sawyer her life.  

Sawyer, a 20-something, very capable office professional, has recently moved 450 miles from Boston to an unknown city (supposedly in Pennsylvania).  She lives alone, keeps her coworkers at arm’s length and dates occasionally but struggles with anxiety, because an unrelenting stalker, David Strine (Joshua Leonard), turned her life upside down in Massachusetts.  Changing her phone number, changing jobs and changing cities helped the immediacy of the circumstances, but echoes linger. 

She decides to speak with a counselor, and does so for a 30-minute appointment, but after signing a form filled with fine print, the Highland Creek Behavioral Center forces her to stay overnight. 

A new nightmare begins in a new city.

Soderbergh leads Sawyer and the audience into a claustrophobic, invasive trap that truly feels like a bad dream, as the Highland Creek staff methodically snares our heroine from the freedom of the outside world and into its clutches.  Sawyer is no dummy, as she realizes that simply walking out of the facility under her own volition is no longer an option, but she has zero choice.

To make matters much, much worse, Sawyer sees her stalker.  David works here!  How can that be?  Hence, the film layers a true environmental ploy with a potentially fictitious one.  Is David - the man who spurned massive changes to her entire life - just in her head or does he really slither around the dark hallways and peak into rooms within Highland Creek?

“Unsane” surely sets an unsettling tone with the previously-mentioned shadowy corridors.  Many of the walls are painted with a dank yellow, and Soderbergh seems to spread a thin layer of mustard on his iPhone camera lens to muddy up Sawyer’s experience and perception.  (Yes, Soderbergh filmed his movie with an iPhone.)  He also places his phone at creative angles, such as near a ticking wall clock that loudly counts the seconds or at Sawyer’s eye level, as the big screen images express distorted views that selfies – taken too closely - can sometimes can give.  

Even though Highland Creek is a mental institution, it is – visually - a polar opposite to the big, bright rooms and vast, “open” campus in “One Flew Over the Cuckoo’s Nest” (1975).  Although there is no escape from either hospital, with Highland Creek, one would have to dart around obscure corners and hide in the never-ending dusk of poor industrial lighting.

“Unsane” works as an effective thriller, although not necessarily an enlightened or groundbreaking one.  Between Sawyer’s confusion and the purposely murky visuals, this 97-minute film hits the right off-putting notes.  The various patients – including a particularly disturbed Violet (Juno Tempe) – raise our angst, but thankfully, Sawyer finds relief with levelheaded Nate (Jay Pharoah), who appears to be the only one matching her lucidity…if she is, indeed, lucid. 

With the condiment-colored background, distorted atmosphere and mostly unpleasant company, David (if he does actually exist) is the ultimate villain, and Leonard’s portrayal of this middle-aged loner with outdated glasses and a mundane persona successfully offends and repulses both Sawyer and the audience.  In a battle of wits or a fair fight, Sawyer would easily outsmart and outlast this maladjusted adversary, but inside this hospital, the rules are bent, and not in her favor. 

Screenwriters Jonathan Bernstein and James Greer bend the rules, as they sometimes ignore basic logic and after the film ends, one might feel a bit manipulated.  Additionally, Sawyer’s reveal of her reality comes too soon that begs for a partial script rewrite.  At the same time, Soderbergh’s masterful command of time and space and Foy’s and Leonard’s memorable performances make “Unsane” a worthwhile and ultimately disturbing trip to the movies. 

Hey, after catching the film, you can wind down and bend the rules yourself.  Use unsane for a triple word score during your next Scrabble match!  Then again, maybe that’s a bad idea.  The less reminders of David Strine, the better.

(3/4 stars)

Jeff – a member of the Phoenix Critics Circle – has penned film reviews since 2008 and graduated from ASU’s Walter Cronkite School of Journalism.  Follow Jeff and the Phoenix Film Festival on Twitter @MitchFilmCritic and @PhoenixFilmFest, respectively.

