Danny Boyle – Movies Spotlight – April 2013

Danny Boyle, 56, is one of the great British auteurs currently working today – bringing a hip stylistic vision and indie sensibility to Hollywood Prestige filmmaking. This month he has a new film coming to theaters entitled Trance – a crime thriller about an art auctioneer who gets caught up in a heist. The problem is, he cannot remember where he hid the merchandise and thus a hypnotherapist must work with him to recover the lost painting. It stars James McAvoy, Rosario Dawson, and Vincent Cassel. It looks very much a return to Boyle’s more gritty crime dramas and filmmaking (like Shallow Grave). Boyle is also again working with frequent collaborators screenwriter John Hodge, producing partner Christian Colson, composer Rick Smith, cinematographer Anthony Dod Mantle, and production designer Mark Tildesley. View the trailer: here.

Early Career:

Boyle started his career in the theatre in the early 1980s. He worked with the Joint Stock Theatre Company, Royal Court Theatre (directing The Genius and Saved), and the Royal Shakespeare Company (directing five plays for them). Years later, in 2011, he returned to the theatre directing a brilliant stylized version of Frankenstein for the National Theatre Live (it starred Jonny Lee Miller and Benedict Cumberbatch).

He next worked extensively in British television, getting his start as a producer for BBC Northern Ireland in 1982. He then began directing, helming a number of TV movies and episodes of series and mini-series. Most notable are his TV movies The Nightwatch and For the Greater Good.

Transitioning to Feature Films:

Boyle’s love of Francis Ford Coppola’s Apocalypse Now inspired and influenced him towards directing feature films. For his first, Boyle teamed up with producer Andrew Macdonald and writer John Hodge for the crime thriller Shallow Grave. The film stars Ewan McGregor (launching his career), Kerry Fox, and Christopher Eccleston. It is about three flatmates who discover their new roommate dead and loaded with cash, leading them down a dark path. Boyle knew that the film was going to be a hit when it was very warmly received at the Cannes Film Festival by audiences and critics (the festival organizers had to set up additional screens to satisfy demand). It went on to be the most commercially successful British film of 1995, winning the BAFTA for Best British Film.

Hot off the success of Shallow Grave, Boyle, Hodge, and Macdonald acquired the rights to Irvin Welsh’s novel Trainspotting and quickly went into production. McGregor returned as well in the leading role, with Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle, and newcomer Kelly Macdonald co-starring. The story centers around Renton a Scottish heroin addict who tries to get clean, but he keeps getting pulled back in by his friends. The film was a breakout hit for Boyle internationally, playing to acclaim everywhere (garnering Hodge an Oscar nomination for Best Adapted Screenplay). It is both among IMDb’s Top 250 and number ten on BFI’s Top 100 British Films of All-Time (and among my personal top 50 favorite films).

Hollywood Calling:

Shallow Grave and Trainspotting (along with Bottle Rocket, Pulp Fiction, Fargo, Clerks., Swingers, and The Usual Suspects) were among the films revolutionizing cinema in the early to mid-1990s, as independent film was becoming the way forward for great films and filmmakers with new visions. In this changing landscape, studios started subsidiaries (or purchasing smaller distributors) to acquire these indie films (like Disney’s purchase of Miramax in 1993).

Boyle signed a production deal and moved to Hollywood (as other indie filmmakers were also signing deals with studios). The first project that he was approached for was Alien Resurrection, but he declined, instead wanting to continue to work with his creative team.

A Life Less Ordinary became Boyle’s first Hollywood film (though with British financing), again with a script from Hodge, Macdonald producing, and McGregor in the lead. Cameron Diaz was also cast, fresh off her breakout success in The Mask (as well as She’s the One and My Best Friend’s Wedding), along with Holly Hunter and Delroy Lindo. The film is about a cleaning man in L.A. who takes the boss’s daughter hostage after being replaced by a robot. Meanwhile, two angels are charged with a mission to make them fall in love – a tall order. The film opened to mixed reviews and box office failure. It is probably a bit too weird for mainstream audiences.

For his next film, the studio wanted a bit more control and wanted Boyle to cast a bigger star in the lead. Boyle agreed and cast Leonardo DiCaprio (who had just made Romeo + Juliet and Titanic) in The Beach, which left McGregor upset (only very recently have they made up) as he had expected to be cast in the lead (they have yet to work together again). However, Hodge stayed on, writing the script based on Alex Garland’s cult novel, and Macdonald as producer. The film is about Richard, a young man who goes to Thailand to find himself. Boyle cast Virginie Ledoyen, Guillaume Canet, Tilda Swinton, and Robert Carlyle in the main supporting roles. He also brought in Darius Khondji to shoot the film (his first time not working with Brian Tufano). All the pieces were in place for Boyle to have a hit, but again the film just did not connect with mainstream audiences or critics. After two films made for Hollywood, Boyle was burnt out and looking for something different.

While A Life Less Ordinary and The Beach are among Boyle’s weaker films, they still have some interesting aesthetics and make for entertaining viewing for fans of Boyle’s style.

Experimenting with Digital Photography:

Boyle saw the Danish film The Celebration and was fascinated by the digital photography. He immediately wanted to meet Anthony Dod Mantle, who shot the film, and experiment with the medium himself. Together, they made two digital films for BBC television – Strumpet and Vacuuming Completely Nude in Paradise.

