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TIFF Day #5 – 2024

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Hello NEON Community!

Today didn’t go entirely as planned…I didn’t get some of the tickets I had hoped to get for this evening (like the new Walter Salles film – I’M STILL HERE).  (I’m sure Sony Classics will let me take a look at it somewhere else…but I really love seeing how crowds respond to films before we book them.  Watching them by myself is OK – but watching films with film lovers is a different experience.)

My first movie of the day was THE DEB, dir Rebel Wilson (Australia) “Rebel Wilson’s directorial debut is a bold, outrageous, and funny Australian musical about two very different teenage cousins who initially clash but eventually join forces to make their mark on their town’s annual debutante ball.” (taken from TIFF catalog). Unfortunately, I’m not permitted to write anything about this film right now.  This film has not premiered anywhere yet – and all critiques are “embargoed” until after this upcoming weekend.  (You’ll have to come back on this page next week if you want to know what I thought of this new musical.)

If you’ve been reading my blog on a daily basis, you know that I wrote how I couldn’t wait to see THE ROOM NEXT DOOR again.  So I didn’t.  I saw Almodovar’s brilliant, vital new film from a much better seat today.  It truly is so special.  I love when characters reference literature & works of art and they’re familiar to me…it feels like an even stronger connection to the characters and the director.  From Dora Carrington’s relationship to Lytton Strachey to James Joyce’s THE DEAD to Buster Keaton and so many more.  The production design, the costumes, the score.  Everything is so intentional…even the spines of books as the two leads walk through a bookstore.  Brilliance.

Next up was one that will be talked about a lot this Oscar season – CONCLAVE, Edward Berger (USA, UK) “Oscar nominees Ralph Fiennes and Stanley Tucci lead a brilliant ensemble cast in All Quiet on the Western Front director Edward Berger’s stunning adaption of Robert Harris’ high-stakes drama, in which Cardinals gather at the Vatican to elect a new Pope.” (taken from TIFF catalog) Vatican City at the time of a Conclave is the perfect setting for a high stakes thriller because the Catholic Church works so much like other board rooms or election cycles…with conflicting ideas and attempts to make change or step back from change. It’s fascinating! Ralph Fiennes gives a homily to all the gathered Cardinals in the first 30 minutes of the film – and it is the best I’ve ever heard.  It rattled many and was embraced by others.  The performances here – particularly from Fiennes, Isabella Rossellini and newcomer Carlos Diehz, are exceptional…as is the score.

My last film of the day was 100% unplanned.  After I went back to my apartment and worked on NEON-related details (show schedules, website updates, etc.), I decided to try my luck of getting in a “rush” line for a film called HERETIC.  I waited about 85 minutes, and several people got in…but I was not so lucky.  When that didn’t work out, I hopped in the next available film – 100% a surprise – CROCODILE TEARS, dir Tumpal Tampubolon (Indonesia, France, Singapore, Germany) “In this slow-burning suspense thriller from debut filmmaker Tumpal Tampubolon, a young man and his overbearing mother’s lives on their isolated crocodile farm are turned upside down with the appearance of a young woman.” (taken from TIFF catalog) This little film is terribly unsettling.  With crocodiles writhing around waiting to be fed, with mom suggesting that the one giant white crocodile is “papa,” and the announcement that Arumi (Johan’s new girlfriend) is pregnant – it seems like terrible occurrences are just around the corner.  It’s a solid film, but I don’t think it would do well as a theatrical engagement for us.

Tomorrow, my boyfriend Jake is joining me in Toronto.  Though he and I will only see a couple movies together, it will be nice to have him here for my last few days.  If flights are on time and all goes as planned, his first film (tomorrow night) will be BABYGIRL – starring Nicole Kidman.

Thanks for reading!
Jonathan

TIFF Day #3 – 2024

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Hello NEON Community!

Today was busier than I had initially planned.  When I wasn’t able to score a ticket to the new Mike Leigh film (HARD TRUTHS), I ended up booking tickets to two films that were a little further down on my list.  In addition, I ran into a colleague in distribution who invited me to a party – so That meant that I had four films and 2 parties instead of three films and 1 party…but things can change on a dime (I’m not complaining).

My first film of the day was one I had been waiting for – ANORA, dir Sean Baker (USA) “This Palme d’Or winner follows a turbulent relationship between a New York–based exotic dancer and the son of a Russian oligarch.”  We’ve played Baker’s work in the past at THE NEON – RED ROCKET and THE FLORIDA PROJECT…and this is certainly one to watch with a lot of early award season buzz. Despite the rambunctious and exuberant nature of the first hour, there’s always a feeling of sadness under the surface. Baker’s work is very sex positive and he doesn’t judge his protagonists, but you can feel that Anora really wants more than she’s got. VARIETY wrote that this film makes PRETTY WOMAN look like a Disney movie.”  (Quite interestingly…it was.  It was made by Touchstone Pictures – a subsidiary of Disney in the 1980’s.) This film has lots of laughs, lots of sex, and lots of heartache.  It’s rough and subversive – but you’ll fall for Anora. Mikey Madison in the lead role is quite a discovery.

Next up was something I hadn’t necessarily planned to see – SKETCH, dir Seth Worley (USA) “When a young girl’s peculiar drawings come to life, leaving a wake of chaos and crayon dust, a grieving family has to band together to fight them off in this feature debut.” (taken from TIFF catalog) The screenplay for this film is great right of the bat – it feels honest and genuine.  But I have to admit that I started to roll my eyes a bit when the monsters came to life…they just seemed a little too silly for the world that had been set up for us.  But I stuck with it…and I’m glad I did.  I had a true emotional response to this little gem, and the kids were fantastic.
The director introduced this film as “INSIDE OUT meets JURASSIC PARK,” and the curator from TIFF who introduced it said we haven’t seen a group of kids work together like this since THE GOONIES.  I agree with both sentiments.   (The Q&A had me in tears when one of the cast members was asked how he related to his character.). I’m not sure where this will land, but I can see audiences getting behind it.

