Review: The Little Things

by Matt St Clair

A movie like The Little Things probably would’ve done very well in the 90’s. A time when crime thrillers such as Se7en, and another Denzel Washington starrer The Pelican Brief, could thrive financially and when actors rather than superheroes were bonafide box office draws. Given how Denzel is one of the few A-listers left who can open a movie on his name alone, The Little Things might've made a decent profit in a pre-COVID world. Yet, given the film’s poor and dated quality, it would’ve been best to let it live in the past.

Once Kern County Deputy Sheriff Joe Deacon (Denzel Washington) teams with LA detective Jim Baxter (Rami Malek) to help him solve a string of serial killings...

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Sundance: "The Most Beautiful Boy in the World" review

by Jason Adams

"In all the world there is no impurity so impure as old age." -- Death in Venice

The director Luchino Visconti was 64-years-young when he directed his rumination on youth and beauty seen from the opposite end of life. Death in Venice saw Dirk Bogarde vacationing in a plague-riddled seaside hotel where a teen-boy called Tadzio (Björn Andrésen) suddenly sends his overheated brain reeling across platonically idyllic places. And now here 50 years later, premiering at Sundance, comes the documentary The Most Beautiful Boy in the World, which turns around and gives us Tadzio's perspective looking back. The sun doesn't shine as brightly from that direction...

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Sundance: "Human Factors" review

by Jason Adams

How weird are those first moments when we realize our parents are people? Not super-humans, not saints, not actually the best baker of cakes or baseball player in the world — when the freckles on their fingers come into focus; the scabs and flabby knees. Mom stares at the wall for too long; Dad knee shakes when he’s trapped in thought. This disillusionment of experience, of aging, rides hand in hand with the becoming of our own selves — their armor dissolves down in order to make us stand stronger, separate.

There is an inciting incident at the near-start of Ronny Trocker’s strategically incisive Human Factors that seems to set the white upper-middle-class family unit at its center spinning of their axis...

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Those extensive GLAAD nominations

by Nathaniel R

Despite being a proud member of the LGBTQ+ community there is one organization that I've rarely understood: GLAAD or The Gay and Lesbian Alliance Against Defamation. The things they've backed over the years have been puzzling though obviously their purpose is just. All minority groups can benefit from organizations that work to prevent systemic discrimination and in the case of what we see and hear in the arts, harmful depictions. But anyway... on to this season's nominations!  In completely nonsensical news they've maintained their "wide" and "limited" categorizations for movies -- which were previously smart distinctions in the world of cinema -- but applied them to the world of streaming where we all live now. The categories are instantly rendered comical. How can The Prom be a wide release but The Boys in the Band be a limited release when they're both available on the exact same platform in the exact same amount of households for the exact same price? 

Ah well, nothing about 2020 made sense so it's naturally bleeding into 2021 now. After the jump their nominations...

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Interview: Emil Gallardo on his Oscar Hopeful Short "1,2,3, All Eyes on Me"

by Nathaniel R

In November this year a few of us here at The Film Experience had the pleasure of attending the HollyShorts festival virtually. Shorts festivals are a great way to catch exciting talent on the rise. My favourite of the shorts I screened was a drama on the very tough topic of school shootings called 1,2,3, All Eyes on Me by debut filmmaker Emil Gallardo. Gallardo won the top prize at HollyShorts and with it Oscar consideration, attention from managers, and a HBO Directing Fellowship. He's also working on a feature now with his writing partner Derek Ho.

But success wasn't as instant as it sounds. He worked for years as a Production Assistant and Assistant Director starting in the Aughts before opting for film school himself. He humorously compares himself to a fish and the set to a fish bowl; if he's not there he's just squriming around -- Plop him back in! But making a film is never an easy swim. "I literally had pneumonia," he says recalling post-production. "I dragged myself out of bed to meet the Sundance deadline only to get rejected. But I wasn't going to miss the deadline!"

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