Happy with the results, Boyle, Macdonald, and Dod Mantle set out to make their first digital feature. Boyle tapped Alex Garland to write the script, and together they reimagined and reinvigorated the Zombie genre with 28 Days Later…. Starring Cillian Murphy, Naomie Harris, Christopher Eccleston, Brendan Gleeson, and Megan Burns, the film is about a young man who awakens in London to find that the world has been ravaged by a virus. To survive, he must band together with a few strangers and look for somewhere safe to hide. The film was a huge commercial and critical success (essentially resurrecting Boyle’s career). While it is not the first digital feature, it had a major impact on how audiences viewed the medium and garnering its acceptance among filmmakers (though the night scene at the end was shot on 35mm film). Boyle has said that the film would not have been possible if he shot on film, especially the exterior scenes in London. He also aesthetically liked the look of DV for the post-apocalyptic landscape.

Next, Boyle returned to crime dramas with his heist film Millions. However, it has a very different feel (at times) compared to his past work, and is his first film not to be rated ‘R’. While he again shot on digital using Dod Mantle, the film marked his first without producing partner Macdonald. The story centers on two children who discover a bag of money (which was lost during a heist, but the criminals are looking for it). It stars newcomers Alex Etel and Lewis McGibbon, with James Nesbitt co-starring. Audiences and critics did not really know what to make of it, as it is oddly different than anything Boyle had done before tonally, but also sort of the same in moments too.

Prestige Films:

Again wanting to do something completely different, Boyle set out to make a psychologically-minded sci-fi thriller/drama akin to Stanley Kubrick’s 2001: A Space Odyssey and Andrey Tarkovskiy’s Solaris with Sunshine – as the film deals with what happens when man meets his maker (in a sense). Boyle again worked with producer Macdonald, composer John Murphy (a frequent collaborator of Boyle’s, working on five of his films), production designer Mark Tildesley, writer Alex Garland, and star Cillian Murphy on the film. He hired brilliant photographer Alwin H. Kuchler to shoot the film (and he does a spectacular job). In addition to Murphy, the film also stars Chris Evans, Michelle Yeoh, Rose Byrne, Mark Strong, and Hiroyuki Sanda. The film is visually incredible and emotionally powerful (but had a tough time with domestic mainstream audiences). It is a must-see for fans of hard science fiction (and it is among my favorite films in the genre). Boyle had such a grueling experience making the film that he has claimed that he will never make another sci-fi project.

Continuing his trend of trying new genres with each film, Boyle decided to make his next film in India – a romance thriller called Slumdog Millionaire. He also put together a new creative team, working with producer Christian Colson (who has since produced all Boyle’s films) and writer Simon Beaufoy. However, Boyle again brought in Dod Mantle to shoot the film digitally. Starring Dev Patel and Freida Pinto (and making stars out of both of them), the film is about the amazing adventure of an impoverished boy in Mumbai who grows up in the slums only to win ‘Who Wants To Be A Millionaire?’. The film was a sensational hit for Boyle, being both his highest grossing and most critically successful film. It won eight Oscars including Best Picture and Best Director at the 2009 Academy Awards. It also marked the first digitally-photographed film to win an Oscar for Best Cinematography.

Next, Boyle adapted the true story of Aaron Ralston, an outdoorsman who gets his arm trapped under a boulder while canyoneering along near Moah, Utah. He must resort to insane and desperate measures to survive. Boyle again collaborated with his Slumdog Millionaire team to make 127 Hours, and cast James Franco to star (who is fantastic in the film). It opened to critical acclaim garnering six Oscar nominations including Best Picture.

With 127 Hours and Slumdog Millionaire, Boyle has asserted himself among the great indie filmmakers to come out of the 1990s who have gone on the be Oscar winners in the 2000s/2010s and certainly as one of Britain leading filmmakers working right now. Boyle is also one of the pioneers of digital photography through his collaborations with Anthony Dod Mantle. Digital is the medium of the future (somewhat sadly, as film still has a certain magical quality to it) with more and more films being shot on the medium each year.

Boyle also directed the London 2012 Olympic Opening Ceremony to great acclaim and praise.

Upcoming:

With Sam Mendes passing on making the Twenty-Fourth James Bond film, Boyle was approached. But, he too passed.

The long anticipated sequel to Trainspotting Porno looks like it will be finally entering production with a scheduled release year of 2016. Boyle has stated that all the cast members will be returning and he will be directing again.

Career Highlights:

1)      Shallow Grave (1994)* – director (Blu-ray, Trailer)

2)      Trainspotting (1996)* – director (Blu-ray, Streaming, Trailer)

3)      28 Days Later… (2002)* – director (Blu-ray, Trailer)

4)      Sunshine (2007)* – director (Blu-ray, Streaming, Trailer)

5)      Slumdog Millionaire (2008) – director (Blu-ray, Streaming, Trailer)

6)      127 Hours (2010) – writer, director (Blu-ray, Streaming, Trailer)

*Editor’s picks

Evil Dead (2013) – Review

Review: Evil Dead is a very gory but not particularly scary horror film. The film is a remake of Sam Raimi’s cult classic The Evil Dead. It is about five friends (two of whom are brother and sister) who get together to help one kick junk at a remote cabin in the woods. On site, they discover a strange book of witchcraft and (for some unknown reason) receipt words from it out loud (despite the many warnings written onto the pages of the book) awakening an evil spirit in the woods. The evil descends upon the five young people, and they must fight for their very survival.

