We Can't Wait! (Preview)

Amir here to kick off We Can’t Wait!, a week-long series by Team Experience on our most anticipated films of 2014. The title is pretty much self-explanatory. We voted as a group and, starting tomorrow, each of us will cover one of the films that ended up on our top ten 14 list. Before that, however, let’s take a quick look at some of the films that were placed highly on our individual ballots but failed to make the final list. You may remember that I posted my own personal list of most anticipated films in this space previously. Let’s hear from the rest of the Team…

Untitled Public School Project (dir. Baumbach)
Noah Baumbach’s upcoming Untitled Public School Project, starring and co-written with his diligent muse and recurring collaborator Greta Gerwig, sounded to me like Greta-and-Noah’s Up the Down Staircase, a little-remembered 1968 drama in which Sandy Dennis stars as a fresh-faced, first-time teacher pushed out of her element and into the full and frenzied halls of a NYC public high school. This got me thinking that Greta Gerwig could very well be the Second Coming of Sandy Dennis, what with both actresses’ enchanting onscreen blending of quirky neuroticism, inspired mannerisms, and modest, effortless, and intelligent charm, subsequently causing crazy, giddy daydreams of Greta-as-Honey in Who’s Afraid of Virginia Woolf? I think I need to lie down...

Details are somewhat scant on this one, but the intriguingly untitled Frances Ha follow-up doesn’t sound much like what I’d envisioned. Instead, and in a vein seemingly similar to Frances, the film centers on the relationship between another of Greta’s determined New York hopefuls and her worshipful Barnard buddy, played by Lola Kirke, sister of Girls star Jemima. In this New Yorker article from April of last year, Baumbach likens the movie to both The Great Gatsby and Jonathan Demme’s Something Wild, which sounds both mind-boggling and marvellous. Then again, after Frances, I’d probably follow Noah and Greta into an Armageddon remake if it came down to it.
-Matthew Eng 

Godzilla (dir. Edwards)
The last time Hollywood tried to make a CGI epic out of Toho’s radioactive lizard, the results were deeply vile. But Gareth Edwards is no Roland Emmerich. And any doubts to the contrary evaporated when the teaser trailer bowed at the end of 2014; its grave tone, gorgeous pop-nihilistic visuals, and suggestive hints of creature design prove that the filmmakers at least know what film they should be making. Whether they’ve actually made it is something we’ll find out in May, but from this distance, it looks to me like the obvious frontrunner for King of the Summer Popcorn Movies.
-Tim Brayton 

Tammy (dir. Falcone)
The words were "Melissa McCarthy and Susan Sarandon road trip comedy". I was sold instantly. McCarthy's comic talents are supreme when the co-star chemistry works - Sandra Bullock yes, Jason Bateman no, which suggests the laws of cosmic comedy are a mystery. And it's been so long since Sarandon was a movie star that she needs to take this chance to cut loose as a profane, hard-drinking grandmother. McCarthy co-wrote the script with her husband Ben Falcone, who has first time directing duty here. So all in all, a volatile mix of untested and unpredictable - but that can often make for cinematic magic.
-David Upton 

Magic in the Moonlight (dir. Allen)
At the beginning of every new year I know little about what the 12 months will hold for me, but I know one thing for sure: I'll be first in line on opening night for the new Woody Allen movie. As usual, no one knows exactly what this one is about (and bless him for cherishing secrecy in this time and day when we know way too much about every single film before a trailer's out) other than "A-listers get together in new locale to make Allen film". All I can hope for is that the Woodsman will give us the next brilliant Emma Stone performance promised in Easy A and that it will be at least half as good as Blue Jasmine was last year.
-Jose Solis 

Interstellar (dir. Nolan)
Whenever Christopher Nolan makes a film, it is a must-see event. They're met with equal levels of anticipation by both fanboys and highbrow cinephiles alike, eager to devour and dissect the worlds he creates. Even if you find yourself admiring the craftsmanship rather than the finished product, he's one of the few directors making adult-oriented, thought-provoking blockbusters. With an Oscar-approved cast (Matthew McConaughey, Anne Hathaway, Jessica Chastain, Ellen Burystn, and Michael Caine, to name a few) playing scientists and explorers that delve into a newly discovered wormhole that allows time travel and journeys to new dimensions, it seems that Nolan is, once again, looking to push cinematic boundaries. And I'll be one of the first in line at the IMAX ready to have both my eyes and mind stimulated.
-Andrew Stewart 