My next film was a surprise ticket – K-POPS, dir Anderson .Paak (USA) “A father hopes to ride the coattails of his long-lost son’s rocketing stardom in this feature debut from eight-time Grammy winner Anderson .Paak.”  This polished film had a very invested audience…and many of the people on screen who elicited cheers and screams from the audience were actors/performers I don’t know (I knew folks like Earth, Wind & Fire, but I didn’t know the K-pop icons). Though the film is really about a father connecting with the son he never knew, the setting of a “reality” talent/gameshow couldn’t be further from a setting that interests me.  Though there was a lot of talent on display, I wasn’t fully invested in the story.  And though know there’s an audience for this film (I was surrounded by people who adored it), the movie (with moments of slapstick and some animation and montage scenes that seemed like fluff and filler instead of motivated plot devices) wasn’t really for me.

Before I went to my last film of the day, I stopped by Searchlight’s NIGHBITCH PARTY – a reception celebrating the premiere of the new Amy Adams’ film NIGHTBITCH (which I will hopefully see tomorrow).  I mingled with and met people who curate other cinemas and film festivals, and I chatted with one of the actors from the film.  Amy Adams, Scoot McNairy and others were at the party and posed for a few photos with the little boys who played her child in the film.  I only stayed for about an hour because I head to get to the film I’ve been most excited to see.

The last film of the day was my most anticipated – THE ROOM NEXT DOOR, dir Pedro Almodovar (Spain) “Tilda Swinton and Julianne Moore star in this visually exquisite and intimate adaptation of What Are You Going Through by Sigrid Nunez, Pedro Almodóvar’s first English-language feature.” I’m anxious to see this film again.  The story centers around two friends who are reunited after years apart…and how one of them asks the other to be “in the room next door” when she decides to take her own life instead of enduring another round of what seems like unhopeful Cancer treatment.  This film is full of references – to art, literature, film and event Almodovar’s own work (I found references to TALK TO HER, WOMEN ON THE VERGE, and PAIN AND GLORY – and I’m sure I’ll see more with another viewing). Sadly, Pedro was not in attendance…but he had good reason – only hours before, he won the Golden Lion from the Venice Film Festival…so he was in Italy accepting that award.  That said, Tilda, Julianne and John Turturro were there.  Their Q&A was pretty wonderful.  And even though a couple people asked seemingly inane questions, the ladies were able to steer their responses into philosophical and moving responses.
Almodovar films are known their production design, and Tilda said that most of the sets incorporate things from Pedro’s own apartment…the films really do seem like extensions  of his worldview and personal surroundings.
Tilda corrected one audience member when being asked about euthanasia.  She said, this film isn’t about euthanasia, it’s about someone taking their own life into their own hands and dying with dignity.  It was a powerful night.

I had one more party to stop at…but I just couldn’t bring myself to do it.  It’s already 1:00, and I knew I wanted to get this posted before too late.  I also just needed some quiet time after such a strong film.

Thanks for checking in!  Tomorrow is Cate Blanchett Day!!

Jonathan

TIFF Day #2 – 2024

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Hello NEON Community!

Today’s early films had an Ohio focus!

My first movie of the day was THE LUCKIEST MAN IN AMERICA, dir Samir Oliveros (USA) “Featuring Paul Walter Hauser (Richard Jewell), Walton Goggins, and David Strathairn, this stranger-than-fiction drama resurrects a hugely popular 1980s game show and the ‘luckiest man in America’ who broke it.” (taken from TIFF catalog) Based on a true story about how a man memorized and beat the “random” lights on PRESS YOUR LUCK, the protagonist from this scandal was from Lebanon, Ohio!  This funny, tense, and upsetting film works on so many levels.  From it’s vintage-looking credits and camera work to the crazy set-up, this movie is a lot of fun.  Though the ending was slightly unsatisfying, I think this film ultimately works.

Shot largely in Wilmington, Ohio, my next film was NUTCRACKERS, dir David Gordon Green (USA) “Ben Stiller stars as a city slicker forced to look after a quartet of mischievous rural orphans in this fish-out-of-water comedy that speaks to the hidden talents in each of us just waiting for a chance to shine.” (taken from TIFF catalog) This film has a giant heart…and despite its formula-driven script (with some cringe-worthy moments) and its overly predictable turns, the film lands exactly where it wants to – and I think it will work well with audiences.  The 4 boys (real-life siblings from Ohio) are pretty great, and you’ll likely recognize some settings (and maybe even some locals).

My next film was my first public screening of the festival (meaning it wasn’t just industry folks – but open to the general public)…and the director & cast were there! (Due to last year’s strikes, hardly any films had casts in attendance…so this will be a nice change this year.)   THE LAST SHOWGIRL, dir Gia Coppola (USA) “A seasoned performer must plan for her future when her show abruptly closes after a 30-year run. Starring Pamela Anderson, Jamie Lee Curtis, and Dave Bautista.” From a good script written by Kate Gersten – someone who “was there” when the last big, old-fashion Vegas show closed (known as Jubilee! – which Gersten said was referred to as “the last of the tits and feathers shows” ) – this story seemed quite authentic, and Pamela Anderson said she had been “getting ready my whole life for this role.”  Touching and full of melancholy, Anderson and Curtis are great in this film.  And I love when there’s a moment in a film that evokes the crowd to burst into applause.  A solid film from Gia Coppola

My first documentary of the festival was MISTRESS DISPELLER, dir Elizabeth Lo (China, USA) “Sure to be a conversation starter and filmed with an astonishing emotional intimacy, Mistress Dispeller follows the work of a Chinese woman who practices unorthodox techniques to repair marital infidelity.” From the director of STRAY – a doc we played at THE NEON about a dog living on the streets of Istanbul – this film had a very intriguing set-up.  The lines of documentary ethics seemed to be blurred in order to get the material…but so was the story of the protagonist who is called in to make extramarital affairs disappear.  I loved a lot of this film, and the last 8-10 minutes were very satisfying.  The post-screening discussion was very enlightening and answered my questions…but I think there’s a much stronger 40-60 minute film here instead of a feature.
There’s no trailer for this film…but here’s a clip:

 

My 9th film for the festival and fifth film for today is a winner! WE LIVE IN TIME, dir John Crowley (United Kingdom, France) “Featuring gorgeously detailed performances from Oscar nominees Florence Pugh and Andrew Garfield, this inventively structured romance explores the question of how to make the most of our time in this world.” (taken from TIFF catalog) The energy was high when I arrived at the Visa Screening Room.  Hundreds of fans were cheering for Andrew Garfield…and he was just a few feet away when I was checking in.  When I got to my nosebleed seat (about 5 stories up), the crowd on the street was chanting “Florence. Florence.”  This town is so ready to welcome big stars again!
This gorgeous, nonlinear film did not disappoint.  With three different timelines playing against each other, the title resonates even stronger as we get to know a couple who are dealing with pregnancy, cancer and the day-to-day act of living.  It’s a beautiful story, and these two actors are at the top of their crafts…and having them talk about how they worked on this project has been the highlight of the festival so far.