It is difficult to not compare this film to the original The Evil Dead, but I am going to try and leave that alone. Basically, this film tries to do its own thing, while still paying some measure of homage to its source material. Another aspect of the film that is hard not to discuss is: how do you make a cabin in the woods film after The Cabin in the Woods? That film completely dismantles all the sub-genre troupes in a very smart and funny manner, seemingly making the genre somewhat moot – at least for a few years (or so I thought). However, I will try and leave that alone too and just look at this film as a stand-alone entity.

The plot of Evil Dead is incredibly stupid – but given the sheer terribleness of horror films (in general) at present, it does not really matter. This film’s goal is to entertaining its target audience – and to that regard, the target audience wanting to see young people brutally tortured and murdered in a graphically violent manner, it is fairly successful. Still, the plot is very, very, very stupid. And, the dialogue is laughably terrible. But, the film is not campy, making the awful dialogue just play as bad and not funny – thus it is laughably terrible in a cringe-inducing, eye-rolling sort of way instead of actually causing laughter. I also somewhat wonder what the pleasure in seeing people eviscerated is (in the absence of strong characters and dramatic tension) – or is it that the pleasure arises from being shocked by how much gore, blood, and all other manner of grotesque material can be stuffed into one film, the enjoyment coming from the physical reaction the viewer has to what is happening on screen (similar to thrill seekers enjoying the adrenaline that comes from their exploits).

Co-writer and director Fede Alvarez does try to put a story and character moments on top of the reason anyone is seeing the film, as unnecessary as a story and characters might seem. The thought is a good one – if the film has characters the audience cares about, then the torment that they suffer will be all the more impactful on the viewers. Yet, Alvarez does not really have a dynamic enough set up, and the performances are all sort of bland. In an effort to get away from the genre stereotypes, Alvarez writes the characters to feel more like realistic normal people (and not fall easily into the typical roles of jock, nerd, slut, virgin, and nice guy). But, this has sort of a negative effect too. The characters are boring. The first act which focuses almost solely on developing the characters drags – the hyper-violence cannot come soon enough (the charm of the original is that it unapologetically is just about evil things killing and psychologically torturing young people in a graphically gory manner – and it jumps right in, because that is the whole point). The prologue here also only serves to slow down the narrative and is completely unnecessary.

Once the character mutilation finally begins, Alvarez presents the violence in a very boring structured way. Basically, a character is possessed and inflicts carnage upon themself (or others in their immediate surrounding). Like most horror films, the characters are dealt with one at a time. However, Alvarez seems to not be as interested with the psychological impact of what is happening to the characters. Most of the story is told from the perspective of David (whose sister Mia is trying to get clean). He sees his friends corrupted around him (including his sister), which would have a devastating psychological impact, but Alvarez focuses his efforts mostly on the gore and blood – not the corrosion of David’s psyche (which might have been more interesting – given the character work done in the first act).

In fact, Alvarez seems to abandon his characters completely. What was the point of trying to develop characters in the first place if they are going to be dramatically abandoned in act two? But again, the point of this film is not its character drama, so does it really matter? But, then why waste the time in act one in the first place? Just jump right in. In the third act, Alvarez does bring back some character drama though with the brother-sister narrative, which works decently (but I still think the first act could have been managed in a much more efficient manner from a storytelling perspective).

The third act is structured in an interesting way. Often in horror films there is an epilogue – an extra scene after everything seems alright and the hero has won that brings the evil back proclaiming ‘it’s not over yet!’ (the end of Drag Me to Hell is an example). With Evil Dead, Alvarez has an epilogue that plays more like a second third act and it is by far the best part of the film. This scene alone elevates the film considerably, making up for the boring first act and dramatically uninteresting second act.

While the gore and blood is handled fairly well, as there are a number of gruesome moments that should please fans, a major flaw of the film is that it is not scary at all. Alvarez seems to have no idea how to use suspense and tension, because there is none (I found the trailer for The Conjuring that played before to be much more effective at creeping me out than the entirety of Evil Dead). Rather, he just lets things play out, hoping the audience reacts to the gore and blood. I get the sense that this is the kind of film that this was meant to be, but infusing it with suspense and dramatic tension would have made it much more powerful and wholly impactful – a more rewarding overall experience.

Evil Dead is, however, a very well made horror film from an aesthetics and production quality standpoint. The photography is particularly good (especially in the third act part two). Everything looks great. Visually, Alvarez has the film feeling very much separate from the original, but he also includes the shots for the evil flying through the woods from a first person perspective which is an iconic stylized shot from the original. Here, it feels a bit out of place and does not mesh with the rest of Alvarez’s style, but I guess it is needed to pay homage to the original. There are also a few other references to the original that work their way in seamlessly.

