Tribeca 2019: "Swallow"

Here's Jason Adams reporting from Tribeca once again...

I will only ever experience childbirth from the one side, and you know what? I'm good with that. All due credit to the mothers out there who manage to keep the world populated -- including my own, who was in labor with me for ten hours [shudder] -- but I'm thrown into a tizzy if I stub my toe. Some of the horror stories I've heard from female friends about the experience have turned my all of my reproductive organs into ash. 

I over-share all of this because this has always made me a prime sucker for pregnancy horror films. Rosemary's Baby, as I've covered here before, is my favorite film of all time. And we just got a doozy of a new take on this sub-genre with Swallow, writer-director Carlo Mirabella-Davis' fantastic new film starring a riveting Haley Bennett as an expectant mother whose isolation and surprise hesitancy spirals her down an unexpected path...

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Review: Long Shot

by Chris Feil

The year ahead of any presidential election always comes with a middling political satire stumbling toward zeitgeist. Remember Swing Vote? Probably not.

This preamble year’s attempt, Jonathan Levine’s Long Shot, also blends that recurring genre with one that feels as periodically common these days - it’s also romantic comedy. Here Charlize Theron plays Charlotte Field, Secretary of State to an incompetent but popular president not seeking a second term, with her chances at launching a presidential run hingeing on the success of her new global green initiative. Her romantic foil comes with Seth Rogen’s Fred Flarsky, a journalist brought aboard as Charlotte’s speechwriter to help boost her approval ratings.

But it’s not just Fred’s witty journalistic approach that helps Charlotte reveal her authenticity to the masses, it’s the boyish crush he’s had for her since she was his teenage babysitter. To the film’s credit, it’s much sweeter (and a lot less creepy) than it sounds.

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Tribeca: Hong Chau in "Driveways" and "American Woman"

Murtada Elfadl reporting from the Tribeca Film Festival

Almost 18 months after the release, we are starting to see the results of Hong Chau’s breakout role in Downsizing. At the Tribeca Film Festival this year, Chau is top-billed in two movies Semi Chellas’ American Woman and Andrew Ahn’s Driveways. The two give this adept performer a chance to showcase her talent and prove she’s ready for leading lady status.

Despite the top billing Chau is not the lead in Driveways. She plays Kathy, mother to shy 8 year old Cody (newcomer Lucas Jaye) whose unlikely friendship with the curmudgeonly widower next door Del (Brian Dennehy) is the primary narrative of the film. Del becomes their neighbor when they travel to a new town to clean and sell Kathy’s late sister’s house. Their stay is longer than they planned and Del becomes an integral part of their lives...

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Tribeca 2019: "This is Not Berlin"

Team Experience reporting from Tribeca 2019. Here's Jason...

Most of us never have the benefit of being at the right cool place at the right cool time. Or even if we do we don't really get to realize that while its happening. It's only in hindsight that we can shape that experience into a start and finish; that our lives can be packaged for proper consumption. It's always too messy to start with --the hair's gotta come down and the high's gotta wear off before you can see anything straight.

That whole tale's right there in the title of This Is Not Berlin. Hari Sama's fierce new coming-of-age film does indeed not take place in Berlin, but rather astride the post-punk burgeoning New Wave art-scene of Mexico City in the mid-80s...

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Review: "Little Woods"

by Tony Ruggio

Little Woods, North Dakota: not far from our border to the north, and a poster child for the death of the American Dream. Tessa Thompson is Ollie, a woman hardened by a life selling oxy and a an allergy to hope. Her adopted mother has passed and she and her younger sister Debbie (Lily James) are left to pick up the pieces, namely a pittance of a house and what’s left of Ollie’s former life. She’s nearing the end of her probation and you know what that means. Life’s about to throw her a curveball, sending her back to the wheelin’ and dealin’ trenches, where seedy characters and searing guilt are part of the job. Debbie needs help and Ollie’s good at doing, so she’s back at it to pay the mortgage and get her sister the medical care she needs. It’s all very predictable, but it hardly matters...

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