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Uneven Superhero Mashup Justice League

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“Yo – you seen that dude Comic Book Guy from The Simpsons anywhere? We’ve got to talk to him!” (L-R) Aquaman (Jason Momoa) as Aquaman, Wonder Woman (Gal Gadot), The Flash (Ezra Miller) and Cyborg (Ray Fisher) prepare for battle in a scene from Warner Bros. Pictures’ action adventure JUSTICE LEAGUE, a Warner Bros. Pictures release. Credit: Warner Bros. Pictures. All rights reserved.


WATCH THE TRAILER(S) HERE: 

 


 

 



KEY CAST MEMBERS: Ben Affleck, Gal Gadot, Ray Fisher, Ezra Miller, Henry Cavill, Amy Adams, J.K. Simmons, Billy Crudup, Jason Momoa, Jeremy Irons, Diane Lane, Joe Morton and Ciarán Hinds

WRITER(S): Chris Terrio and Joss Whedon (screenplay); Chris Terrio and Zack Snyder (story); Bob Kane, Bill Finger, William Moulton Marston, Joe Shuster and Joe Siegel (characters)

DIRECTOR(S): Zack Snyder

 
WEB SITE: http://www.justiceleaguethemovie.com/HERE’S THE STORY: Still reeling from the death of Superman (Henry Cavill), Bruce Wayne a.k.a. Batman (Ben Affleck) has been on the hunt to track down a group of “metahumans” he believes will be essential in helping him fight future threats to earth. And while he already has Amazonian “wonder woman” Diana Prince (Gal Gadot) on board and a very eager and speedy Barry Allen (Ezra Miller) on board, Arthur Curry a.k.a. “the man who talks to fish” (Jason Momoa) is not trying to hear Wayne’s pitch. Then again, at least Arthur knows who he is, because Victor Stone (Ray Fisher) is still coming to grips with what his scientist father (Joe Morton) has done to him in the wake of an accident that should have taken this life. 


But with a threat he’s yet to determine the origin of seemingly starting to become more and more prevalent around Gotham, Wayne knows he’s going to need to get them all on his side sooner than later if the earth if going to have any chance to survive.

WHO WILL LIKE THIS FILM THE MOST? Batman Vs. Superman apologists; Gal Gadot fans; Jason Momoa fans; people who will appreciate the visuals and references to other DC properties

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who hated Batman Vs. Superman; people who hate the idea/execution of Ben Affleck as the Dark Knight; those who will find the film’s main antagonist underwhelming; people who will find some sequences of the film very paint-by-numbers and/or uneven

SO IS IT GOOD, BAD OR JUST AWFUL? “Diet Avengers … Diet Avengers … Diet Avengers” …


Sometimes, when a certain phrase goes through your head repeatedly, you have to stop and ask yourself “why?” To call Justice League “Diet Avengers” might at first seem like a cop out, but upon further contemplation, it may not be so much a cop out as much as it is a short yet accurate recapitulation of Warner Bros./DC Comics boldest attempt yet to compete head to head with the ebulliant force that is the Marvel Universe. 


A better term, however, might be “mixed bag” – because for a film where so many things are done right, so many others just feel out of place or wrong.


When Affleck was cast as Batman in the ill-received (or should that be, conceived?) Batman Vs. Superman: Dawn of Justice movie, he – despite his best efforts – really didn’t do anything wrong … But he also really didn’t do anything significant to quell the online backlash, either. In Justice League, Affleck finds himself once again, like his onscreen counterpart, of trying to do the right thing while knowing there are many who will just simply not forgive him for what he has done. Whereas he hits all the usual Bruce Wayne beats, he doesn’t do anything to make his character stand out. We get a kinder, gentler Batman, but one that seemingly only has any distinction in just how non-distinct he is. 


Likewise, Miller’s take on The Flash almost feels like an homage to another friendly, swinging neighborhood Marvel character, which, despite what surely is an attempt at bringing some levity to the situation, some are more often than not to find annoying (or at best, cheeky in an Austin Powers way) than genuinely humorous.


It is the film’s villain, however, that is an utter disappointment. Steppenwolf (voiced by Ciaran Hinds) feels like a low-rent villain, has low-rent villain dialogue and lacks the usual cool factor associated with most DC villains. There’s just nothing to him … Other than saying since he’s another Norse-style mythology creature he feels like a very low-rent, not entertaining version of another popular Marvel antagonist, right down to the horns.


On a positive note, Gadot once again shines and shines bright as the Amazon Diana Prince a.k.a. Wonder Woman while Fisher and Momoa make what – for all intents and purposes outside of Cyborg on Cartoon Network’s popular show Teen Titans Go! – have never been more than also-ran characters into viable parts of the franchise. Despite a rather lame origin explanation, Fisher makes sure his character balances a fine line between brooding and bruising while Momoa brings a rockstar cowboy flair that boosts the chances (and likely fans’ desire) for an Aquaman solo outing. (You’ll get your wish soon, Atlantis fans …) 


Then again, while there are great homages to past DC characters (Ryan Reynolds couldn’t even hate on how they show respect to his former green alter-ego) and the use of Henry Cavill is both great at its best moments and sappy at their worst, the film just feels OK – and that’s NOT what you want for major superhero team foray. Call it a bit of superhero fatigue, perhaps there’s a bit of wanting to appeal to the masses as opposed to just the die hard fans or the hard balancing act of fitting in a bunch of characters that haven’t previously come together before, but Justice League just feels like above average characters in an average superhero story. You’ll want to stick around through the end credits, of course, to see what may be next for the DC galaxy (using the term universe seems a bit redundant at this point), but you and your legion of friends can probably figure that out …


All in all, Justice League is not horrible, but it’s definitely not anything that’s going to make you feel like you need to rush out to see it again. Then again, if you didn’t like Batman Vs. Superman or the under-appreciated Suicide Squad, you might be better served catching a matinee. Because Justice League is definitely in a league of its own.


Whether audiences consider that league minor or major, however, remains to be seen. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

LOVING VINCENT Opens Friday at THE NEON. Big Holiday Films On Horizon!

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Hello Everyone!

We’re moving forward this Friday with a film many of you have expressed great interest in seeing – LOVING VINCENT. This hand oil-painted film is absolutely stunning, but its engagement will be limited (we have 2 spectacular new films that need to open on Nov. 22). Hurry down – everything will have to leave (including FLORIDA PROJECT and GOODBYE CHRISTOPHER ROBIN – click either title to visit that film’s official site) within the next couple weeks.

Synopsis for LOVING VINCENT: “The man was carrying nothing; his hands clasped to a fresh bullet wound leaking blood from his belly. This was Vincent van Gogh, then a little known artist; now the most famous artist in the world. His tragic death has long been known, what has remained a mystery is how and why he came to be shot. Loving Vincent tells that story.” LOVING VINCENT is told via animated oil paintings – all done by hand. Don’t miss this incredibly gorgeous experience!  To watch the trailer and learn more about the process, Click this LINK to visit the film’s official website.