Overall, Evil Dead works well for its intended audience, and in a genre that has fallen on tough times quality wise it is a decent film (and better than most others in the genre lately). It accomplishes what it sets out to do and be – and what else can one really ask from a remake. That said, I am not sure anyone will choose to watch this over the original once the novelty of it wears off.

Technical, aesthetic & acting achievements: Fede Alvarez makes his feature film debut with Evil Dead, and does a good job with the material (in terms of making a horror film full of gore and blood). He certainly has talent and could be among the new generation of horror filmmakers’ best directors. Should a sequel to this remake be made and Alvarez returns as director, I am interested to see where he will take the narrative. Will he keep it straight horror (The Evil Dead series goes like this for those new to it: The Evil Dead is a straight horror film, Evil Dead II is a horror comedy and very campy, and Army of Darkness is an adventure comedy with not much true horror elements left – personally I like the second two films much more than the first) or will he pursue the comedy route?

It is also interesting to note that Sam Raimi, Robert Tapert, and Bruce Campbell (the creators of the original series) produced this film, yet their typical campy style is nowhere to be found in this version. Roque Banos’s score works okay, but it is not among the best horror film scores (a genre that often lends itself to great musical accompaniment). However, as said above, the film is visually impressive. Aaron Morton’s cinematography is fantastic (I could see the style of the Spartacus series, which Morton has served as a D.P. on, having an influence on his lighting in this film). While this is just a small cabin in the woods narrative, his photography (especially in the third act) gives the action a much grander feel, like the fate of the world is in the balance. Robert Gillies’s production design is also very good. The cabin both feels creepy and like a place people would actually choose to come and stay. The basement set is fantastically off-putting as well.

The performances in the film are rather forgettable, but that is not so much on the actors as it is on the genre and writing. Newcomer Elizabeth Blackmore, Jessica Lucas, and Lou Taylor Pucci are all good enough in support – they get across the point that they are terrified to the audience, and they can scream (what else is needed). Shiloh Fernandez is fine as the co-lead, though his character is awfully boring. Again the writing does not do him any favors. Jane Levy is probably the best among the actors. She genuinely seems freaked out in act one and is great at the end of the film.

Summary & score: If the point of Evil Dead is to round up five young people and gruesomely torture and/or murder them to the delight of fans of that sort of nonsense, then yes it achieves its goal. It is a better entry in the horror genre than fans have come to expect from the filmmaking community, but does not quite live up to the charm of the original and lacks strong characters. 6/10

The Place Beyond the Pines (2013) – Review

Review: The Place Beyond the Pines is a moody character drama built on strong performances. The film is broken into three parts. The first deals with a motorcycle stunt rider (Luke) who turns to crime in order to try and provide for his family. Part two involves Avery, a rookie cop who is frustrated by the corruption in his department and his decision to do something about it. And, part three revolves around the children of Luke and Avery (Jason and AJ, respectively) and how their different backgrounds inform their present lives (taken place about fifteen years later) in the wake of the decisions their fathers’ made.

Writer-director Derek Cianfrance seems to want to tell an epic tale of America – as the dramatic scope of this film is quite immense in terms of how many character-centric stories he fits in. There are four different main characters, each with their own dramatic narrative. Yet, scale wise the film is very small. The narratives are all localized to Schenectady, NY, and they each focus on the emotional turmoil and journey of the characters. It has a timeless quality to it as well – and really could have been set at any point in American history.

The film specifically feels like an American tale because, in addition to taking place in a typical American small town, it deals with the aspirations of its characters to seek out a better life for themselves (at least in regards to Luke, Avery, and Jason). Each has a specific want, and they pursue it – Luke wants to have a family (though somewhat naively) and take care of them financially so he begins robbing banks to make money (because he does not know another way); Avery is ambitious and somewhat arrogant in his on self-righteous vanity so he turns to ratting out other cops (which is always deemed a negative, when in some regard he is doing the right thing) so that he can forward his career (not seeing another way); and, Jason wants to know about his father (something that he needs to feel complete).

The character of AJ however is different. There is maybe a spark of ambition in him at the end, but he seems to be a comment on or the embodiment of the new generation of American entitlement – those that think they just deserve respect, money, power, and etcetera just for existing, which is very contradictory to the classic ‘America Dream’ narrative, to which almost all the other characters (good or bad) seem to prescribe (though, certainly there is a bit of this in Avery’s story as well). He is content to just be an ignorant young man, thinking things will just fall into place for him (and they very well might – depending on what his father does for him). This also reflects on the fact that his father is physically and emotional absent from his life. He does not have a role model to help shape his ambition so he turns to pop culture (which for him seems to be hip hop culture) – a poor choice, because by nature it is superficial.

AJ’s character also allows Cianfrance to comment on the class system in America. While Jason and AJ both attend the same high school – economically their parents lead very different lives. Cianfrance seems to identify much more with Jason and his family (his parents having to struggle to lead a decent life), as there is a certain level of detachment and even distain for what AJ’s family has become. Neither parent wants to deal with him, so they just leave him alone in Avery’s big expensive house, causing his feeling of entitlement and reliance on poor role models (them included).