Thanks so much for reading.
Tomorrow is Almodovar Day!

More soon,
Jonathan

TIFF Day #1 – 2024

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Hello NEON Community,

Today was a rather somber start to my festival screenings.  All four films I screened had to do with grief in some regard.  Though there were no real stand-outs in today’s batch, I’m really looking forward to tomorrow’s screenings…and even more so, Saturday’s!  Keep reading to find out more.

My first movie of the day was a poetic film that has been banned in Vietnam by their Cinema Department – VIET AND  NAM, dir. Trương Minh Quý (Philippines, Singapore, France, Netherlands, Italy, Germany, Vietnam) “Amidst the darkness 1,000 metres underground sparkles an intimate romance between Viêt and Nam in this mystical story of two young miners in search of a brighter future.” (taken from TIFF catalog). This gay romance takes place in part in the coal mines – which is a dark and dangerous place.  Set in the aughts, this film is haunted by those who went missing or were buried in unmarked graves during the war in the 1970’s.  Both Viet & Nam are without fathers, and it doesn’t go unnoticed that while many people above ground are still searching and digging for loved ones, Viet and Nam are able to freely express their love for one another in the darkness of the underground (as if they’re buried themselves).  While characters often talk about their dreams, this film feels like one…it weaves images in a powerful, beautiful and eerie way.  All that said, this film is not one for the masses.  I must admit that I was lost on occasion as to relationships between characters, and  (like most films from today), I feel it could have been shorter.

Next up was DANIELA FOREVER, dir Nacho Vigalondo (Spain, Belgium) “In the latest from Nacho Vigalondo (COLOSSAL), Henry Golding (CRAZY RICH ASIANS) soulfully portrays a bereaved man who enrolls in a clinical trial for a drug that allows him to reunite with his lost lover (Beatrice Grannò) through lucid dreams.” (taken from TIFF Catalog) This had the bones for a good film with some interesting material, and its Michel Gondry influences are off the charts.  Though I liked its ultimate message that grief can truly be consuming and mess with your worldview, its attempts at whimsy and cleverness got to be too much.  At close to 2 hours, I thought this one could have been shorter, too.

Though many industry folks walked out early, I seemed to be one of the few people in the audience who embraced SAD JOKES, dir Fabian Stumm (Germany) “Set in present-day Berlin, this tragicomical second feature from writer-director-actor Fabian Stumm poignantly portrays modern queer life and the perseverance required of an artist.” For the most part, I rather liked this little film.  From its decisions to mostly leave scenes in a single, static, one-take shot to its writing and character development through multiple scenarios, this film is about a man who hasn’t been able to connect with many people since his last break-up (three years prior). The protagonist is raising a child with his best friend, and he is attempting to be a good father while putting himself out in the world again.  It’s heartbreaking and hysterical and very honest.

My last film of the day stars Gillian Anderson and Jason Isaacs – THE SALT PATH, dir Marianne Elliott (United Kingdom) “After losing their home and livelihood, a middle-aged couple impulsively set out on a 630-mile walk along the southwest English coast, a walk complicated to no small degree by the recent diagnosis of a terminal neurodegenerative disease.” (taken from TIFF catalog) Anderson is particularly strong in this film – her face is face is able to convey so much torment and pain as well as love and joy.  As this couple walk and encounter wind and rain and rising tides, you can really feel their struggle.  This story really does make you take stock of what you have…and that it could really all change on a dime.
Based on a best-selling memoir, this 118-minute movie would make a really strong 90 film…and maybe if it gets picked up for distribution, someone could make the ending a bit more satisfying and less abrupt.

Tomorrow, I hope to see 4 films again…including David Gordon Green’s new film NUTCRACKERS, starring Ben Stiller, which was shot in Ohio with some Dayton talent…and WE LIVE IN TIME, the new film from John Crowley starring Florence Pugh and Andrew Garfield.

On Sunday, I’ll see THE ROOM NEXT DOOR – the new film from my all-time favorite director Pedro Almodovar.  Fingers crossed that he, Tilda and Julianne are all there!

Thanks so much for reading!
More soon,
Jonathan

 

Yellow Springs Festival Back and Bigger in Year Two

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Gearing up for its second year, the Yellow Springs Film Festival (YSFF) is back with an outstanding lineup of independent films, stand-up comedy and live music taking place Oct. 4-6.

YSFF is proud to announce its kickoff party Friday Oct. 4th with a live performance by Comedian and Musician Reggie Watts. Reggie, who most recently starred as the bandleader on CBS’s The Late Late Show with James Corden will bring his formidable voice, looping pedals, and his vast imagination to town, blurring the lines between music and comedy. This will be followed up by Opening Night featuring a screening of the film, The Uninvited (World Premiere SXSW 2024). The film will be followed by a in person conversation with Writer / Director Nadia Conners and will feature a zoom Q&A with star of the film Walton Goggins.

Other Special Events throughout the festival include the new documentary, Eno on musician Brian Eno (known for producing David Bowie, U2, Talking Heads, among many others). A conversation between Director Gary Hustwit and filmmaker Steven Bognar will follow the screening.

Stand-up comedian Dave Hill will also be performing on Sat Oct 5th. Dave Hill is a comedian, writer, musician, actor and radio host. He has appeared on Inside Amy Schumer, The Jim Gaffigan Show starred in the Joel Levinson film Boy Band, filmed here in Dayton in 2018 and recently been opening for Tenacious D. In addition, a 30th Anniversary screening of Pulp Fiction will take place featuring live music from the soundtrack, a costume contest and audience trivia.

The narrative film slate includes, In the Summers (WINNER: Grand Jury Prize 2024 Sundance Film Festival), Eephus (Directors’ Fortnight, 2024 Cannes Film Festival), Darkest Miriam (World Premiere 2024 Tribeca Film Festival, Executive Producer Charlie Kaufman, starring Britt Lower) and a Midnight Screening of A Desert (World Premiere 2024 Tribeca Film Festival, music by Ty Segall).