“The ME/CFR Dayton Support Group is sponsoring a free screening of UNREST to raise awareness about Chronic Fatigue Syndrome and resources within the Dayton area for support. When Harvard Ph.D. student Jennifer Brea is struck down by a fever that leaves her bedridden, she sets out on a virtual journey to document her story as she fights a disease that medicine forgot. FREE to the public (movie, parking, popcorn). Donations welcome at the door. This Sunday, Nov. 12 at 3:30.” To reserve your seat via FaceBook, please click this LINK. (details provided by event coordinator Jerry Leggett)

On Wednesday, November 15 at 7:15, The Jewish Community Center of Greater Dayton will host a special screening of the classic Gary Cooper film HIGH NOON at THE NEON. Speaking with the film will be the Pulitzer Prize-winner Glenn Frankel, author of HIGH NOON: THE HOLLYWOOD BLACKLIST AND THE MAKING OF AN AMERICAN CLASSIC. Tickets are $9 each and are available via this LINK or by calling Karen at (937)610-1555.

The Dayton Holiday Festival, Mix 107.7 and THE NEON will present the return of the much-loved FAMILY HOLIDAY FILM SERIES. This year, we’ll look at 3 holiday gems over the course of the first three Saturdays in December. Admission is free for children 12 and under, and general admission is just $2. On December 2 at Noon, we’ll watch PRANCER – a film about a little girl who finds one of Santa’s injured reindeer. On December 9 at Noon, we’ll watch the holiday classic – MIRACLE ON 34th STREET – starring a young Natalie Wood. On December 16 at Noon, we’ll wrap up the series with HOME ALONE – this classic starring Macaulay Culkin is already 27 years old! Tickets are first come, first serve – available 45 minutes before each screening.

We’ve got a really strong line-up over the next several weeks.  We are slated to open both LADY BIRD and THREE BILLBOARDS OUTSIDE EBBING, MISSOURI on November 22.  These 2 films are winning praise and Oscar buzz galore.  On December 22, we are slated to open THE SHAPE OF WATER (one of my absolute favorite films of the year with the incredible Sally Hawkins) and DARKEST HOUR.  Somewhere in between these dates, we hope to get to FACES PLACES (another of my favorites of the year – an absolutely charming, insightful and uplifting film) and possibly THE SQUARE.  Stay tuned!

Thanks so much for your continued support.
We hope to see you soon,
Jonathan

SHOWTIMES for Wednesday, Nov. 8 – Thursday, Nov. 16:

THE FLORIDA PROJECT (R) 1 Hr 51 Min
Wednesday-Thursday (Nov 8 & 9): 2:50, 5:10, 7:30
Friday & Saturday (Nov 10 & 11): 2:50, 5:10, 7:30, 9:45
Sunday (Nov 12): 5:30, 7:45
Monday-Thursday (Nov 13-16): 5:10, 7:30

GOODBYE CHRISTOPHER ROBIN (PG) 1 Hr 47 Min
Wednesday-Thursday (Nov 8 & 9): 3:00, 5:20, 7:40
Friday, Saturday, Sunday (Nov 10 – 12): 12:10, 2:30, 7:20
Monday & Tuesday (Nov 13 & 14): 3:00, 7:20
Wednesday (Nov 15): 3:00
Thursday (Nov 16): 3:00, 7:20

LOVING VINCENT (PG-13) 1 Hr 34 Min
Friday & Saturday (Nov 10 & 11): 12:50, 5:15, 9:40
Sunday (Nov 12): 12:50, 5:15
Monday-Thursday (Nov 13-16): 3:00, 5:15

UNREST (NR) 1 Hr 38 Min
Sunday (Nov 12): 3:30

HIGH NOON (PG) 1 Hr 25 Min + Discussion
Wednesday (Nov 15): 7:15

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear)
Nov. 22 – THREE BILLBOARDS OUTSIDE EBBING MISSOURI
Nov. 22 – LADY BIRD
Dec. 22 – SHAPE OF WATER
Dec. 22 – DARKEST HOUR
TBD Possibilities – FACES PLACES, THE SQUARE

 

Queen City Shines In A Movie That Is Cinematically Tarnished

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“Man, I know we decided to shoot this movie here in Cincinnati … But could someone have warned me what chili every day was gonna do to my system?!” Steven Murphy (Colin Farrell, left) listens to Martin (Barry Keoghan) in a scene from writer/director Yorgos Lanthimos’ THE KILLING OF A SACRED DEER. Credit: Jima (Atsushi Nishijima), courtesy of A24. All rights reserved.

WATCH THE TRAILER(S) HERE: 


KEY CAST MEMBERS:  Colin Farrell, Nicole Kidman, Barry Keoghan, Sunny Suljic, Raffey Cassidy and Alicia Silverstone

WRITER(S): Yorgos Lanthimos

DIRECTOR(S): Yorgos Lanthimos

 
WEB SITE: http://www.thesnowmanmovie.com/HERE’S THE STORY: Steven Murphy (Colin Farrell) is a surgeon – and a very good one. He lives in idyllic bliss with his wife Anna Murphy (Nicole Kidman) a fellow medical professional and their children Kim (Raffey Cassidy), an aspiring choir star and Bob (Sunny Suljic), who is nearing puberty. And for Steven, life as he knows it is good. Very, very good, in fact. 


But that’s where Martin (Barry Keoghan) comes into play. You see, Martin is a young teenager who dreams of one day following in Steven’s footsteps, which is why he’s spent the last 6 months or so mentoring the youngman. Or at least that’s what Steven is lead to believe. 


For what Martin is truly after is so sinister, so malicious, so … revenge-fueled that neither his mother (Alicia Silverstone), Steven nor the rest of the rest of the Murphy clan has any idea what he’s truly up to …


But trust and believe they will. And very, very soon …

WHO WILL LIKE THIS FILM THE MOST? Creeps; people who enjoy the Saw franchise and all its sequels; people who will excuse an art house film that is well shot with a big name cast as something other than what it is; people you generally don’t hope to go on to have children

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Anyone who sees the lackluster plot for what it is; those who find the characters/scenario over-the-top ridiculous plot that lacks any of the supposed depth, thought and/or exploration of humanity you would otherwise be led to believe exist in this film

SO IS IT GOOD, BAD OR JUST AWFUL? About 2-3 times a year, I come across a movie that is supposed to be a uniquely interesting experience. A film that is supposed to perhaps provoke, maybe even titillate or make you question something on a deeper, how does humanity-and-our-most-base-instincts-affect-us level, The Killing of a Sacred Deer is the type of movie that once you watch it, you’ll never forget it.


And that’s a shame – because given that the film is the cinematic equivalent to a rough bowel movement, I truly, truly wish I could.


Shot on location in my native Cincinnati, Deer is essentially one of those “man faced with an impossible choice” movies that feels like the team behind it dares the audience to make a similar difficult decision of its own: Sit through the entire 2 hours of torture that is the film’s running time. Where does the film go oh so wrong? Oh let us now count the ways …


First, the acting in the film is absolutely, for lack of a better word, terrible. Farrell and his family play the perfect suburban, white upper class family so stiffly to the point it is comically bad and highly unbelievable. In short, you haven’t seen characters this upper crust since Winthorpe’s friends sang in Trading Places and even they had more soul/realism in them than these characters. Whereas Farrell portrays his doctor as a man for whom his entire world is controlled and clinical, Kidman – who steals the easy-for-the-taking show – is prim and proper for the film’s first half to the point that her character’s attitude switch almost feels misplaced even though it is the only performance that drives the story forward. 