Luke’s story sets in motion Avery’s, and Avery is too busy to raise his son properly. But what makes the film particularly powerful and interesting is that Cianfrance brings the narrative full circle, so to speak. Jason, whose pain is created by growing up without his real father (something Avery plays a role in as a cop), is the force that brings Avery and his son together ultimately – showing them how important they actually are to each other. Jason on the search for his father (who his father was) gives AJ his father. Thus, this really is a story of fathers and sons, and redemption.

Cianfrance aesthetically creates the world of the narrative to feel incredibly organic and real. Everything is steeped in realism – particularly the performances. There is not much action (with really only Luke’s bank-robbing escapades serving as ‘action’ sequences), nor does the narrative involve any grand schemes. Cianfrance just wants to look at these characters, leading fairly average lives – what drives them, what their fears are, what their hopes and dream are. His camera stays with the characters, maintaining a very intimate feel. He also does not rely on any narrative temporal tricks (which are overly commonplace in today’s narrative langue). He instead allows his epic to play out linearly, with faith that the performances and dramatic components will engage the audience throughout.

While for the most part the film does work very well, and is at times quite beautiful and moving, it does feel long as well. Cianfrance wants the film to have a very atmospheric/moody quality, and thus to achieve this it is also slow moving (as the narrative is not efficient in its storytelling). This is not overly detrimental, but certainly will cause some viewers to lose interest. The third part also does not play nearly as well as the first two dramatically (as the revenge narrative feels a bit out of place and exaggerated).

The Place Beyond the Pines is frustrating in a sense, because in moments it is a brilliant character piece that emotional engages its audience, while in others it loses it connection due to its lumbering pace and fumbling drama of part three (though, most of it is very good). However, for those willing to commit to the narrative, it is a fulfilling journey that, when it is at its best, is mesmerizing.

Technical, aesthetic & acting achievements: Derek Cianfrance, a few feature films into his career, has shown a great visual eye and sense of grandiose storytelling (whether that is a good thing or not, is a matter of opinion). I look forward to seeing what he does next, as he seems to have the makings of a great talent in American cinema.

Mike Patton’s score for the film, consisting mostly of atmospheric tones, works quite well – but Cianfrance is also overly reliant on it to emphasize the film’s moody tone. Sean Bobbitt’s photography is top notch, and maybe the most impressive aspect of the film. The opening shot especially is fantastic. The visual look, while muted and gritty, imposes a feel of realism. Inbal Weinberg’s production design is not flashy at all, nor was it meant to be – rather, he as well contributes to the overall realistic feel and look of the film.

The performances are paramount to The Place Beyond the Pines working, because Cianfrance has stripped pretty much everything else away. Eva Mendes, Ray Liotta, Rose Byrne, and Ben Mendelsohn are all strong in supporting roles. Mendelsohn is however the standout performer (maybe of the whole film). Emory Cohen (playing AJ) is noticeably the weakest of the four characters that at different times take the lead, but he still is good enough to momentarily carry the film. Dane DeHaan (Jason) is good as he is able to show the internal pain that he has growing up without knowing his real father. Ryan Gosling is also very good as Luke. (While the performance does somewhat remind me of his work in Drive,) his work here is layered. He naively thinks that he can take care of his family, while also having this romantic view of his outlaw lifestyle (which again plays into this feeling like an American tale) – of course he is destined to be a tragic character. He feels emotionally childlike at times (screeching at bank tellers as he carries out a robbery). Bradley Cooper (building off his excellent work in Silver Linings Playbook) is wonderful in this as well playing Avery. He hits all the right emotional moments to make his character one that the audience can both root for and also kind of despise (it is hard to do that).

Summary & score: While The Place Beyond the Pines is flawed, its ambition and brilliant moments carry the day. 8/10

Movie of the Week – Letter from an Unknown Woman

This week’s movie: Letter from an Unknown Woman (1948).

The romance drama is about a young girl who falls in love with a playboy pianist who does not even know she exists. Giving up other opportunities at love, she desperately wants to be with him. But, this is not a happy love story.

Letter from an Unknown Woman is maybe German (though, he spent most of his career in France – fleeing the Nazis) director Max Ophuls’s greatest film. He also made some of the best films in French cinema: The Earrings of Madame de…, Le Plaisire, and La Ronde.

Working with Ophuls on the film are composer Daniele Amfitheatrof (whose score is fantastic), cinematographer Franz Planer (one of the era’s best Hollywood D.P.s), and art director Alexander Golitzen.

The film stars Joan Fotaine and co-stars Louis Jourdan. It is one of Fontaine’s best films (along with her Hitchcock collaborations), and is her personal favorite among her own work.

Letter from an Unknown Woman is a forgotten gem. And while most have not seen or even heard of this film, it made Sight & Sound’s 2012 Top 250 Greatest Films list (complied by polling critics and directors). Hollywood just does not make films like this anymore – films that are utterly emotionally devastating. Fontaine is brilliant at playing naïve and innocent characters that are also strong-willed and stubborn. Though tragic, it is also a beautiful film and well worth checking out.