A Man Most Wanted (dir. Corbijn)
John Le Carré novels have made some pretty good films in the past, from the steamy Tailor of Panama to the icy Tinker Tailor Soldier Spy. This one, from the master of the spy novel's recent tome based on the true-life story of Murat Kurnaz, a Chechen Muslim and legal resident of Germany who gets caught up in the war on terror, boasts a stellar cast (Philip Seymour Hoffman, Rachel McAdams, Daniel Bruhl, Robin Wright, and Willem Dafoe) and an inspired choice in the director's chair: Anton Corbijn, who directed The American, the most interesting spy film of the new millennium. And hey, if that doesn't interest you, IMDB says that you might like it if you liked ANY of the revitalized Ms. McAdams's 2013 efforts (Passion, To the Wonder, and About Time)! BONUS: Early word from Sundance is good, which only makes me more excited!
-Daniel Bayer 

Far From the Madding Crowd (dir. Vinterberg)
Matthias Schoenaerts stars as a young shepherd and Carey Mulligan as the young woman who becomes the object of his affection for some years in Far from the Madding Crowd. I’m excited but nervous about this adaptation of this Thomas Hardy novel. Literary adaptations too often end up as arid affairs despite any inherent zest and life of their source material. Nailing the weird but charming mix of comedy and tragedy from the text already seems like a difficult task and I can’t help but wish Tony Richardson were still alive to attach his irreverent adaptive skills to it. But the film is excellently cast from Juno Temple as servant Fanny to Michael Sheen as bumbling Boldwood. David Nicholl’s last script (Great Expectations) though occasionally surface-y was a fine condensation of a lengthy novel. And, sure, this 19^th century country-romp seems a far cry from Thomas Vinterberg’s recent The Hunt but a director with a strong hand is always the best thing for a literary adaptation so I remain hopeful. Now, let us pray that in translation to the screen Mulligan’s Bathsheba retains her agency and feminist edge.
-Andrew Kendall 

Hunger Games: Mockingjay – Part 1 (dir.Lawrence)
Sue me for becoming captivated by a tween movie trend. When a Burning Question asked, "Book or movie first?" I answered book, but Michael C. concluded movie. The first Hunger Games movie was my experiment. I read the book after (and decided Michael C. was wrong). I got hooked on the trilogy, and now I can't get enough of the films. They're imperfect, to be sure. They should dive more deeply into the social commentary, or at least choose between a message and appealing to an audience. But they're juicy fun, and it's easy to anticipate a film when I already know I love the content.
-Deborah Lipp

How To Catch a Monster (dir. Gosling)
Have we lost faith in Ryan Gosling or does his desire to quit acting for the time being after Gangster Squad, Only God Forgives and The Place Beyond the Pines -- back-to-back-to-back performances which weren't greeted as warmly as he's accustomed to -- speak well of his own keen instincts about how to manage his career. Will getting behind the camera rejuvenate him? Not all actors can direct but I'm intrigued by his choice of genre (urban fantasy) and especially his casting. Christina Hendricks stars as "Billy" a single mother who gets swept into a dark underworld. Since Hollywood proper seemed dumbfounded as to what to do when she broke on Mad Men, weirdly assuming that January Jones was the only Mad Woman worth pursuing as a movie star, it's a relief that a film star like Gosling gets it. The cast also includes Matt Smith as "Bully", Saorsie Ronan as "Rat" and Eva Mendes as "Cat" and if all those famous names playing weirdly matching character names for a movie star trying to become a writer/director don't make you curious, what could?
-Nathaniel 

Are you excited about these nine titles? If so, why?

Sundance: 'Land Ho!' Proves Aaron Katz is America's Next Great

Sundance coverage continues with Glenn musing on the career of Aaron Katz and his latest, Land Ho!

"Mumblecore", the term given to the influx of super low-budget independent films with a rotating core of creatives, cops a lot of grief these days. I assume it's mostly from people sick of Lena Dunham’s ubiquity (she wrote/directed/starred in the incredible Tiny Furniture) or people just getting sick from the home-spun, handheld aesthetic that beset many of the movement’s features. Personally, I love that we now have the likes of Greta Gerwig, Lynn Shelton (who’s at Sundance again this year with Laggies) and Joe Swanberg amongst others. The brightest star to my eyes, however, is Aaron Katz, the 32-year-old American director who directed the woozy, boozy, teenage coming-of-age drama Dance Party USA and the deliciously cheeky Sherlock riff Cold Weather. He returns with Land Ho!, co-directing alongside Martha Stephens (Pilgrim Song), and proves that he is indeed one of America’s next greats and perhaps my favourite working American director.

Land Ho! is a simple film, but never simplistic. It’s certainly not as high-concept as Cold Weather, but it weaved an enchanting spell over me with its tale of two friends, Colin and Mitch, taking a late-in-life vacation through the wilds of Iceland. Paul Eenhoorn of the equally beguiling This is Martin Bonner stars with Earl Lynn Nelson in only his third (!) film, and your enjoyment of the film rests quite heavily on their shoulders. Eerhoorn’s delicate, friendly style is such a beauty to watch and the film’s latter passage as the re-invigoration of Colin literally comes bubbling to the surface in a hot spring is such an effective, richly portrayed sequence that's a wonder to watch. Nelson, also good, unfortunately has the lesser of the two-hander, although his randy senior citizen act results in many genuinely funny moments.