Likewise, Cassidy’s terribly over-the-top Stockholm Syndrome completely overrides whatever writer/director Yorgos Lanthimos was attempting to achieve with it, again become ludicrous to the point the film’s attempt to take itself so seriously – or maybe it’s not at all, a target if which intended also misses the mark – that her character becomes annoying. The work done by Suljic is admirable as he also maintains a modicum of reality in the situation, despite the fact the is so devoid of anything that doesn’t feel like a parody of itself that it’s hard to care.


Then there’s the absolute insane use of Alicia Silverstone as Martin’s mother. The less said about it, the better. There have celebrity breakdowns more entertaining – and less maddening – than what she exhibits in Deer, and that includes her token white character in a predominantly black film role in the long forgotten Beauty Shop.


Then there is the most problematic character of the film of all: Barry Keoghan’s Martin. A character that is essentially the devil incarnate with more charm, his Rainman-like presence (as a character, not as an actor) is a hard pill to swallow, especially given the lack of explanation for what he is able to do to Steven’s family. (I stay spoiler free as I know some of you will still be foolish enough to see this movie no matter what I say.) Manipulative and apparently intelligent on the level of Tobin Bell’s Jigsaw character, his demeanor coupled with his desire to rationalize his actions is at the same time perplexing, comical, ridiculous and annoying. Martin is as much a caricature of a villain as Steven is of a man placed into an impossible situation, an undeniable fact which makes the entire film feel like an overacted, overwrought and nearly cartoonish 70s B-movie masquerading as a modern psychological thriller.


But trust and believe once the mask is off, The Killing of a Sacred Deer would be better as chopped venison on the bottom of a merciful editor’s floor.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

Familiar faces, fun return in Thor: Ragnarok

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The final theatrical release poster for THOR: RAGNAROK. Credit: © 2017 Marvel Studios.

WATCH THE TRAILER(S) HERE: 

 




KEY CAST MEMBERS: Chris Hemsworth, Cate Blanchett, Mark Ruffalo, Tom Hiddleston, Karl Urban, Tessa Thompson, Jeff Goldblum and Sir Anthony Hopkins

WRITER(S): Eric Pearson, Craig Kyle, Christopher Yost (screenplay); Stan Lee, Jack Kirby and Larry Lieber (based on the comics by)

DIRECTOR(S): Taika Waititi

 
WEB SITE: http://marvel.com/movies/movie/222/thor_ragnarokHERE’S THE STORY: Thor (Chris Hemsworth), 2 years removed from the last time the Avengers got together to defeat Ultron, finds himself in a bit of an unexpected bind: Hela (Cate Blanchett), the goddess of death, is coming home to Asgard. But she is not coming home for a reunion; no, she is coming home to claim what she believes is rightfully hers: the throne of Odin (Sir Anthony Hopkins), so that she can rule over the nine realms. 


Unfortunately for Thor, he’s got a bigger problem on his hands: He’s imprisoned on the planet of Sakaar, a literal trash wasteland ruled by a figure known simply as The Grandmaster (Jeff Goldblum). And the Grandmaster is quite fond of his gladiator battle champion, who as Thor will find out is an old friend from work in the form of the Incredible Hulk … Who he hasn’t seen since his alter ego Bruce Banner (Mark Ruffalo) disappeared after the events of the war in Sokovia (that’s the Avengers: Age of Ultron movie again for the uninitiated). 


So what is the god of thunder to do since he’s got to (1) battle a former brother-at-arms in the Hulk while (2) worrying about what his actual brother and (3) sister who is bent on bringing Ragnarok (a.k.a. destruction) to their home of Asgard? You’re about to find out! 

WHO WILL LIKE THIS FILM THE MOST? Longstanding Marvel movie fans; Chris Hemsworth fans; Jeff Goldblum fans; people who like more accessible superhero movies; people who wish Marvel would make another Incredible Hulk movie


WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? People who are hoping for a more serious Marvel movie in line with the Captain America series or with the emotional and comedic depth or say the Guardians of the Galaxy series; those who find the film a bit too comical in parts; those who look forward to the post-credit scenes more than the actual movies itself sometimes; those who feel the Planet Hulk storyline could have been explored better/more deeply


SO IS IT GOOD, BAD OR JUST AWFUL? A film that is does nothing really wrong but fails to yield something revelatory on its protagonist’s latest (mostly) solo mission, Thor: Ragnarok is a like a meal you’ve had before that you throw a new seasoning on and add a new garnish to on the side. In other words, it’s another win for Marvel Studios, even if it feels a bit familiar despite a few new tasty morsels being added to the mix. 


Thor: Ragnarok follows a bit of the Guardians 2 philosophy of (1) a lot of jokes plus (2) an emotional reveal for the lead character and (3) an emotional battle that leaves the hero forever changed. Hemsworth has his part down pat at this part given that it is his fifth go round as the Norse god, as does Hiddleston as Thor’s mischievous brother Loki. Blanchett does her best to make Hela a formidable force even if the crazy-female-family-member thing feels a bit, well, bland after watching it play out in two Guardians adventures (with a bit more teeth to it). Goldblum is a bit of whimsical fun and it’s clear the veteran actor is having fun in his role, which plays well off Ruffalo who portrays Dr. Bruce Banner as an über-nerdy scientist still coming to grips with both himself and his green alter ego to strong comedic effect. 


Don’t get me wrong: Thor has plenty of “lol” moments, there are a couple nice surprises along the way and director Taika Waititi – wonder if he’ll go by Taka Waita Flame if he ever decides to try a music career – brings some strong visuals in behind the camera while adding some great laughs as Korg (imagine if The Thing’s had a grey cousin). But whereas Iron Man‘s films always had some sort of cool reveal and the Captain America movies conveyed a serious sense of danger, Thor: Ragnarok instead feels like it just hits all of the necessary beats without one element that hits a hard solo that you’ll be talking about for years to come. But then again, that’s probably what next year’s Black Panther and Infinity War opus is for.


In the meantime, Thor: Ragnarok will serve to look to serve your superhero fix with a solid-if-not-comfortably familiar adventure to tide you over until 2018.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

Déjá Vu Gets A Fun, Murderous Touch With Happy Death Day

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“Oh man, good thing I called for an Uber so I can escape this parking garage safely … Wait a minute, is THAT my Uber driver?!” Tree (Jessica Rothe) hides as her masked killer attempts to murder her again in a scene from HAPPY DEATH DAY. Credit: © 2017 Universal Pictures. All rights reserved.

WATCH THE TRAILER(S) HERE: 


 



KEY CAST MEMBERS: Jessica Rothe, Israel Broussard, Ruby Modine, Charles Aitken, Rachel Matthews, Phi Vu, Rob Mello and Laura Clifton

WRITER(S): Scott Lobdell 

DIRECTOR(S): Christopher Landon

 
WEB SITE: http://www.happydeathdaymovie.com/HERE’S THE STORY: Theresa a.k.a. Tree (Jessica Rothe) is a college student at a typical university in Louisiana. What isn’t typical, however, is that today is a day that most girls her age can’t wait to celebrate, that being her birthday. And while her roommate Lori (Ruby Modine) might be excited about it, her favorite professor (Charles Aitken) might be a bit taken aback and Carter (Israel Broussard) – the co-ed in whose dorm room she unexpectedly awoke this morning – is simply happy to see her, there’s a bigger problem awaiting Tree later that night: Her death.


As it turns out, after being murdered by a figure dressed in all black save for a creepy baby mask of her school’s mascot, Tree awakens the next morning back in Carter’s room, only to experience 

déjà vu, reliving her entire day over. That includes getting murdered. Again. And again. And again.