Trailer: Here

Available on: Blu-ray

At the Movies – April 2013 – Part 3: Most Anticipated Films

Must-See of the Month:

Mud (Jeff Nichols) – Drama – Apr 26

Plot Summary: Two young boys come across Mud, an escaped convict, and make a pact to help him evade the law so that he can reunite with his true love. Filmmakers: This is the third film from one of independent film’s great new talents writer-director Jeff Nichols. His last film Take Shelter was excellent (and his first Shotgun Stories was good too). He is working with composer David Wingo and cinematographer Adam Stone, both of whom worked on Take Shelter. New to the team is production designer Richard Wright (All the Real Girls). Cast: The film stars Tye Sheridan and Matthew McConaughey. It also has a fantastic supporting group with Reese Witherspoon, Michael Shannon (who has been in all of Nichols’s films), Sarah Paulson, Sam Shepard, Ray McKinnon, Joe Don Baker, and Paul Sparks. Expectations: Mud was one of the films in competition at last year’s Cannes Film Festival (and was considered by many to be the best American Film on display). It has played to almost universal critical praise during its festival run. It has a great cast and some are tagging McConaughey as an early front runner for a Best Actor Oscar nomination. This is the Must-See of April because it looks like a rich drama from Jeff Nichols, a director known for his gritty look at small town America and garnering strong performances from his actors. Trailer: Here. Review: Here.

Worth Checking Out:

Trance (Danny Boyle) – Crime Thriller – Apr 5

Plot Summary: Simon is an art auctioneer. However, to mix things up, he decides to work with gangster Franck to steal a piece of art. The problem is that during the heist he hits his head and forgets where he stashed it. Now, he calls on the help of Elizabeth a hypnotherapist in order to recover the lost painting. Filmmakers:  After making a few ‘prestige’ films with Slumdog Millionaire and 127 Hours, British auteur Danny Boyle is back to directing kinetic/gritty stylish crime thrillers with Trance. He is reuniting with writer John Hodge (who he worked with on his first four features), as well as working again with composer Rick Smith (who scored Boyle’s National Theatre production of Frankenstein), cinematographer Anthony Dod Mantle (who has shot all Boyle’s films since 28 Days Later… except for Sunshine), and production designer Mark Tildesley (who designed 28 Days Later…, Millions, and Sunshine for Boyle). Cast: The film stars James McAvoy and co-stars Vincent Cassel and Rosario Dawson. Expectations: Trance debuted in the U.K. in March and has played to slightly mixed reviews (though mostly positive) – coming down to whether or not the viewer liked or did not like Boyle’s brash visual style. As a huge fan of Boyle’s work (Shallow Grave, Trainspotting, 28 Days Later…, and Sunshine especially), I tend to think the film will be a great stylish crime thriller. And thus, I am excited to see it when it opens here in theatres. Trailer: Here. Review: Here.

To the Wonder (Terrence Malick) – Romance Drama – Apr 12

Plot Summary: Taking place in Oklahoma, Marina and Neil are struggling in their relationship. Marina seeks solace in a priest who is himself having trouble in his vocation, while Neil renews ties to his childhood love Jane. Filmmakers: To the Wonder is the new film from auteur Terrence Malick, who is responsible for many of American cinema’s greatest films (Badlands, Days of Heaven, The Thin Red Line, The New World, and his latest The Tree of Life). He is working with frequent collaborators composer Hanan Townshend (who provided additional music to The Tree of Life), cinematographer Emmanuel Lubezki (who has shot all of Malick’s films since The New World, including his other two yet to be released films: Untitled and Knight of Cups), and production designer Jack Fisk (who has designed all of Malick’s films). Lubezki and Fisk are currently both among the ten best in their fields. Cast: The film stars Ben Affleck, Olga Kurylenko, Javier Bardem, and Rachel McAdams. Expectations: To the Wonder is a romance drama that looks very much like a Terrence Malick film – voice over narration about the meaning of life with aesthetically dynamic photography. That said, it has played to more lukewarm reviews during its festival run than any other Malick film, but many critics also have praised it. Fans of Malick will probably enjoy the film, while everyone else will find it boring. Trailer: Here.

At the Movies – April 2013 – Part 2: Hollywood Films

Serious Films:

The Company You Keep (Robert Redford) – Thriller – Apr 5

Plot Summary: During the Vietnam War, Jim Grant was involved in the revolutionist group Weather Underground, which ultimately caused the unintentional death of a man. Forty years later, Grant is living hidden from his past (though still a wanted man), that is until a young journalist figures out who he is – bringing the past crashing back into the present. Filmmakers: This is the new film from Robert Redford (who also stars). He has had an up-an-down career behind the camera, with hits such as Ordinary People and Quiz Show and failures such as Lions for Lambs. His last film, The Conspirator, was a decent courtroom/period drama. He is working with a great group including composer Cliff Martinez (Drive), cinematographer Adriano Goldman (Jane Eyre), and production designer Laurence Bennett (The Artist). Cast: The cast is brilliant. Redford and Shia LaBeouf star with an amazing supporting cast featuring Julie Christie, Sam Elliot, Brendan Gleeson, Terrence Howard, Richard Jenkins, Anna Kendrick, Brit Marling, Stanley Tucci, Nick Nolte, Chris Cooper, and Susan Sarandon. Expectations: Surprisingly given the excellent actors and crew involved, The Company You Keep has played to mixed reviews during its advanced screenings. Also, the film was delayed from its initial release last year (for reasons unknown, but generally it is not a good sign). It looks like a reasonably good thriller, and again the cast fabulous so it is hard to imagine that the film is bad. But, to be safe, maybe just rent this one. Trailer: Here.