The documentary film slate includes, A Photographic Memory (World Premiere 2024 True/False), I Like it Here (Directed by Ralph Arlyck), Spiz (Directed by Barry Rowen) and Before We Get Started featuring appearances from Judd Apatow, John Oliver, Amy Schumer, Leslie Jones, Seth Myers, Bob Saget, Ray Ramano, Jim Gaffigan, Fred Armisen, Colin Jost and many more.

Closing Night of festival will take place Oct 6th and will feature a special 25th Anniversary screening of the film, Ghost Dog: The Way of the Samurai starring Forest Whitaker and music by RZA. The movie will be followed by a in person conversation between Director Jim Jarmusch and YSFF Founder Eric Mahoney with audience Q&A to follow.

In addition, this year YSFF will be giving out the first ever Julia Reichert Award, a $3,000 prize presented by PNC Bank and given to an emerging female documentary filmmaker to help support a current project. Reichert, a long time Yellow Springs resident and Oscar winning Director was a creative force and each year this award will be given in her name. The event will feature the new short documentary, Julia’s Stepping Stones, Directed by Julia’s partner in film and love, Steven Bognar.

YSFF Shorts will feature two additions this year, one in collaboration with the NYC based Production Company Wavelength and will feature their current class of Wave Grant winners. The WAVE Grant, which stands for “Women at the Very Edge,” supports first-time women and non-binary filmmakers of color in creating their first short narrative film. The second program will feature a collection of documentary, narrative and animated short films — both events will be followed by panel; discussions with the filmmakers.

All films and events will take place at the historic Little Art Theatre and The Foundry Theater at Antioch College. YSFF is produced by Hotshot Robot Productions operated by Founder / Executive Director / Programmer Eric Mahoney and Creative & Artistic Director Ian Jacobs in conjunction with the Yellow Springs Community Foundation.

Ticket Info:

2024 YSFF FILM BADGE – Access to over a dozen films + events including Opening Night and live comedy runs $65.  Individual screening tickets range from $15 -20, with the kick off party running $30.  Tickets available on eventbrite.

 

TIFF Bound! Submerging In Cinema!

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Hello NEON Community,

Thanks so much for checking in.  I’m making a list and checking it twice…and three times…and four times…all in an effort to squeeze in as many films as possible from the 50+ films I’d like to see over the next several days at The Toronto International Film Fest.  In the end, I’ll only have room for 30-35 screenings, so some films will have to wait.

It’s early morning on Wednesday, Sept. 4, and I’m about to head to the airport.  When I get to Toronto, I’ll head right to the industry hub where I’ll get my credentials for the festival.  My pass will allow me to see a handful of public screenings (those are the ones with directors & stars in attendance with interesting Q&A’s) as well as numerous press and industry screenings (which are generally no-frills – but full of folks like me as well as some high profile journalists and studio execs…all kinds of people from the industry).

I’m staying in a condo just a couple blocks from the middle of everything,  and I’m very excited about several films…and it’s always fun to discover films I didn’t know I needed to see.

Here are couple titles I’m excited about:

THE ROOM NEXT DOOR – Pedro Almodovar’s English-language feature film debut – starring Tilda Swinton and Julianne Moore.  If you’ve read my blog and newsletters before, you might know that Almodovar is my favorite director of all time.  I can’t wait for this one.  It just received a 17-minute standing ovation at the Venice Film Festival earlier this week.

WE LIVE IN TIME – the new film from John Crowley (director of BROOKLYN) – starring Andrew Garfield and Florence Pugh.  I think this film looks lovely, and I’m a big fan of BROOKLYN.

MISÉRICORDE, the new film from Alain Guiraudie (director of STRANGER BY THE LAKE) is on my list as well.

In addition to movies, I’ll get to sit in on an interview with Cate Blanchett at an event called IN CONVERSATION: CATE BLANCHETT.  I’ve been a fan for years (and there was even that time when I was a co-worker of sorts)…so I’m anxious to see her in this scenario.

Every day, I’ll take notes when I’m seeing movies.  I’ll assemble those notes each night and publish my posts.  This serves as a way for me to get my thoughts down on a daily basis…and to take you along for the ride.

If you’re in Dayton, please stop in to keep my co-workers company at THE NEON.  Thanks for all of your support.

More soon,

Jonathan

Local Filmmaker Takes on The Wright Brothers Story

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“The Wright brothers changed the world. Their story deserves to be told
with the same passion and precision they brought to their work.”

At a press conference held to day at the Dayton Aviation Heritage National Historical Park,  Centerville filmmaker Allen Farst made the announcement of his next feature film: The Flying Machine! Farst has optioned the book “The Bishop’s Boys:A Life of Wilbur and Orville Wright, written by Tom Crouch and will write the screenplay and direct the film.  Previous films by Farst include Triangle Park, a documentary about the first NFL game,(which will stream on Amazon Prime in Sept) and Chuck Leavell: The Tree Man, an award winning documentary film about The Rolling Stones keyboardist.

Farst shares “the story of the Wright brothers serves as a beacon of inspiration, reminding us that with vision, perseverance, and a willingness to embrace failure as a stepping stone to success, anything is possible. Through the medium of film, this message can reach a global audience, igniting the spark of curiosity and ambition in the hearts of aspiring aviators and innovators around the world. In nearly 125 years [2028 is the anniversary of flight] there has not been one major motion picture about the Wright brothers until now and with your support we plan to change that!

But this isn’t just about planes—it’s about the human spirit reaching new heights. Our film captures the awe-inspiring triumphs and heart-wrenching setbacks of the Wright brothers’ who dared to chase the horizon. It’s a celebration of passion, perseverance, and the relentless pursuit of the impossible.

The story of the Wright brothers serves as a beacon of inspiration, reminding us that with vision, perseverance, and a willingness to embrace failure as a stepping stone to success, anything is possible. Through the medium of film, this message can reach a global audience, igniting the spark of curiosity and ambition in the hearts of aspiring aviators and innovators around the world. In nearly 125 years [2028 is the anniversary of flight] there has not been one major motion picture about the Wright brothers until now and with your support we plan to change that!”