 
Growing tired of being well, murdered, Tree starts to devise a plan: Figure out who is murdering her before they can do it again and maybe then she can escape her Halloween-meets-Groundhog Day existence. 

But given the list of potential suspects, Tree might have to get used to get stabbed, shot, clubbed and maimed for the foreseeable future … Even in the mounting injury list might mean her time is starting to run out.

WHO WILL LIKE THIS FILM THE MOST? Fans of horror movies where the main characters are enjoyable people; fans of movies that mix humor into the thriller aspect; anyone who can appreciate a movie that doesn’t take itself too seriously but does at the right times; those who will appreciate the film’s concept and the competent execution of it

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Fans expecting a more serious/blood-filled experience; those who may figure out who is behind the mask early on; those who may not appreciate the simple nature of the story and its execution

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? A film that’s more about the character’s story than it is a straight out horror experience, Happy Death Day works because of a lighthearted (if you can have that in a movie where a female character repeatedly gets murdered) tone and a strong, well-rounded performance by its lead and a competent group of co-stars.


Rothe is, for lack of a better word, fun to watch as Tree, a character that is well-developed and goes from being pretty terrible to pretty well, not terrible while Broussard is so naive and likable you can’t help but root for his character. The pair make for a great duo, one a very alpha female while the other plays the role of a good Samaritan with a proverbial platonic best friend twist to a “T.” It’s really a credit to her that she is able to take what could have been a disaster of a character in the wrong hands and make it into a viable, enjoyable character that drives the story. 


Whereas Rothe can be a word that rhymes with “witch” at times before switching her game up, Broussard is perfect as a Scooby-Doo-esque sidekick who just wants to get the girl, or, at the very least, help her from dying (after every time she explains what’s happening to her).


Throw in some nice cheesy-but-not-too-cheesy-to-be-enjoyable sequences with the baby face killer after Rothe’s character, some good ol’ fashioned disturbing music and a few nice, unexpected touches and Happy Death Day is a (well not perfect) mix of humor, horror movie tropes and an interesting story that will entertain you without draining you w/ silliness or gore. Whereas Blumhouse’s other big 2017 hit Get Out was a sharp, satirical that resonated due to its social commentary and exploration of the African-American psyche in modern America, Happy Death Day is more of a simple, gather with your friends/a full theater and take in the experience type of thriller that’s easy to digest but fun at the same time. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

The Grande Dame of Ohio LGBT Film Fests Returns to the Neon!

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For Jonathan Mcneal, LGBT films are as vital now as they were the first year when he and four sponsors presented Dayton’s now iconic festival. ‘Look around. We are under attack again, and that means being vocal, being clear and being strong. Our hope is to educate and build community through the film festival!’

Dayton’s LGBT film festival, a much-respected, much-antipated event, is the longest running LBBT  film festival in Ohio.
In it’s 12th year, the festival has one helluva line-up this year. ‘We have some must-sees,’ says McNeal.
‘God’s Own Country‘ is really amazing.’ Indiewire wrote about the film ‘…..It’s a British Brokeback but better…’ One film ‘Rebels on Pointe‘ will actually get two showings due to its overwhelming popularity.

The Dayton LGBT Film Festival runs from October 13-15th. The dates are not by chance. ‘I learned early on that October works best. Films premiere in mid-summer. We want to get what’s hot and fresh. And honestly, we moved from September because Oktoberfest and other festivals are just too much to compete with!’ McNeal adds.
The films are only part of the big weekend. There will be gay-themed items for sale from Agnes and Orson Gifts, and some very special guests. ‘We have six guests attending this year. 3 from SENSITIVITY TRAINING. 1 from ALASKA IS A DRAG. 1 from CURMUDGEONS. 1 from SOMETHING NEW. It’s incredible to see that many folks involved in film-making coming to Dayton. So proud of that!’ (**Spoiler, the actress/guest from Sensitivty Training is from Beavercreek…a local star!)

Sponsorships have grown exponentially from the early days. ‘We have had some sponsors, square one salon and the priority board, that have been involved since the get-go. They had faith in me and the Dayton Community. This year, we are excited to add Westminster Financial and AARP to the mix!’
The festival has had consistent growth and festival passes sell out quickly. The crowds are diverse, and although there are still some in the community who have the ‘not gay, no way’ mentality, that sentiment seems to be changing.
This is an interesting year for the film festival in many ways. ‘5 of the feature films are by women! Our opening film has big names like Bette Midler and LaVerne Cox. And the opening night will end with a great party at Mudlick Tavern.’
The kick-off party, sponsored by Neon Aficionados Lisa Hanuaer and Sue Spiegel, is a great opportunity to discuss the opening film, have a drink and meet the guests. ‘People love the party. It is a great community builder.’

For McNeal, a dozen years after taking his acclaimed RubiGirl Documentary around the LGBT film fest circuit, it feels great to share his vision of a more diverse, more accepting world here at home….in Dayton.

For More information on The Dayton LGBT Film Festival, go to DAYTONLGBT.COM.

Emma Stone serves up fitting tribute to Billie Jean King in Battle of the Sexes

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“You know, I never thought about this before but … How did your character seriously hook up with Jonah Hill in Superbad?!” Bobby Riggs (Steve Carell) talks things over with Billie Jean King (Emma Stone) in a scene from BATTLE OF THE SEXES. Credit: Melinda Sue Gordon © 2017 Twentieth Century Fox Film Corporation. All rights reserved.


WATCH THE TRAILER(S) HERE: 



KEY CAST MEMBERS: Emma Stone, Steve Carell, Andrea Riseborough, Sarah Silverman, Bill Pullman, Austin Stowell, Elisabeth Shue, Jessica McNamee and Fred Armisen 

WRITER(S): Simon Beaufoy

DIRECTOR(S): Jonathan Dayton and Valerie Feris

 
WEB SITE: http://www.foxsearchlight.com/battleofthesexes/HERE’S THE STORY: It was one of the most famous events in sports of the 1970s and eventually would become one of the most famous sporting events in history. But while the world saw a battle between a budding tennis star and a self-proclaimed male chauvinist pig, there was far more going on behind the scenes than meets the eye. For while Billie Jean King (Emma Stone) was battling what she saw as an unfair payscale for she and her fellow female players, she also was dealing with coming to terms with a budding “forbidden” love with hair dresser Marilyn Bennett (Andrea Riseborough) … Despite being married to her husband Larry (Austin Stowell).


Meanwhile, while living off the glory of his days as a former champion tennis player, 55 year-old Bobby Riggs (Steve Carell) is trying to be a good husband to his wife Priscilla (Elisabeth Shue). Unfortunately, his old gambling demons are quite alive and well as is his desire to regain the spotlight. This, of course, leads him to dream up an idea that will be as much spectacle as it is sport: a “battle of the sexes” between the top women’s player in the world and himself. 


What results, however, will be a battle that expands way beyond a simple tennis match. 

WHO WILL LIKE THIS FILM THE MOST? Emma Stone fans; Sarah Silverman fans; tennis historians; the LGBTQ community; 

WHO WON’T (OR SHOULDN’T) LIKE THIS MOVIE? Trump supporters; anti-LGBTQ supporters and the religious right; people who wish the film would dive deeper into the aftermath of King’s life following the event and the struggles she faced  

SO, IS IT GOOD, BAD OR ABSOLUTELY AWFUL? Some biopics go through painstaking detail to explore every aspect of its subjects’ lives; some present the most-glossed over, slapdash/mediocre puff pieces that fail to capture what made their subject matter.