42 (Brian Helgeland) – Sports Drama – Apr 12

Plot Summary: The story of Jackie Robinson, the man who crossed baseball’s color barrier. Filmmakers: This is the fourth film from writer-director Brian Helgeland. He directed Payback, A Knight’s Tale, and The Order, but is probably better known for his writing projects, which include: L.A. Confidential, Mystic River, and Man on Fire. He is working with cinematographer Don Burgess (Flight) and production designer Richard Hoover (The Newsroom). Cast: The film stars newcomer Chadwick Boseman and Harrison Ford (as Branch Richkey), with Alan Tudyk, Lucas Black, Christopher Meloni, John C. McGinley, T.R. Knight, Nicole Beharie, Brett Cullen, and James Pickens Jr. in support. Expectations: I love baseball movies (as readers probably know), and 42 covers one of baseball’s most heroic and interesting stories. It is probably a good thing to have Robinson played by a relative unknown actor, as it should make his performance resonate more with viewers (not bring past performance baggage for the audience with him). If not in theatres, this is well worth renting, especially for baseball fans. Trailer: Here.

Action/Adventure:

Oblivion (Joseph Kosinski) – Sci-Fi Action – Apr 19

Plot Summary: Jack Harper is part of a two-person crew whose job is to sweep what is left of Earth (after a grievously devastating war) for signs of life before joining the rest of the population in space. However, as Harper carries out his mission he finds himself drawn to a life that no longer exists, which leads him down a dangerous path of discovery and questioning his mission. Filmmakers: Writer-director Joseph Kosinski returns for his second feature, following up TRON: Legacy. This is based on his comic with Arvid Nelson. He is working with writer Michael Arndt (Toy Story 3), composer M83 (known for their song Midnight City), brilliant cinematographer Claudio Miranda (Life of Pi), and production designer Darren Gilford (who also worked on TRON: Legacy). Cast: The film stars Tom Cruise, with supporting work from Morgan Freeman, Nikolaj Coster-Waldau, Olga Kurylenko, Melissa Leo, and Andrea Riseborough. Expectations: Even though TRON: Legacy was not particularly good, Oblivion does look like a strong sci-fi action film. Specifically, its visuals look wonderful – which is what happens when you hire Claudio Miranda to shoot the film. Also, Tom Cruise has turned in a series of entertaining action films lately (Mission: Impossible – Ghost Protocol and Jack Reacher). This is one I look forward to seeing in theatres; I think it will be a fun spectacle-driven film (but nothing special). Trailer: Here. Review: Here.

Pain & Gain (Michael Bay) – Action Comedy – Apr 26

Plot Summary: Wanting a better life, one that he truly believes he deserves, bodybuilder Daniel Lugo and two of his buddies kidnap and extort a wealthy Florida man for his assets. Yeah, it does not go well for them. Filmmakers: Pain & Gain is action director Michael Bay’s tenth film and his first non-Transformers film since 2005 (though he is currently working on Transformers 4 right now). He is working with frequent collaborators composer Steve Jablonsky and cinematographer Ben Seresin. New to the team is production designer Jeffrey Beecroft (The Game). Cast: The film stars Mark Wahlberg and co-stars Dwayne Johnson and Anthony Mackie. Rebel Wilson, Ken Jeong, Ed Harris, Tony Shalhoub, and Rob Corddry feature in support. Expectations: Upon watching the red band trailer for Pain & Gain, I tweeted this – because after watching one terrible/mindless Michael Bay movie after another I was completely bewildered by the fact that not only does this look like a lot of fun, but that I actually wanted to see it opening weekend…that I am actually excited to see a Michael Bay movie…what is happening. It looks a lot more like the early work of Bay – like his best film Bad Boys, just a fun action comedy. Trailer: Here.

Horror:

Evil Dead (Fede Alvarez) – Horror – Apr 5

Plot Summary: A remake of The Evil Dead sees five friends driving up to a remote cabin to spend the weekend. In the cabin they find The Book of the Dead, and (stupidly) they read passages from it which summons demons living in the woods to the cabin to prey on them. Now, they must fight this evil presence for survival. Filmmakers: Before you get all upset about there being an Evil Dead remake, this is produced by Sam Raimi, Robert Tapert, and Bruce Campbell. They hired Fede Alvarez to direct (marking his feature debut) and Diablo Cody (Young Adult) to write the film. Alvarez is working with composer Roque Banos (The Machinist), cinematographer Aaron Morton (Spartacus), and production designer Robert Gillies (Legend of the Seeker). Cast: Jane Levy stars with co-stars Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, and Elizabeth Blackmore. Expectations: Evil Dead made its debut at SXSW to critical and diehard fan acclaim. The poster claims that it is “the most terrifying film you will ever experience” and based on the trailer it looks ultra-violent (almost absurdly so). If you like hyper-violet gory horror, this will satisfy you – if not, you probably want to skip it. Trailer: Here. Review: Here.