On hand to share their support, Amanda Wright Lane, Great Grand Niece of Orville and Wilbur Wright  and Stephen Wright, Great Grand Son of Orville and Wilbur Wright.  Amanda shared that basing this film on Tom Crouch’s book will give the world the big picture about the Wright Brothers.  How be used a treasure trove of Wright family correspondence and diaries, Crouch skillfully weaves the story of the airplane’s invention into the drama of a unique and unforgettable family. He shows us exactly how and why these two obscure bachelors from Dayton, Ohio, were able to succeed where so many better-trained, better-financed rivals had failed. She’s sure Farst will be able to use the book to guide his film. “We are thrilled that Allen Farst and Palmar Studios are taking on one of the greatest stories of humankind,” Wright says.

Farst continued,  “this isn’t just about planes—it’s about the human spirit reaching new heights. Our film captures the awe-inspiring triumphs and heart-wrenching setbacks of the Wright brothers’ who dared to chase the horizon. It’s a celebration of passion, perseverance, and the relentless pursuit of the impossible.

The community is invited to support The Flying Machine. Join a movement to honor the untold stories that shaped the skies we navigate today. Don’t let these tales of bravery and ingenuity fade into obscurity—help us bring them to life on the silver screen for the first time and inspire generations to come!”

To donate to the film or learn more about it, please visit www.FlyingMachineMovie.com

McCoy on Movies: The Bikeriders

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Butler, Comer and Hardy lead Jeff Nichols’ motorcycle-driven snapshot of masculinity in THE BIKERIDERS


WATCH THE TRAILER HERE:

 

THE BACK STORY: Inspired by Danny Lyon’s book of the same name, THE BIKERIDERS stars Jodie Comer as Kathy, a woman living in/around Chicago in the mid 1960s. She is the paramour of Benny (Austin Butler), a rebellious young man who only cares about two things: His Harley-Davidson motorcyle and The Vandals, the bike club of which he is a member. The Vandals are essentially his family as he spends the majority of his time with its various members doing whatever it is they wish to do at any given moment. 
 
The Vandals are led by Johnny (Tom Hardy), a stoic figure who’s presence is understated, yet fully commanding in as much as he doesn’t say compared to what he does. This is why he is rarely challenged, both on decisions and for leadership of the club, making him an inspiration to members like Cockroach (Emory Cohen), Zipco (Michael Shannon), Wahoo (Beau Knapp), Brucie (Damon Herriman) and Corky (Carl Glusman). They live life as they ride: Free and uninhibited with their brothers – and the occasional lady – at their side. 
 
But as The Vandals begin to rise in prominence, they also begin to rise in notoriety, leading to run-ins with the law, townspeople and other bike clubs. But as Danny (Mike Faust) – a college student who interviews Kathy and documents the club’s activities, the goal being to produce a book one day – Kathy and The Vandals will come to learn that all good things must eventually come to an end …
 
THE REVIEW: Did you catch wind of that recent social media debate about which would a woman choose if she was stuck in the middle of the woods with the option of a bear or a man? Watching THE BIKERIDERS, the reasoning behind what would seem to be the ludicrous choice becomes clear from one scene to the next. For in presenting a masterful depiction of the rise of the American motorcycle club and its eventual demise from its glory days, writer/director Jeff Nichols and company have created a definitive 120 minute visual showcase of two words – toxic masculinity – inadvertently. 
 
This is not to suggest by any means that the film is quote-unquote “bad” by any means; instead, in creating a tribute to the men (and women) that have been romanticized in popular culture, THE BIKERIDERS – whether intentionally or unintentionally as it seems – exposes the pitfalls and trappings of what is supposed to define masculinity (being “cool,” “macho” and rebellious) for what they really are: Broken men looking for a sense of family, belonging, self-worth and purpose that have perpetuated from their origin to the 21st century.
 
While his turn as Elvis Presley may not have made him the true household name he surely sought to become, THE BIKERIDERS should help propel Austin Butler to the forefront. Coming with the standard issue teen idol/boyband heartthrob visual presentation, Butler shows that he can work a leather jacket, motorcycle and sideburns and not the other way around. While his character could easily come off as one note (and at times, almost does through no fault of his own due to the circumstances around him), Butler commands attention in each scene he in which he appears.
This in turn plays well off of Hardy’s stoic, Tony Soprano-like performance as Johnny, a man who despite what should be considered the perfect family life for his era, desires something different, something animalistic, something more – his bike club allowing him to enjoy the king of the jungle status so many men crave.  This makes he and Butler’s character two peas in a proverbial pod, the old lion with his young apprentice, both of whom desire to be free of anything (except possibly each other) in an “us against the world” manner for the ages.
In turn, this makes the various members of their club – Army burnouts, blue collar workers who wouldn’t stand out from the pack – look up to them, aspiring to be what they believe they are (true men) and unable to see their faults and flaws. This in turn is reflected in Toby Wallace’s pivotal character, the classic product of a 1960s broken home who sets out to be the opposite of what he feels – trapped, lacking power and unable to become his own man. This is why he sets out on such a destructive path which, of course, leads to pivotal (if not predictable) moments in the film. Yes, there is brotherhood and camaraderie with certain times that reflect the “live free” spirit that THE BIKERIDERS seeks to celebrate … But it’s extremely hard to ignore the cost that comes with it.
This is why the film being narrated by Comer’s character makes for the most interesting component of the film. In Kathy, we don’t get so much of a woman discussing her wild times with her man, but almost more of a mother discussing her children, hoping that all of her prodigal sons will one day return home safely even though she knows they won’t. (Maybe that’s why a friend who is also a parent left an advance screening of the film, the moments of violence and profanity aside? Then again, this isn’t exactly her “type” of movie to begin with, but I digress …)
In a world where ideology is constantly evolving, THE BIKERIDERS, for some, will seem like a breath of fresh air, showcasing a time when “men were men” and how one should look to set their own path as opposing to bowing to society’s standards. For others, it may seem like a documentary of the Cro-Magnon mindset seemingly responsible for all the world’s current major problems – and who’s to say which is right?
As a film, however, THE BIKERIDERS is entertaining – and maybe just leaving it as an intriguing piece of cinema versus the inspiration for a way of life is where it would best be served.

 

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

 

 

 

McCoy on Movies: BAD BOYS: RIDE OR DIE

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Lawrence, Smith showcase their chemistry to make familiar police action movie tropes feel entertaining in latest Bad Boys franchise installment

 

Grand Theft Auto … But you get to play as the cops? The theatrical coming soon poster for Sony Pictures’ BAD BOYS: RIDE OR DIE. Credit: © 2024 Sony Pictures. All rights reserved.