Battle of the Sexes is neither of those things; instead, it is a film that simply attempts to showcase some aspects of its two lead characters in great stylish detail while at the same time, humanizing them while being very selective in displaying judgment of their actions. It’s really an ingenious trick on the part of co-directors Jonathan Dayton and Valerie Feris; there are no over-the-top dramatics, there are no true villains as much as there are people representing the ideals of the time from a very understandable (given the times) mindset. Then again, Margaret Court hasn’t exactly softened her stance on King’s life in her advance years, Bennett and King had a very public struggle that’s left out of the film and Stowell’s level-headed, let-me-do-what’s-best-for-the-woman-I-love-despite-our-own-turmoil may not exactly have been as it plays out on screen. 


Yes, the movie does take a few liberties with the actual facts, it does stick a mostly factual approach driven by a very up-to-the-task Stone. Stone captures King’s legendary competitiveness, shyness and desire to simply make things better for other women and Carell – who’s character almost becomes a tragic figure in a very Hollywood way before getting a very Hollywood moment at the end of the film – bring a great bit of levity to the whole scene as Riggs while Silverman is great as King’s tennis tour promoter/manager Gladys. (Think of a character fresh from The Carol Burnett Show or Rhoda living it up in sassy, glorious fashion while chain-smoking herself to death and you’ve got her character down pat.) Riseborough comes off as little more than a spacey, new-age chick that is everything King isn’t, but it plays well enough that it doesn’t feel as gimmicky/out-of-place as it might sound on paper. Throw in a “perfect for the current times even though the setting is the early 1970s” quote by a perfectly used Alan Cumming and the film hits enough beats to balance things out. 


Perhaps one day, the balance King fought for won’t need a movie to remind the world of how far it’s come. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

TIFF 2017 – Day #9

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Hello Everyone,

Today was my last day of screenings at TIFF 2017.  I’ve been all around the world on this trip to Toronto, and I ended up beating my record by one film this year.  In all (meaning I sat through each film entirely – I don’t count or report on the films I walk out of), I saw 34 movies…and I had a marvelous time.

My first film today was KINGS, directed by Deniz Gamze Erguyen.  Because Erguyen had directed MUSTANG (nominated for “Best Foreign Film” Oscar in 2016), I was looking forward to this film about a family caught in the middle of the L.A. riots starring Halle Berry.  Unfortunately, it’s a mess.  The family dynamics are complicated (Berry is a single mother and a foster mother to several children).  She bakes cakes for clients around town and relies on her oldest son to help keep all the kids in check.  Daniel Craig plays a crazy next-door-neighbor who likes to yield and occasionally shoot a shotgun into the air.  As racial tensions are escalating after the brutal police attack on Rodney King, Berry’s family is also going through transition…and everything starts to boil at the same time.  Erguyen attempts to inject the film with some visual poetry of lava boiling under the earth’s surface, but tonally it doesn’t work with some of the silliness we’re seeing on screen (like Berry’s outer space sex dream).  I wanted to like this film, but it just didn’t work.

Next up, I saw DON’T TALK TO IRENE, directed by Pat Mills.  We had Mills as a guest at the Dayton LGBT Film Festival a couple years ago, and I’ve been anxious to see what he would do next.  I’ll be honest, the trailer wasn’t doing much for me…but the film ended up being pretty terrific.  This charming (yet unafraid to be crude) tale of an overweight high school outsider who wants to be a cheerleader is very funny and engaging.  When she gets suspended at school, she has to do volunteer work at a retirement home as punishment.  What results is hilarious and quite touching.

https://www.youtube.com/watch?v=56xfd8POz4c

My last film of the day (and of the festival) was MY DAYS OF MERCY, directed by Tali Shalom-Ezer and shot in Cincinnati.  Dayton’s own Karri O’Reilly served as executive producer, and she invited me to be her “Plus One” for a lovely dinner & the film’s international premiere with some of the cast and crew (including the director, the Director of Photography, folks from Killer Films and more).  After the dinner, we all walked down the Red Carpet with fans, reporters and paparazzi clicking photos and hollering out for “Ellen” as we walked by (Ellen Page was right behind us, and everyone was hoping to get a great picture or an autograph).  The film was introduced by the director and all the key people from the film were onstage and thanked.  The film is a lovely, quiet romantic story about two women on opposing sides of the death penalty debate.  Starring Ellen Page, Kate Mara, Amy Seimetz, and Charlie Shotwell – the performances are all very strong.  This was the first time that many of the people involved with the film had seen it since the score had been added, and the crowd reaction went over quite well.  I think this film will find distribution, which doesn’t hurt to help secure even more films from shooting in the area.

So now I’m done with TIFF 2017.  I’ve seen some tremendous work, a few stinkers and quite few films that I think will do well at THE NEON.

Thanks so much for joining me on my cinematic journey.  (Below are a few pics from last night’s premiere.)

See you at the movies,

Jonathan

MANY CONGRATS to Karri O’Reilly & Her Team for a great film and a great premiere!

Filmed In Ohio, Debuting at Toronto Film Festival

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About a year ago FilmDayton made a set visit with some City of Dayton workers down to  Loveland,  to observe the filming of Mercy.  Executive Producer Karri O’Reilly, who is also a board member of FilmDayton showed us around the set, including  the small bar they took over where Ellen Page was filming a scene, an alley where craft services had set up, around the block where the costume, make up and artist trailers where parked and so much more.  The purpose of that visit was to show firsthand the impact a film can have on the local economy.
Tonight that film, now titled My Days of Mercy, is the focus of a Gala at the Toronto International Film Festival.  The film stars Oscar nominee Ellen Page as Lucy, the daughter of a man on death row. She and her sister Martha (Amy Seimetz) are regular attendees at state executions across the Midwest, where they demonstrate in favor of abolishing the death penalty. At one such event, Lucy spots and eventually falls for Mercy (Kate Mara), daughter of a police officer whose partner was killed by a man about to receive a lethal injection. Mercy is there to celebrate justice served.

This is the fourth film made by NY production company Killer Films in Ohio.  “What initially brought us there was the state tax incentive,” said David Hinojosa, the company’s head of production and development. “It was very attractive.”  The Ohio Motion Picture Tax Credit provides a tax credit of 30 percent on production cast and crew wages plus other eligible in-state expenses.  Killer leveraged the Ohio tax program by hiring a majority of its production crew from the region instead of bringing workers from out of state.

 

O’Reilly explains that while the film was based in Cincinnati,  due to the geographic closeness of our cities, a film being made in the region is a win for FilmDayton.  Whether it’s hiring crew or using local vendors, the Dayton and Cincinnati markets often overlap and that helps the Miami Valley, which is just starting to establish its film commission.

 

When a film like Mercy debuts at a major festival, O’Reilly explains that “it means lots of good recognition” for Ohio.  Area films are repeatedly showing up at the major film festivals.  The Killing of a Sacred Deer starring Colin Farrell  and Nicole Kidman debuted at Canne this year.  In 2016 three Ohio films debuted at Sundance:  Goat (which O’Reilly co-produced), The Land and The Fits. 