At the Movies – April 2013 – Part 1: Independent Films

Art-House Dramas:

Upstream Color (Shane Carruth) – Drama – Apr 12

Plot Summary: (Watching the trailer, I honestly have no idea what this is about, but it does look cool) Jeff and Kris are drawn together and set off on a journey of discovery (so yeah, that is the best I could come up with). Filmmakers: Upstream Color is the second film from ultra-low budget writer-director Shane Carruth. His first film was the very interesting sci-fi drama/thriller Primer, which won the Grand Jury Prize at the 2004 Sundance Film Festival. Carruth is also shooting and scoring the film, and working with production designer Tom Walker. Cast: The film stars Carruth as well, along with Amy Seimetz. Though, like Primer, the film is filled with unknown actors (giving it a naturalist feel). Expectations: Anyone who has seen Primer will remember its ability to overcome its nonexistent budget due to its great writing and engaging intellectual plot – I imagine Upstream Color will be the same, which has me very excited to see it. Carruth’s film was again nominated for the Sundance Grand Jury Prize, but ended up winning the Special Jury Prize. It played to strong buzz during the festival. For those that like intellectually stimulating films, this is probably worth checking out. Trailer: Here.

The Reluctant Fundamentalist (Mira Nair) – Thriller – Apr 26

Plot Summary: A young Pakistani man comes to America to find success on Wall Street. At first, he enjoys the spoils of the American Dream, but is constantly frustrated by the ignorant way he is treated after 9/11. This leads him back to his homeland. Filmmakers: Indian director Mira Nair is probably best known for her film Monsoon Wedding, but more recently she also directed The Namesake, which is also good. She is working with composer Michael Andrews (The Five-Year Engagement), cinematographer Declan Quinn (Admission), and production designer Michael Carlin (Salmon Fishing in the Yemen). Cast: The film stars Riz Ahmed (who is great in Four Lions), and features Kate Hudson, Liev Schreiber, Kiefer Sutherland, Nelsan Ellis, Martin Donovan, and Om Puri in support. Expectations: The Reluctant Fundamentalist has played to mixed reviews during its advanced screenings. It has a decent cast, and looks like an interesting thriller/character piece. I think this is probably a rental at best. Trailer: Here.

Art-House Comedies:

The Brass Teapot (Ramaa Mosley) – Comedy/Fantasy Thriller – Apr 5

Plot Summary: A young couple discovers a brass teapot with magical properties – it makes them money whenever they hurt themselves. This leads them down a dark (yet comedic) path – just how far are they willing to go? Filmmakers: This is the feature directorial debut of Ramaa Mosley based on her short. She is working with composer Andrew Hewitt (Submarine), cinematographer Peter Simonite (who has worked for Terrence Malick on the second unit of his recent films), and production designer Elizabeth Jones (Damsels in Distress). Cast: This film has a great young cast with Juno Temple and Michael Angarano in the leads and supporting performances from Alexis Bledel, Alia Shawkat, Matt Walsh, Thomas Middleditch, and Bobby Moynihan. Expectations: While The Brass Teapot has only played to mixed reviews in its advanced screenings, it looks insane and a lot of fun. Plus, Temple and Angarano are among the best young actors working in indie films right now, making it all the more interesting. It is probably too weird for most people, but for fans of odd comedies this is definitely worth checking out. Trailer: Here.

The Angels’ Share (Ken Loach) – Drama – Apr 12

Plot Summary: After avoiding jail by the skin of his teeth, Robbie looks to find a fresh start. He is inspired while visiting a whisky distillery, finding that he has quite a nose for it. Filmmakers: British auteur Ken Loach is best known for his film Kes, but also had a critical hit with The Wind That Shakes the Barley more recently. He is working with cinematographer Robbie Ryan (Wuthering Heights) and frequent collaborators composer George Fenton and production designer Fergus Clegg. Cast: The film stars newcomer Paul Brannigan and features John Henshaw, Gary Maitland, Jasmin Riggins, William Ruane, Roger Allam, and Siobhari Reilly in support. Expectations: The Angels’ Share won the 2012 Cannes Film Festival Jury Prize and has played to critical acclaim in the U.K. (opening there last year). It is worth checking out for fans of Ken Loach and those that enjoy grittier dramedies. Trailer: Here.

Movie of the Week – Following

This week’s movie: Following (1998).

A young writer likes to follow people around for entertainment. However, one day he follows the wrong man and is pulled into a burglary scheme that is not quite what it at first appears to be.

This is the first film from Hollywood auteur Christopher Nolan (who has become maybe the greatest director working right now). He also shot the film. Composer David Julyan scored the film. He has also collaborated with Nolan on Memento, Insomnia, and The Prestige. Tristan Martin served as the production designer. Nolan worked with his wife and producing partner Emma Thomas as well.

The film stars Jeremy Theobald, Alex Haw, and Lucy Russell. Theobald and Russell have cameos in Batman Begins.

It took Nolan about a year to complete principal photography on this film on a very sparse budget of $6,000, as he could only shoot footage on Saturdays do to his and his crew’s work schedule. The film is a good crime mystery, and certainly foreshadows the themes and style of storytelling that Nolan would bring to most of his later narratives. For cinema fans that like to see the small films that helped launched today’s great filmmakers, this is a must-see as it is one of the best.

Trailer: Here

Available on: Blu-ray and Streaming