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Will Smith, Martin Lawrence, Vanessa Hudgens, Ioan Gruffudd, Tasha Smith, Jacob Scipio, Rhea Seehorn, Eric Dane, Alexander Ludwig, Melanie Liburd, Paola Núñez, Joe Pantoliano, Dennis Greene and Quinn Hemphill with John Salley and Tiffany Haddish

DIRECTOR: Adill & Bilall (Adil El Arbi and Bilall Fallah)
THE BACK STORY: BAD BOYS: RIDE OR DIE picks up following the death of the beloved Captain Howard (Joe Pantoliano), the mentor of his beloved “bad boys” team of family man Marcus’ (Martin Lawrence) and perennial playboy Mike Lowery (Will Smith). His passing has Mike putting things in perspective and settling down, marrying his new wife, Christine (Melanie Liburd). Likewise, their old friend Rita (Paola Núñez) has taken the reigns as the new captain of the department, a position from which she can oversee things – including her boyfriend Lockwood’s (Ioan Grufudd)’s possible ascent to mayor of Miami. 
 
But when Marcus has a medical episode at Mike’s wedding, he begins to have visions: Of both Captain Howard and a situation that is going to force Mike – who he now deems his soulmate across multiple existences – to make a hard choice. 
 
Turns out Marcus won’t have to wait long for that to happen. For while he is battling his sweet tooth, he and Mike soon find themselves battling the unexpected: News that Captain Howard may, in fact, have been working with the very cartel that killed him – and killed him via a hit ordered that was executed by Mike’s estranged son Armando (Jacob Scipio). But knowing the type of man Captain Howard was, both Mike and Marcus know that can’t be true. 
 
What is true, however, is that John McGrath (Eric Dane) is hot on their trail and about to let a series of events unfold to make the men used to being the hunters become the hunted.
 
THE REVIEW: The BAD BOYS franchise, now four films deep, isn’t one you come to for deep, tightly written twists and turns of good vs. evil. No, BAD BOYS is a franchise built around speed, exotic nightlife, humor, gunplay and chemistry among its characters. The latest installment, BAD BOYS: RIDE OR DIE is proof that while the franchise is definitely showing its age like its stars, it has no intentions of slowing down since all the things that have helped carry it along are still present.
 
Lawrence and Smith are at their best playing off each other with quips and jabs before eventually saving the day. RIDE OR DIE attempts to raise the stakes a little bit by giving the characters a little more emotional depth by confronting them with their past sins. In Marcus’ case, his poor diet choices and newfound love of life; in Mike’s case, that means dealing with the scars of seemingly always losing the people he loves while trying to rectify his relationship with the one person still here that is not his wife in Armando. 
 
Even with all those things taken into consideration, RIDE OR DIE plays out pretty much like a standard buddy cop action movie – the fun of watching Lawrence and Smith together like an old married couple being the thing that keeps it from being one. All the other characters are fairly standard issue save for the strong physical performances exhibited by Scipio – a potential future leading man if Hollywood finds the right role for him – and a sequence featuring Marcus’ son-in-law Reggie (Dennis Greene) that adds some nice surprising energy. 
 
The extended action sequences are also well done, which helps keeps things moving along – a must when you have by-the-book villains and a plot that has more holes than it should if you begin to examine it too much. (This is one of those “don’t think, just watch” movies where you can turn off the logic and give in to your more base desires as to do otherwise will ruin your fun.)
 
Outside of that, RIDE OR DIE is a standard action movie ride along. But when you have two entertaining leads like Smith and Lawrence, you get a film that will keep the peace on screen and with movie audiences.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

Jewish Film Festival – May 30 – June 30th

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The Dayton Jewish International Film Festival offers outstanding world cinema that promotes awareness, appreciation and pride to the diversity of the Jewish people and to the community at large. Our goal is to educate and entertain through evocative, narrative and documentary films that portray the Jewish experience from historic to current global perspectives.

JCC International Jewish Film Festival Opening Night – The Catskills

Thursday, May 30 at 7:00 p.m.
The film will be followed by guest speaker Dr. Jenny Caplan, and a dessert reception

The Roger Glass Center for the Arts
(29 Creative Way, Dayton, OH 45479)

Cost:
Opening Night Reception + Individual Ticket $18
Season pass $95 (includes Opening Night)

(United States, 2023, 86 minutes) Documentary

The Catskills is a delightful account on the rise and fall of the Borscht Belt and the powerful women who made it happen. With a trove of lost-and-found archival footage and a cast of characters endowed with the gift of gab, this charming documentary journeys into the storied mountain getaway north of New York City that served as refuge for Jewish immigrants and affluent Jewish families alike. Stand-up comedians share their best shtick while former waiters, entertainers, and dance instructors recount tales of the family-run resorts and bungalows. Punctuated with expert commentary—including from Dayton’s Dr. Jenny Caplan!—The Catskills is where nostalgia and memory meets the American Jewish experience.

Jennifer Caplan is Associate Professor and The Jewish Foundation of Cincinnati Chair in Judaic Studies at University of Cincinnati. Her first book Funny, You Don’t Look Funny: Judaism and Humor from the Silent Generation to Millennials was published by Wayne State University Press in 2023, and she is a co-editor of the forthcoming book No Respect: Themes and Trends in Global Jewish Humors. Currently she is working on Unmasked: Jewish Characters in DC and Marvel, which looks at the history and evolution of Jewish comic book characters.

Home

Tuesday, June 4 at 7:15 p.m.
The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

PURCHASE TICKETS FOR HOME

Home

Tuesday, June 4 at 7:15 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

(Israel, 2023, 111 minutes) Crime/Drama

Home, nominated for nine Israeli Academy Awards, including Best Film, is a portrayal of the tensions between religious power and personal ambition in an ultra-Orthodox enclave. Yair opens a computer store in his Jerusalem neighborhood, instigating the scrutiny of the rabbis who police the boundaries between the secular and the sacred. His wife’s distinguished family has doubts, but the stream of customers interested in “kosher” electronic products says otherwise. Yair’s success clashes with the gatekeepers of propriety in this insular community. Based on the personal story of writer-director Benny Fredman, Home’s dynamic performances and tremendous cinematography places us in the heart of contemporary Jerusalem.