 

These movies mean jobs and money for our region.  The Mercy spend was about $225,000 and the recent Robert Redford that shot for 2 days in downtown Dayton spent over $8000 with the City of Dayton for police services and parking, $7000 on hotel rooms at the UD Marriott, hired over 100 extras and had a crew of 75, used a local dry cleaner, bought late night pizzas from Marion’s Piazza and became repeat customers at Table 33.  Crew payroll added even more to the local spend.

 

FilmDayton works to bring these jobs to town that pay well, are mainly union positions which means  benefits and pensions for our local filmmakers.  “Being able to offer Wright State University motion picture students hands on experience in their chosen career field is a real benefit to the region,” shares FilmDayton’s Lisa Grigsby, “and and go along way to keeping young, talented filmmakers in our community.  We don’t receive any funds from the productions we work to bring to town, we depend on contributions, and sponsorships from those that understand the economic impact these productions have on our town.  You can help keep the spotlight on the Miami Valley by making a contribution, volunteering your house, office or property to be added to our location database or volunteering for FilmDayton.”

TIFF 2017 – Day #8

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Hello Everyone,

I’m starting to slow down.  A bit exhausted and a little sore (eyes, butt, etc.), it was time to scale back to four screenings today. Tomorrow will be my last day, and I’ll see even fewer because I have a big event on the books.  Dayton-based producer Karri O’Reilly (who has worked on numerous feature-length films around the world including BLUE CAR and CAROL) has a film premiering tomorrow night – MY DAYS OF MERCY (which shot in Cincinnati) – and she has invited me to be part of the festivities.  You’ll get all the latest before I head out of town on Saturday afternoon.

My first film for today was FILM STARS DON’T DIE IN LIVERPOOL, directed by Paul McGuigan.  Starring Annette Bening and Jamie Bell, this is the story of movie star Gloria Grahame and the last of her May-December romances.  At first, I found Bening’s accent and whispy delivery a little hard to take, but I eventually accepted it and fell for the chemistry of her and Jamie Bell (who is absolutely darling in this film).  The film has a jumpy structure, and I fear that some of our regulars (who prefer linear storylines) might get a little confused regarding the timeline.  Regardless, I think this is a film that could do well for us – especially if Bening gets an Oscar nomination.

MUDBOUND, directed by Dee Rees (PARIAH), was my second film of the day.  This film will get a very limited release (NYC and LA) and then go straight to streaming service on Netflix…which is too bad – because it works really well on a big screen.  That said, I think it will still be a big award contender this year.  With multiple protagonists/narrators, this is the story of two families in the deep South during World War II.  The racial tensions are heavy, and the stories are so well developed – a white family and a black family are trying to do the best they can for their families as they farm their land and try to encourage their children to excel.  This film, though set 80 years ago, is very timely…and it will break your heart.

DARKEST HOUR, directed by Joe Wright, has a lot of Oscar buzz for Gary Oldman playing Winston Churchill.  This is a film about the weeks leading up to Dunkirk…which has been a very popular theme this year (CHURCHILL, THEIR FINEST, DUNKIRK, and some television too).  This film is very polished and has some really wonderful moments, but I don’t completely agree with the Oscar buzz.  Is it a complete transformation?  Absolutely!  But I think his performance borders on camp – as some of his choices are very hammy and singsongy.  So I’m guessing I’ll be in the minority on this one.

MARROWBONE, directed by Sergio Sanchez (THE ORPHANAGE), was my final film of the day.  This ghost story/thriller is in the vein of THE OTHERS and SIXTH SENSE – but is clearly made for a more tweenage crowd.  It’s the story of a group of kids who lock themselves away from the world after the death of their mother.  With lovely photography and successful moments intended to make your jump, it works on a certain level…but the story too conveniently leaves out important plot points so it can reveal them later – which feels like cheating.  I also felt like some of the revelations were trite while others were genuinely fresh.

https://www.youtube.com/watch?v=1FaRYVCZZyo

Only one day of screenings left.  In some respects, those first movies I saw exactly a week ago seem so far away…but it also seems like I just got here yesterday.

I’m going to try and get a good night of sleep so I don’t scare people with bloodshot eyes tomorrow.

Thanks for reading,

Jonathan

TIFF 2017 – Day #7

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Hello Everyone,

Today was another day with 5 films…and it was an impressive day of films. That said, I’m not quite certain how/why I’m still standing.

LEAN ON PETE, the new film from Andrew Haigh (WEEKEND, 45 YEARS) was my first film of the day.  This is a touching story about a teenage boy who is mostly left to fend for himself – his mother abandoned the family and his father works a lot and is consumed with a new relationship.  While on a morning run, the boy stumbles across a race track stable and is taken with the idea of getting to know how to tend horses.  Lean on Pete is an older quarter horse with whom the boy becomes enamored, and a slow, eloquent, sad story follows.  This film won’t be for everyone…and though I didn’t like every turn it took, I ultimately think this film is a gem.  (there is no trailer yet for this film)

A FANTASTIC WOMAN, the second film in the festival directed by Sebastian Lelio, was my next film for the day. It is brilliant!  When her boyfriend wakes up not feeling well and dies due to complications of an aneurysm, Marina notifies the family…and trouble ensues.  Marina is a trans woman, and the family doesn’t want her to be a part of the man’s wake.  Sad and inspiring and with a couple fantastical moments, this movie will end up as one of my favorites of the festival.

PROFESSOR MARSTON AND THE WONDER WOMEN, directed by Angela Robinson, is the story of William Marston’s polyamorous relationship and the creation of the Wonder Woman comics.  The story focuses heavily on the controversy of the early days of the comic that included lesbianism and BDSM.  Though beautifully shot and containing some wonderful performances, there were some details that kept me from fully embracing this story.  The script seemed contrived and too easy at moments, and the framing device of a hearing with Child Study Association of America could easily have been a powerful scene instead of a recurring element that ultimately weakens as the film progresses.  This film will find an audience, but its rough edges will keep it from going too far.

FACES PLACES, the new documentary from Agnes Varda and JR, is a cinematic, magical gift. I adore so much of Varda’s work, and this film was just the warm and joyful and insightful film I needed.  If you have a chance to see it on the big screen, don’t miss it!  Check out the trailer below for a taste. (added note: JR was in Dayton several years ago with his mobile photo printing truck!  You might remember large scale photos pasted to the Dayton Art Institute and the former Chin’s building.)

LOVING PABLO, directed by Fernando Leon de Aranoa was my last film of the day.  This is the story of Colombian drug lord Pablo Escobar as told by one of his lovers – famed journalist Virginia Vallejo.  This engaging story has two great central performances from Javier Bardem and Penelope Cruz.  And though I was fully engaged and admired many of the filmmaker’s choices, I found some of it hard to take.  When rampant killing sprees are backed by celebratory-like rock music, it seems as though the filmmaker is elevating the crimes to “rock star” proportions.  Almost as though they should be admired (which doesn’t sit well for me).  Overall, I liked the film…but I doubt I’ll revisit it.

https://www.youtube.com/watch?v=NSDaVVqAm4o

Thanks so much for reading.  Only two days left for my festival experience.

More soon,

Jonathan

TIFF 2017 – Day #6

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Hello Everyone,

Today was a busy day.  I considered seeing 6 films, but I was backed up with NEON obligations (the weekly newsletter, emails, etc.), so I only saw 5…and then met a friend for a quick drink at a little gay industry soiree.  (I’m exhausted.)

