Brooklyn-based filmmaker David Novack has crafted an intelligent, poetic and engaging documentation of Isaac Babel’s grandson’s search for his grandfather: writer, man, Jew, Russian. This search reveals small and large stories surrounding Babel, and it encompasses Russia, Brooklyn, France, Ukraine, and more. We witness the enduring power of words, the rising power of truth.
One can only hope director Nick Corporon's shorts (I've seen two) and his feature debut, Retake, are not autobiographical. All of his male characters are semi-despondent romantics. They find true love, lose true love, or are confronted by a world ready to quash them if they don't assume heteronormative stances or watch Vin Diesel films .
Arrival is one of the best science fiction/mystery films to be released about first contact since Jodi Foster's thought-provoking film Contact. Measured against Stanley Kubrick's masterpiece 2001, it's a solid 8.5. In fact, it takes one of the central themes of that film and offers an interesting take on how would our God-fearing mankind interact with EBEs (extraterrestrial biological entities)? In fact, this movie is not so much about the aliens as it is about mankind's own internal dialogues about reacting to such a monumental event. Let's face it folks, mankind to this point in time, has been fueled by our emotional fears in just about all of our political and cultural intolerances since mankind first started recording tribal differences right up to our current religious-fueled international battles. Beyond what will ET look like and behave like, how will we interact with ET? How will we communicate with them? And what will ET think of humans and our small-minded, violent ways?
Quincy Rose, the godson of Woody Allen and the offspring of the late Mickey Rose (an Allen collaborator on films such as Bananas and a writer for The Tonight Show with Johnny Carson), has just scribed, directed, produced, and edited his second feature film, Friends Effing Friends Effing Friends (FEFEF) so roll out the red carpet and blow the horns. Such an amazing lack of talent has seldom been contained in a mere 117 minutes.
As noted above, the invite for Steve Balderson's latest feature, El Ganzo, swore that something special was going to occur between a gay man of color and a white female within its running time. Here was an intriguing come-on, one hard to cold-shoulder, so I didn't. Happily, the film is a well-acted, beautifully shot, two-hander about a couple of gentle souls, thrown together by fate, who wind up the better for the confrontation.
The Intervention's appealing ensemble. (Courtesy Paramount)
It's no secret that women are still mostly used as beards in studio bromances or scenery in tentpole actioners. But even smaller character-driven films can’t always be counted on to provide satisfaction for those of us yearning to recognize some aspect of ourselves on screen. Faced with intimate stories that fail to bring female characters into focus or ambitious tales that mirror but don’t alleviate the special joys of being a girl (worldwide), female audiences are mostly left to get enlightenment or escape by dreaming ourselves into male characters and stories.
Totally relaxed in his Ritz-Carleton suite on Central Park South, his arms spread wide on a rather tasteful couch, Stephen Frears held court not at all like the monarch in his biggest success, The Queen, (2006). His press conference for his latest effort, Florence Foster Jenkins, will take place one hour later with about 40 journalists in attendance. His stars -- Meryl Streep, Hugh Grant, and The Big Bang Theory’s Simon Helberg -- would then be asked 95% of the questions. Not surprising. Directors, for the most, part do not drive traffic to web sites, sadly, even ones as near legendary as Frears.
If actor-turned-director Brady Corbet’s post-World-War-I saga, The Childhood of a Leader, did little more than send American readers to Jean-Paul Sartre’s lesser known short story of the same name, one would be thanking the cinematic gods for its appearance.
Lickety-split is how everything goes in the latest Jason Bourne adventure starring Matt Damon and directed by Paul Greengrass, an old hand at shaping this series (The Bourne Supremacy (2004)); The Bourne Ultimatum (2007)).
Quite early on in Catherine Corsini's embraceable French import Summertime, a group of young Parisian women run through the streets, laughing aloud while pinching male asses. Viva, Simone de Beauvoir! The buttocks-ravished men are both startled and outraged. How dare they be made into sexual objects. One gent even starts attacking a lass, but to her rescue comes farm-girl/tractor-driver/physically strapping Delphine (Izïa Higelin).