7 Days in Entebbe - Movie Review by Ben Cahlamer

7 Days in Entebbe

Directed by Jose Padilha

Written by Gregory Burke

Starring Rosamund Pike, Daniel Bruhl, Eddie Marsan, Ben Schnetzer, Lior Ashkenazi, Denis Menochet

There is a propensity in the human condition to stop and reflect every once in a while so that we can, hopefully make better decisions in the future. In doing so, we want to coax as much as possible out of the event in question.

Jose Padilha chose to explore Operation Entebbe in his latest film “7 Days in Entebbe”. The story uses the hijacking of an Air France airliner in 1976 as its background while focusing on the two members of the German Revolutionary Cell as the dramatic prose. In the background is Israel, a country that had a staunch policy of not negotiating with hostages. Gregory Burke’s script frames the story through two sets of opposing characters – Rosamund Pike’s Brigitte Kuhlmann and Daniel Bruhl’s Wilfried Bose as the German revolutionaries as our protagonists and Lior Ashkenazi’s Yitzhak Rabin and Eddie Marsan’s Shimon Peres fighting as our antagonists fighting for the right political reaction while the plane and its hostages were the ‘guests’ of Idi Amin (Nonso Anozie).

While the event had been covered by three telefilms previously, this is the first to focus on the two German revolutionaries. Ms. Pike’s and Mr. Bruhl’s performances are admirable, given the smaller scale that this film focuses on. Unfortunately, the way the story flows, their characters are ultimately reduced to pastiches of what could have been truly dramatic cinema. Instead, the film focuses on Mr. Ashkenazi and Mr. Marsan, both who deliver powerhouse performances in their own right.

The issue is that because the story chose to focus on this situation, and the actual raid, the drama was reduced to a point where their dialog became a table tennis match: “who can land their point of view into the winning square first.” 42 years later, we see the various results of their operations, which were a success. The story does paint the positive results of the operation in a quickly edited fashion, but it became secondary as the story didn’t know what to do by the time the attack happened.

There are two interesting aspects in Mr. Padilha’s film that I think need to be stated. The first is his use of mimes in brilliantly colored set. The operatic and balletic use of this structure is meant to wordlessly convey the actions in the film; to give it a grander scale. The interpretation was not lost on this reviewer, but it doesn’t functionally fit the film’s narrative either. The second is the closing moments of the film where the title cards outline the continuing effects on the world stage that this event had and its interconnectedness.

I was born a few months before these events happened, so I don’t remember them very well, if at all. What’s interested is that we would choose to make a movie about this subject, especially now, and given that there have been three previous telefilms covering the subject. I give kudos to the cast, their dramatic sides all showed in a film where the story just crushed their ability to rise above their principles.

Rating 1 out of 4

Love, Simon - Movie Review by Monte Yazzie

Love, Simon

Director: Greg Berlanti

Starring: Nick Robinson, Katherine Langford, Alexandra Shipp, Jorge Lendeborg Jr., Logan Miller, Josh Duhamel, and Jennifer Garner

Teenage romantic comedies are formulaic; two young people in high school find themselves thrust into some kind of situation that ends with the two smooching amidst swelling pop music, it’s been done many times in many ways. What makes Greg Berlanti’s, the mind behind the recent DC Comics explosion on television, “Love, Simon” different is something that seems so obviously aware that it might be surprising that it hasn’t happened yet. The titular lead Simon, played by Nick Robinson, is a well-liked high school senior who leads a typical, normal life except for the fact that he is gay.

Simon has a group of great friends, one of which is his best friend Leah (Katherine Langford) who he has known nearly his entire life. Simon has great parents (Josh Duhamel and Jennifer Garner) who are still together in a loving relationship, they even sit around the television to watch movies together. Simon lives a life some might only expect to see in the movies, but Simon has a secret that he hasn’t told anyone.