I can’t speak for Martha Stephens of which this is the first film I have seen, but Aaron Katz is just about the bee’s knees right now. I respond so strongly to his stripped back, but emotionally vibrant and visually effervescent approach to his material. It would be hard to make Iceland look ugly, but with Land Ho! it is filmed so lovingly by Katz’s frequent cinematographer, Andrew Reed, that is reveals an entirely new beauty. An argument scene between the two men lit only by the hovering radiance of nightclub glowsticks is a particularly striking image that I’ll likely not soon forget. The soundtrack, too, is a total winner with scenes punctuated by somewhat anachronistic – and yet totally right – electronic music including the film’s unofficial anthem, “In a Big Country”.

Compared to another former mumblecore-adjacent director’s Sundance return, Alex Ross Perry and Listen Up Phillip, Katz and Stephen’s Land Ho! isn’t a particularly revelatory creative step forward. However, what it has are rare virtues that will likely strike at viewers in a truly genuine, earnest place that cinema rarely ventures. It’s a sublime film, wonderfully styled, and one that makes me entirely confident in announcing Katz as one American cinema’s most vital, invigorating, and masterful modern voices.

Grade: A-
Distribution: Was just picked up this morning by Sony Pictures Classics for worldwide release in 2014. Let’s start that best original song ball rolling for this dizzying ditty by Keegan DeWitt.

A Year With Kate: Little Women (1933)

Episode 4 of 52 Anne Marie is screening all of Katharine Hepburn's films in chronological order.

In which we remember childhood fondly.

When I was 11, our school librarian told me that if you love a book enough, you have its first line burned into your brain. Being a very literal child, I immediately selected my favorite book, Little Women, and studiously memorized the first line:

“Christmas won’t be Christmas without any presents, grumbled Jo, lying on the rug.”

Later—much later than I’m comfortably willing to admit—I realized that Mrs. Krall actually meant that when you love a story, you revisit it so often that it stays with you. I think we can all agree this extends to film as well. [more...]

Click to read more ...

Sundance: "Obvious Child" is a Funny Hit

Jenny Slate stars in "Obvious Child"Our Sundance Film Festival coverage continues with Michael Cusumano on "Obvious Child".  

If you have heard Tig Notaro’s astonishing comedy album LIVE you have some sense of the vibe Gillian Robespierre’s Obvious Child is aiming for. The album captures the already legendary set where Notaro hit the stage fresh from a cancer diagnosis and proceeded to spin that, and a slew of other recent misfortunes including the death of her mother and the disintegration of a long term relationship, into comedy gold. 

The circumstances Obvious Child’s Donna Stern finds herself in are pretty rough, if not as dire as Notaro’s. In the space of a week Donna is dumped by her boyfriend, loses her job, and hits a new low on stage as a struggling NYC comedian. All this before the possibility of unplanned pregnancy enters the picture. The film captures the therapeutic thrill to be had in tackling your greatest fears in front of a live crowd and wrestling them into the stuff of comedy. 

If the broad outlines sound like the sort of cheap irony (Abortions on Valentines Day!) that Sundance films too often fall into, know Obvious Child avoids the pitfall of formula thanks to the skill of two women: The smart, funny screenplay by writer/director Gillian Robespierre and the winning performance from Jenny Slate as Donna. The film may never reaches the heights of, say, Frances Ha’s take on similar material, but it unfolds with a directness and honesty that keeps the grinding of plot gears from becoming too audible. All this while keeping the laughs coming at the steady pace the film’s subject demands. Slate rings true in every aspect of the character, onstage as a standup and offstage as a woman flailing as her life choices simultaneously explode in her face.

It’s also worth noting that Obvious Child is quietly boundary pushing in its handling of abortion. When the idea of accidental pregnancy first enters the story I wondered if the film would really go there or if it would just brush of the possibility with a quip or two. Not only did the film go there, I can scarcely think of another movie that addressed the choice with more clarity and lack of judgment. Like the rest of the film, it goes at the subject with an empathetic and perceptive spirit, wielding comedy as a shield to deflect the most painful moments life can throw at you.

Obvious Child may not be a major film, but it is a thoroughly enjoyable one, and it will surely do big things for Slate’s career. It’s an easy recommendation to make.

Grade: B
Distribution: A24 picked up Obvious Child in one of the earliest big sales of the festival

Sundance Stills: The Voices, War Story, Song One

One can never be fully caught up at festivals but one does what one can. So today, three quick takes on movies I saw yesterday during a five-film day. Let's use their festival guide images as a framing device just because I always find it interesting which images movies use to promote themselves, don't you?