An Evening of Short Films

Thursday, June 6 at 7:15 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

PURCHASE TICKETS FOR AN EVENING OF SHORT FILMS

FEATURING THE FOLLOWING FILMS:

Sevap/Mitvah
(United States, Bosnia and Herzegovina, 2023, 20 minutes)
In 1941 Nazi-occupied Bosnia, a Muslim woman risks her life to save her Jewish friends and is saved by them in turn 50 years later. Inspired by a true story.

BrownWhite
(Israel, 2022, 10 minutes)
BrownWhite explores how skin color influences the development of identity. Weaving Israeli biracial kids’ life experiences with findings from academic research, the film reveals the dilemmas of identity in the blended family – a world that’s more complicated than black, white, or brown.

Mazel Tov Cocktail
(Germany, 2020, 30 minutes)
Dima is a charismatic, tough Russian-Jewish teenager living in Germany. Breaking the fourth wall he passionately and ferociously talks about his views, the Jewish condition in Germany, and about the tolerant, but hypocritical ways in which his world works.

Call Me Alvy
(United Kingdom, 2017, 10 minutes)
Brian Silver – almost 13 and preparing for Bar Mitzvah – has been obsessed with Woody Allen ever since his older brother introduced him to the film Annie Hall. Does his mother have a reason to worry, or is it just a phase?

Jack and Sam
(United States, 2023, 20 minutes)
A poignant film about two Holocaust survivors who were miraculously reunited after 80 years and are now spending time rekindling their friendship and teaching others about the dangers of hatred. NOTE: After the war, Jack Waksal moved to Dayton, Ohio, where he lived until 1992.

The Interpreter

Monday, June 10 at 7:15 p.m.
(also available virtually June 10 and 11)

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Virtual Access Ticket $12
Season pass $95

PURCHASE TICKETS FOR IN-PERSON SHOWING OF THE INTERPRETER
PURCHASE TICKETS FOR THE VIRTUAL SHOWING OF THE INTERPRETER (tickets go on sale May 1st)

Cost:
Individual Ticket $12
Virtual Access Ticket $12
Season pass $95

(Slovakia, Czech Republic, Austria, 2018, 113 minutes) Drama/Comedy

What happens when you seek revenge but find friendship? Eighty-year-old Jiri believes he has located the former SS officer who executed his parents but finds instead the man’s wastrel middle-aged son. The bittersweet odd-couple journey to meet surviving witnesses of war and to come to some resolve about history and guilt and wisdom about life and loss. Variety’s Jessica Kiang writes “the subtlety of the film’s elegant craft, the restraint of well-known Slovakian director Martin Šulík’s characterful screenplay, and the superb chemistry between the two lead actors gives The Interpreter a respectful, quiet resonance.”

All About the Levkoviches

Sunday, June 16 at 7:15 p.m.
(also virtually June 16-18)

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Virtual Access Ticket $12
Season pass $95

**First 50 dads get in FREE!! Use code DAD50 at checkout**
(Code only available for in-person screening; can only be used one time per transaction)

PURCHASE TICKETS FOR IN-PERSON SHOWING OF ALL ABOUT THE LEVKOVICHES
PURCHASE TICKETS FOR THE VIRTUAL SHOWING OF ALL ABOUT THE LEVKOVICHES (tickets go on sale May 1st)

All About the Levkoviches

Remembering Gene Wilder

 

Tuesday, June 18
Reception at 9:30 a.m. (sponsored by Hadassah)
Film begins at 10:00 a.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

PURCHASE TICKETS FOR REMEMBERING GENE WILDER

In iconic roles from Leo Bloom to Willy Wonka, and in comedy classics like Blazing Saddles and Young Frankenstein, Gene Wilder (born Jerome Silberman) charmed audiences with his neurotic charisma and manic energy. Wilder also faced personal tragedy, losing his wife, comedian Gilda Radner, and later battling Alzheimer’s. A “disarmingly lovable documentary” award-winning filmmaker Ron Frank has gifted us a “captivating, insightful and profoundly moving” account of one of our great comic actors. With rare never-before-seen home videos and memorable scenes from our favorite Gene Wilder films, this winning documentary reveals intimate insights detailing his life and career with many astonishing surprises. An audience favorite at more than a dozen film festivals, do not miss the timeless comic genius of Wilder on the big screen.

Nathan-ism
Thursday, June 20 at 7:15 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

(United States, 2023, 79 minutes) Documentary
Shortlisted for the International Documentary Association’s best films of 2023

PURCHASE TICKETS FOR NATHAN-ISM

(United States, 2023, 79 minutes) Documentary
Shortlisted for the International Documentary Association’s best films of 2023

For decades Nathan Hilu has been unable to stop drawing: his years during and after World War II, his Syrian-Jewish family, his Yiddish New York. His quirky drawings—part underground comix, part Jean-Michel Basquiat, all Nathan—have the attention of archivists, galleries, and historians. Tablet Magazine described him as the “most significant Jewish Outsider artist you’ve never heard of.” But doubts arise: was Nathan really a guard at the Nuremberg Trials? What is memory and what is invention? A compelling documentary with twists and turns of the creative spirit. Do not miss the spectacular visual kaleidoscope of urgency as Nathan races against the clock to document history.

 

An American Tail

Sunday, June 23 at 3:00 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
No charge (seating is limited)

RESERVE TICKETS FOR AN AMERICAN TAIL

An American Tail

No charge (seating is limited)

(United States, 1986, 80 minutes) Animated Family Musical

An animated cinematic feast, not to be missed on the big screen! Steven Spielberg helped produce this now-classic tale of a young mouse named Fievel Mousekewitz who, with his family, emigrate from Russia to the United States by boat after their home is destroyed by cats. Separated from his family but aided by a team of new-immigrant ethnic mice, Fievel explores the new world, facing adventure, hardship, and reunion. An entertaining, sensitive, and unforgettable tribute to the immigrant experience, An American Tail will sensitize another young generation to the challenges of many of our forebears.

In partnership with PJ Library

Kidnapped: The Abduction of Edgardo Mortara
Sunday, June 23 at 7:15 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

 

PURCHASE TICKETS FOR KIDNAPPED: THE ABDUCTION OF EDGARDO MORTARA

(Italy, France, Germany, 2023, 134 minutes) Historical Drama

A captivating depiction of the controversy that shocked the world: the 1858 forced removal of a Jewish child, Edgardo Mortara, from his family by agents of the Inquisition, approved by the Pope himself. Brought to the screen with historical accuracy and striking cinematography, Kidnapped narrates a turning point in the history of Italy in general and the Jews in Europe in particular. This is the story Steven Spielberg considered filming, now brought to life by acclaimed Italian director Marco Bellocchio. Don’t miss this full-tilt drama “with the passionate vehemence of Victor Hugo or Charles Dickens” (Peter Bradshaw, The Guardian).