Berlanti tackles “Love, Simon” with a nice blend of humor and a fair amount of heart. Simon is a likable main character but he is far from perfect, he’s a teenage student trying to traverse the already tumultuous terrain of the high school hallways while trying to determine how, when, and if he will reveal his true feelings to those around him. This creates a struggle as high school bullying and a gossip website place Simon in a difficult situation where his choices hurt and manipulate those close to him. Still, even when Simon isn’t making the best decisions it’s hard to blame the character for his selfishness.

Berlanti does a great job of composing the characters within the film, never over emphasizing the narrative themes and keeping everything simplistic while always remaining fun. In most stories that have gay protagonists things don’t always have the best outcomes; these characters don’t always have such good lives, and in the end of these tales it often feels like life is still going to be a struggle compared to the struggles of people who aren’t in gay relationships. Film manipulates expectations, and in the case of gay cinema the results are often disheartening and sometimes tragic for the characters wanting to express how they feel to people they love. The fact that Berlanti takes the all too common formula of a teenage romantic comedy and places a gay male character in the lead role without succumbing to the manipulations of hatred that force people into places of fear and shame for their choice of relationship is refreshing and necessary in the world we live in today.

“Love, Simon” is a heartfelt, familiar tale of first love. Greg Berlanti does a exceptional job of creating engaging characters and placing them in a situation that doesn’t exploit the topic of sexuality or oversimplify the aspect of youth. “Love, Simon” is a enjoyable film that demonstrates that stories and experiences, though they may seem different from different populations, are the same when stripped down to its most basic emotion.

Monte’s Rating

4.00 out of 5.00

Tomb Raider - Movie Review by Monte Yazzie

Tomb Raider

Director: Roar Uthaug

Starring: Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristen Scott Thomas, and Derek Jacobi

Lara Croft has been running through jungles, caves, and ancient ruins, solving all manner of puzzles and problems since 1996 when the character made her first appearance for avid gamers. More than twenty years later and Lara Croft is making her third appearance on the silver screen, this time replacing Angelina Jolie with Alicia Vikander in the second franchise building film simply called “Tomb Raider”.

Director Roar Uthaug, director of somber-toned disaster film “The Wave” in 2015, takes Lara Croft back to the beginning, establishing an introduction to the character before she becomes the double-gun toting character gamers identify. This adventure film plays just like a video game during action scenes and functions narratively like a film eager to start production on the sequel.

Lara Croft (Alicia Vikander) is a bicycle riding food delivery courier who refuses to give up hope concerning her father’s (Dominic West) mysterious disappearance. Lara is scrappy and tough, an attitude that has her taking a beating while refusing to tap out during a training scene and outsmarting a group of male bicyclists during a city chase scene. Lara is being coerced into taking over the Croft fortune and when a puzzle box reveals a secret about her father’s final adventure, the young adventurer is taken to an isolated island populated by a dangerous organization.

Alicia Vikander is working overtime here, providing Lara Croft with a charisma that makes the character work better than the script gives her opportunity. Still, Ms. Vikander makes the character likable while also displaying the physical toughness that allows her to do a majority of the action scene stunt work. It’s also refreshing to see the character, which has become an over-sexualized avatar throughout the years, stand on her own without a forced romantic relationship or the dependency of men to solve her problems.

Unfortunately, much of what transpires narratively in “Tomb Raider” falls all over itself in an attempt to push the character towards the next movie. This leaves much of the emotional core of the film, which exists between Lara and her father’s relationship, to be surmised through sloppy flashbacks. The villain here, played by Walton Goggins, doesn’t have much of a purpose in the second act beyond getting to hidden tomb before Lara does. This is the point in the film when “Tomb Raider” turns into a video game, providing missions for Lara to accomplish in order to get to the next dangerous level of the movie. It works in small amounts but quickly loses its effectiveness.

“Tomb Raider” is a decent action film, which unfortunately isn’t saying much in today’s superhero heavy cinemas, but Alicia Vikander is good enough to keep everything moving from scene to scene. “Tomb Raider” is clearly a launching platform for a bigger franchise, and this obvious emphasis leaves the film void of the qualities that would have established a better hero to journey into future adventures with.

Monte’s Rating

2.00 out of 5.00