THE VOICES
This still from Marjane Satrapi's (Persepolis) horror comedy looks nondescript enough until you pair the title with a man looking at his cat. Yes, they're "talking". The cat is the Scottish brogued "Mr Whiskers" and like 99% of cats in films he is unrepentantly evil. (Can we form a Anti-Cat Defamation Cinematic League or something?) And then you notice the woman's head (Gemma Arterton's to be precise) to the left. Gross! One thing you don't get at all from this still is the film's hard working production design, which is relentlessly candy colored (bright pink is favored) and stylized. The whole film mirrors the strainuous commitment of the design elements but it's hard to know what possessed anyone to be involved let alone give it their all (I've never seen Ryan Reynold work this hard to put a performance over. Why use all that energy now on this?). It's cutesy and gruesome simultaneously which is an unwise and at time repulsive thing to attempt to pull off... but I should admit that the production design really works in the moments when it slides mercilessly off the cliff between from one moment to the other (Jerry's warped fantasies and the actual situation) as in a scene after his first kill when he starts taking his medication and we're back in reality. But still, this "comedy" about a man-boy who works at a hot pink toilet factory, eats at a Chinese restaurant with live Elvis shows, and lives above an abandoned bowling alley where he chops up women is largely unfunny. That last sentence should give you a clue as to what the movie feels like. It's like being stabbed to death by tweeness. The Voices is not even comfortable with being scary. This marks the first time I ever walked out of movie during a happy end credits musical dance sequence... starring Anna Kendrick (and other cast members) no less! In my defense this brightly lit comic number also featured an actor playing Jesus. Grade: D? F?... or maybe it's an "A" cult movie and I just didn't get it?  Distribution: Not that I'm aware of but I'm sure it'll get something. Maybe a VOD future?

SONG ONE
This image features Franny (Anne Hathaway) falling for her brother's favorite musician James Forester (Johnny Flynn) while her brother lies in a coma. Very specific plot set up that.  I had to brighten it in photoshop so you could actually see the image which just gives a sense at how dangerously low key this film is for a festival bow. I saw it in the middle of a five film day and fought off sleep (others succumbed to the sandman without shame) but I actually think it's good if extremely modest. But relatively calm romantic dramas about women and dreamy alt-folk musicians are probably asking for it with exhausted legions of film critics who -- I'm stereotyping but I see it all the time --  prefer harrowing and heavily masculine films to anything gentle and feminine. The big selling point is the return of Anne Hathaway (what a perfect movie face she has - all anime sized eyes and expressive memorable mouth) and the films song score by Jenny Lewis and Jonathan Rice (mostly performed by Johnny Flynn). If the movie gets a release I hope it campaigns hard for Best Original Song nominations next year. Weirdly, Anne Hathaway only sings twice and only in off-hand character beat ways, though the movie has a lot of performance scenes. In fact the film it most reminded me of was Michael Winterbottom's Nine Songs only instead of pornography inbetween each musical number there was low key family grief and a tentative 'help me through this' love story.
Grade: B/B- Distribution: Not at the moment. It's appeal is surely very limited but with no brainer marketing hooks like Hathaway and all the great music, why not a small distributor? 

WAR STORY 
Finally let's wrap up with Catherine Keener in a Mark Jackson movie about a war photographer named Lee who is shown abrasively walking and talking and wandering about in Italy. (Does Keener ever do anything non-abrasively any more?) Lee has clearly lost her mojo, is hugely depressed (a companion was recently killed, execution style, in front of her) and is searching for new purpose while avoiding loved ones on the telephone. The image above features her listening to a conversation in the street. Or maybe thinking one of her many dark thoughts. That lack of information is representative of the movie but the image isn't since Keener's massive helmet of hair is not covering her facial expressions. I found the movie maddeningly withholding in nearly all ways: narratively, visually and emotionally. Sometimes the focus on Keener in profile (essentially just a side shot of brown hair with occasional glimpse of her nose) was so tight that I couldn't even tell what she was doing in the frame. In one disposable lengthy shot, for example, I thought she might be staring at a vending machine indecisively and then she did something with her hands (offscreen) but the image was too hard to understand and the next cut didn't clear up what had just transpired. I couldn't find any way into the movie so it was inert for me as a drama, despite possibly intriguing dramatic elements like Keener's fascinating with a Libyan refugee seeking an abortion or a late film visit to a former friend (Ben Kingsley). One minor caveat, i was a bit late to the movie (I am very rarely late to a movie) so perhaps the opening scene explained everything but given the filmmaking elsewhere I highly doubt it. Grade: D; Distribution: Unlikely unless Keener and Kingsley is enough

Which of these are you most interested in and what was your last triple feature?