My first film of the day was THE WIFE, directed Bjorn Runge and starring Glenn Close and Jonathan Pryce.  This film opens with a husband and wife preparing for bed and awaiting big news.  Within the first few minutes, we find out that he has just been awarded the Nobel Prize for Literature, and the couple are off to Stockholm to receive the award.  Close’s reactions seem supportive but with reservation.  It’s clear that something more is simmering under the surface.  Though well done, this film is pretty simple. The handful of flashback scenes almost do the film a disservice – as they aren’t particularly well done (and performances don’t live up to Close’s).  I think this film will find an audience, but its slow pace and somber tone will mean a limited reception.

I, TONYA, directed by Craig Gillespie, was my second film of the day.  This film is based on actual interviews about Tonya Harding and the assault of Nancy Kerrigan.  The film is a mix of colorful characters, and on the surface it seems like fun.  That said, there are moments when characters break the fourth wall…and those moments made me feel that they were making light of the domestic violence in the film – and that was hard to stomach.  Overall, it’s a good film with an absolute standout performance by one of Dayton’s own – Allison Janney (people are buzzing about a supporting Oscar nomination).  I think many people will love this film, but I have some major reservations.  The film made headlines a couple days ago when  it got picked up for distributional after a festival screening.

BPM (BEATS PER MINUTE), a narrative feature about ACT UP PARIS, directed by Robin Campillo, was my third film of the day.  This tender and engaging film about a group of activists during the height of the AIDS epidemic had me rather emotional.  There tactics were rather non-traditional and a bit aggressive, but they were clearly responsible for the government taking notice.  Though there are a couple narrative arcs in the story, it’s the one about the young couple (one positive and the other negative) that will break your heart.

A much-hyped film that made its premiere at Sundance – THE DISASTER ARTIST, directed by James Franco – was my next to last film of the day.  This film is about the making of THE ROOM – a film that is regarded as one of the worst films ever made.  Franco plays Tommy Wiseau – the director of the terrible film…and his brother James plays Greg Sister – Wiseau’s friend, co-star and collaborator.  This movie works without knowing anything about the film on which it is based…but it helps.  Franco’s performance seems so weird and out-of-control – but it’s truly based on a terribly odd man.  This film is destined for cult status – much like THE ROOM itself.

My final film of the day was a documentary called SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD, directed by Matt Tyrnauer.  This is the story of a former Marine who opened a gas station in L.A. and catered to the sexual desires (either by himself or by finding and providing specific requests) of numerous Hollywood legends from the late 40’s to early 80’s.   Based in part on Scotty Bowers’ tell-all book about his time and clients at the gas station, this films starts off like a gossipy recount.  But then it turns into so much more.  Unapologetic and full of stories, Scotty is quite a character and the film is both hysterical and terribly sad.

I have 5 films slated for tomorrow, too.

Thanks for reading!

Jonathan

TIFF 2017 – Day #5

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Hello NEON Friends,

Today was a long one.  I saw 4 films that had me buzzing to three different venues around town – so there wasn’t much time for food and other such nonsense.

First off was DISOBEDIENCE by director Sebastian Lelio.  This quietly stirring film from the UK stars Rachel Weisz and Rachel McAdams, and the story centers around a woman who is returning to her Orthodox Jewish home after the death of her father.  It’s immediately clear that she is now an outsider, but even more tension seems to exist between her and two old friends.  The way in which this film reveals itself is quite lovely, but I feel like the pace might be a bit too slow for many who might initially be attracted to casting alone.

Next up was UNICORN STORE – the feature-length directorial debut from Brie Larson.  Larson introduced the film and she is one of the most gracious and sincere artists I’ve encountered (she thanked the projectionists, the sound people and everyone behind the scenes).  Because her mother couldn’t attend the screening, she took a picture of the audience (and I captured this sweet moment below).  The film is about a young woman who doesn’t make it at art school and moves back in with her parents.  She suffers from a certain woman-child issues…still wanting everything sprinkled with glitter and painted with rainbows.  When she finally lands a job, she receives an invitation to come to a secret store where a man offers her the ability to buy a unicorn.  This film certainly had fans in the audience…and it is very competently done (cinematography is nice, editing is solid, etc.) – but the story is relatively hokey and I couldn’t buy into it.  The sentiment of continuing to believe in magic and resisting to fit the mold is sweet, but I just couldn’t help but think “grow up.”

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, the new film from Martin McDonagh (IN BRUGES) was my next film.  Frances McDormand is incredible in the rather rough film about a woman who is trying to get the police to get more involved in finding the person(s) who raped and murdered her daughter.  With a tone not unlike some Coen Brothers material, this script is excellent (though many of these unlikable Southern characters use language that really makes me wince) and I think audiences will really embrace this film.  McDonagh, McDormand and Sam Rockwell were in attendance, and the Q&A was superb.

My final film for the day was one of the best films I’ve seen so far – THE SHAPE OF WATER from director Guillermo del Toro.  This fairy tale for adults will almost certainly receive a lot of Award Recognition this year.  Set in the 60’s, the story follows a mute cleaning lady who stumbles upon a government secret – an underwater creature with whom she begins to feel an attachment.  This really wonderful film is almost of hybrid of CREATURE FROM THE BLACK LAGOON and AMELIE…a fantastical romance that is very much for adults.  There are a couple scenes in the movie that are set in an old cinema…and the setting was actually the the old theatre where I saw the film.  The crowd went nuts – it was a magical moment. Del Toro, Sally Hawkins Octavia Spencer, Richard Jenkins and Michael Shannon were all there for a Q&A that was incredibly special. Hawkins is sheer magic – and should certainly be nominated for her performance.

It ended up being a very late night, and I’ve got at least 5 films scheduled for tomorrow.

Thanks so much for reading,

Jonathan

TIFF 2017 – Day #4

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Hello Everyone.

I just got in from a very full day.  I left the condo at 7:45am and returned at 1:45am.  I saw 4 films and countless celebrities…ranging from Emma Stone and Steve Carell to Judi Dench…and then several folks at a Fox Searchlight party including Nicholas Hoult, Octavia Spencer, Michael Shannon, Sarah Silverman, James McAvoy, and more.

The first film I saw today was a highly anticipated film (in some circles) from auteur Darren Aronofsky (director of BLACK SWAN).  It’s called MOTHER!, and I absolutely loathed it.  Though Aronofsky is a master craftsman, I’m simply not interested in his stories.  I often find his metaphors rather obtuse, and in the case of this film, the violence and brutality in the third act is just too much.  This is on the bottom of the list for me so far this year.

I cleansed the palette with JANE, a new documentary about Jane Goodall directed by Brett Morgen (director of THE KID STAYS IN THE PICTURE).  This new film is largely constructed from footage that was recently discovered (thought to have been lost) that was shot in the 1960’s by renowned National Geographic photographer Hugo van Lawick.  With a tremendous score by Philip Glass, the film is a love story and a gorgeous portrait of Goodall’s early monumental work with chimpanzees.  To make it extra special, Goodall was in attendance, and seeing her speak has been a highlight of the festival.  She’s so inspiring and commands attention through her passion, grace and eloquence. When she was approached to be a part of this documentary, she said “Not again,” but agreed nonetheless – and she said it’s been one of the best experiences of recounting her work. (below is a photo I took…there is no trailer available yet for this documentary)

VICTORIA & ABDUL, the new film by Stephen Frears, was next on the list.  And it didn’t disappoint.  (Fears has had an incredible career.  From MY BEAUTIFUL LAUNDERETTE to DANGEROUS LIAISONS to THE GRIFTERS to MRS. HENDERSON PRESENTS to PHILOMENA – many of his films are quite special to me.) This elegant period piece is not at all stuffy or staid, it’s actually quite funny and charming, and the chemistry between Dench and Fazel is magic.  This is a story about Queen Victoria’s later years and how she befriended an Indian man who was initially only intended to present her with a special gift from India.  This true story, which was supposed to have been wiped from the history books by Victoria’s son – King Edward VII, was discovered several years ago by author Shrabani Basu. I know that our audiences are going to love this film when it opens on October 6.  Extra special…Dench and many others were in attendance for a Q&A.

BATTLE OF THE SEXES was my final film of the day (though the after-party was something special too).  Directed by Jonathan Dayton & Valerie Faris (directors of LITTLE MISS SUNSHINE), this film is so much more than the shenanigans of Steve Carell featured in the trailer.  Based on the true story of Billie Jean King and her famous match with Bobby Riggs, we actually end up getting a lot of King’s personal struggle to live her own truth.  With a strong screenplay and strong performances across the board, I think we’ll do well with this film when it opens on Sept. 29 (this date just got bumped up over the weekend).  Extra special…Billie Jean King, Emma Stone, Steve Carell, Sarah Silverman, the directors and many others were in attendance for a Q&A.

After my final screening, I went to Fox Searchlight’s party that was held to celebrate the three films playing at the festival – BATTLE OF THE SEXES, THE SHAPE OF WATER and THREE BILLBOARDS.  This was the party to be at last night.  The cocktails and food were spectacular, and everywhere you turned, stars were everywhere – from Stone and Silverman to Michael Shannon, Octavia Spencer, Richard Jenkins, Rachel Weisz and Nicholas Hoult.  What a night!

Thanks for reading!

Jonathan

 

TIFF 2017 – Day #3

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Hello Everyone.

I had a couple nice surprises today.  Though I have liked some of Alexander Payne’s work (I adored his short in PARIS J’TAIME and I liked DESCENDANTS and NEBRASKA and ABOUT SCHMIDT), I wasn’t terribly excited about seeing DOWNSIZING.  It’s a satirical allegory about a man who decides to partake in a new government subsidized program that shrinks you – thus taking up less space, consuming less food, etc…it also allows you to live a potentially more lavish lifestyle – because your dollars go further when you need less of everything.  I wasn’t prepared for just how funny this film was going to be…yet still provide a mirror to contemporary injustices.  Critical response has been mixed, but I was engaged from beginning to end and liked what this film had to say.

Next up was the world premiere of THE CHILDREN ACT, directed by Richard Eyre (director of IRIS and NOTES ON A SCANDAL).  Emma Thompson and Stanley Tucci star in this British film about a family court judge who must determine difficult cases – i.e. should a set of conjoined twins be separated if one will certainly die even though they’ll both die if left conjoined.  The screenplay is so smart, and Thompson is in top form.  There is no trailer yet for this film, and it has not been picked up for distribution…but I’m certain it will.  Thompson and others were there to introduce the film and then answers questions after the film.  It was a wonderful Q&A and I did manage to get a couple pictures. (there is no trailer yet for this film)

My last film of the day was the terribly dark and disturbing film THE KILLING OF A SACRED DEER, directed by Yorgos Lanthimos.  (This film was shot in Cincinnati!) Starring Nicole Kidman and Colin Farrell, this film will is about a teenage boy who forms a relationship with the doctor who he believes is responsible for the death of his father.  After he befriends the entire family, he begins to terrorize them. With parallels and similarities to Greek tragedy (and in my opinion – Michael Haneke), this film is a in a category of its own.  The performances are intentionally a bit stifled and peculiar, but everyone is 100% invested in the off-kilter world that Lanthimos has created.  The sound design and score are an eerie and terrifying addition, and many audience members didn’t know what to make of this film.  (Which is kind of what happened with the diretor’s most recent film THE LOBSTER.)  Though I applaud the craft and was entirely absorbed during the screening of this film, it’s one that I have no intention to see again.  In my opinion, DOGTOOTH is still this director’s masterpiece. (my pic from the Q&A is below)

 

Thanks for reading!

Jonathan

TIFF 2017 – Day #2

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Hello Everyone.

Today was my 2nd day of screenings for the festival, and the first film I saw was ON CHESIL BEACH, directed by Dominic Cooke – based on the novel by Ian McEwan (McEwan wrote the screenplay too and was part of the Q&A).  This very British film has an incredible central performance by Saoirse Ronan.  Set mostly in the 1960s, the film is about two newlyweds who are having trouble consummating their relationship while on their beachside honeymoon. A series of flashbacks help us understand their backstories and courtship, and the story is beautifully told.  The film might be described as a bit staid by some, but I think it’s quite eloquent…though it could use one more cut.  There are a couple scenes that are absolutely brilliant, and I think this film will eventually find distribution.

GRACE JONES: BLOODLIGHT AND BAMI was the second film I saw today.  Directed by Sophie Fiennes, this documentary was funded by folks in Ireland and the UK.  Though Ms. Jones is an exceptional and striking performance artist, this film is entirely too long given the footage on display.  It makes sense that the director attempted to make an unconventional doc given her subject, but the grainy (VHS-looking) quality of the footage does a disservice to the material – especially the concert footage.  There are a lot of gems in this film, but an hour-long version would be much stronger.  (And I’d still love to see a documentary that contextualizes Ms. Jones and her artistic process in the fabric of the music scene.)

LADY BIRD, Greta Gerwig’s feature-length directorial debut, was the winner for today.  Saoirse Ronan stars as a high school senior living in Sacramento, California who really wants to get out of town, and her parents are expertly played by Laurie Metcalf and Tracy Letts.   This quirky comedy seems to have flavors of so many people with whom Gerwig has worked.  It’s a little bit Baumbach, a little bit Stillman…but still a whole lot of Gerwig. This film is a treat.  (Timothee Chalamet also has a small part in this film.  This officially makes Saoirse and Timothee two of the “It” gang for the season.  Both have incredible ranges and are a joy to watch on screen.)  During the Q&A (check out the photo I took below), Gerwig said that the film is about realizing how much you love something as you’re preparing to leave.  When she came to the stage to a standing ovation, she was in tears.  This personal film is certainly worth celebrating, and it’s clear that the film is coming from someone with a sincere, lovely attachment to the material.

During the Q&A, Gerwig also noted that the casting of Saoirse Ronan was born at TIFF in 2015.  The two both had films at the festival that year (BROOKLYN and MAGGIE’S PLAN) – and that’s when they met and read the script together in Ronan’s hotel room (Ronan read the lead and Gerwig read all the other parts).  Gerwig knew that Ronan was perfect for the role, and she pushed back production by 6 months to make certain it would work for everyone’s schedule.

I capped off the night at a fun party hosted by IFC with a couple friends who I met in Dayton over the years.  My friend Glenn works at Dolby and was a guest of the Dayton LGBT Film Festival several years ago (we’ll see several films together over the next few days), and Charlie is a publicist (representing a great roster of films this year) who regularly visits Dayton with his partner who grew up in Miamisburg.  It’s been great catching up with both of them.

Thanks for reading!

Jonathan