**Support the JFS Mitzvah Mission by bringing items with you to the theater to be donated to the YWCA. Click here for more information, including a list of High-Need items.**

Less than Kosher

Tuesday, June 25 at 7:15 p.m.
(also available virtually June 25-27)

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Virtual Access Ticket $12
Season pass $95

PURCHASE TICKETS FOR IN-PERSON SHOWING OF LESS THAN KOSHER
PURCHASE TICKETS FOR THE VIRTUAL SHOWING OF LESS THAN KOSHER (tickets go on sale May 1st)

(Canada, 2023, 67 minutes) Musical Comedy

Can the pizzazz of pop and the chutzpah of the digital age capture the spirit of tradition? At 20, Viv was a promising young singer. At 30, her failing music career has forced her back into her mother’s basement. But when this self-proclaimed “Bad Jew” lands ass-backwards into a job as a Cantor at her family’s synagogue, she’s thrown into a wild ride of illicit affairs, drug trips, family drama, self-discovery and some serious Jewish bops. It’s Shiva Baby meets A Star is Born. Modern Jewish wit and viral Hebrew Electro-Pop. Don’t miss the delightful performances which earned Less than Kosher the Audience Award at the Toronto Jewish Film Festival.

Stella. A Life.

Thursday, June 27 at 7:15 p.m.

The Neon
(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

PURCHASE TICKETS FOR STELLA. A LIFE.

(Germany, 2023, 121 minutes) Historical Drama

In extraordinary times, betrayal becomes ordinary. During wartime Berlin, some Jews found ways to evade Nazi round-ups, living surreptitious lives through guile and chutzpah. But standing in the eye of the storm had its risks. This powerful film is based on the true story of Stella Goldschlag, a young German Jew who became a “catcher” for the Gestapo. Stella explores how one can transform from survivor to snitch; a portrait of how ordinary souls become corrupted by dark circumstances. With award-winning actress Paula Beer as Stella, this beautifully filmed account of complexity and loyalty will stimulate audience discussions as few films have.

My Neighbor Adolf

Sunday, June 30 at 7:15 p.m.

The Neon(130 E. 5th St, Dayton, OH 45402)

Cost:
Individual Ticket $12
Season pass $95

PURCHASE TICKETS FOR MY NEIGHBOR ADOLF

(Israel, Poland, Colombia 2022, 96 minutes) Comedy/Drama

In the shadow of the capture of Adolf Eichmann, Polsky, a grumpy Holocaust survivor living in the countryside begins to have suspicions about his secretive new neighbor Mr. Herzog (played by German cult-actor Udo Kier). Piecing together clues and cues, Polsky goes to risky lengths to investigate. Might his portrait-painting, dog-loving nemesis be that Adolf? In order to verify, he will have to engage and entertain his neighbor, but at what costs to his loneliness? A comedy of misrecognition and misanthropy, My Neighbor Adolf is a charming and gripping black comedy, a hit for festival audiences worldwide.

Tickets also available for purchase at the door as space allows.
Questions? Contact Laura Smith, JCC Administrative Assistant, at [email protected].

JEWVirtual Tickets – Questions and Answers

For more information or help please contact Laura Smith, JCC Administrative Assistant, at [email protected].

McCoy on Movies: Kingdom of the Planet of the Apes

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Kingdom of the Planet of the Apes explores the best, worst of humanity, society effectively

“OK, one of us forgot our deodorant, which is a shame because we all could use a bath at this point!” Ambitious Eagle Clan survivor Noah (voiced by Owen Teague) and Raka (voiced by Peter Macon, far right) find themselves making a dangerous journey alongside their newfound human companion Mae (Freya Allen) in a scene from director Wes Ball’s KINGDOM OF THE PLANET OF THE APES. Credit: ©2024 Twentieth Century Studios. All rights reserved.

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS:  Owen Teague, Freya Allan, Kevin Durand, Peter Macon, Travis Jeffrey, Lydia Peckham and William H. Macy

DIRECTOR: Wes Ball
THE BACK STORY:  Taking place several generations after the rule of Caesar, the ape who would lead his species to prominence once a man-made virus gives primates intellect while rendering humanity speechless, we are introduced to Noah (Owen Teague). A member of the Eagle Clan, Noah – along with his friends Anaya (Travis Jeffrey) and Soona (Lydia Peckham) – is looking to graduate into adulthood by completing a ritual of their clan: Grabbing a young eagle egg from a nest to raise as their own. 
 
What Noah doesn’t know or suspect, however, is that the blanket that is taken from his horse will end up changing his entire clan’s fate forever. For once an elder warrior goes out to investigate, a warrior clan acting under the order of Proximus (Kevin Durand) is set to devastate anything in their path. Worse yet, the clan has the audacity to yell “For Caesar!” who has risen to mythical status … Even if his ideals are no longer being followed by Proximus or any of those under his rule.
 
As fate would have it, Proximus’ grand designs for the future lead to a life-altering experience for the Eagle Clan, leaving Noah out on a path seeking revenge. Along the way, he will encounter an orangutan who knows the true nature of Caesar in the friendly Raka (Peter Macon) … But perhaps most surprising will come when he runs into an “echo” – or “Nova” as Raka calls them – in the form of Mae (Freya Allen). While at first scared, Mae reveals a secret in a startling fashion that will also rock Noah’s world.
 
But what awaits them as the face their destiny could alter the future for apes and humans forever .. 
 
THE REVIEW: The detailed, evolving (pun intended) story has been one of if not the best aspects of the Planet of the Apes franchise since it was rebooted in 2011. KINGDOM OF THE PLANET OF THE APES continues that tradition, exploring the ideas of legends versus reality, power versus purpose and – as if ripped from today’s headlines – the idea of being able to coexist with others different from us in every way save for wanting the same thing: A peaceful way of life for those whom we care about.
 
For a film with essentially only two meaningful humans on screen, KINGDOM makes the most of its ape acing core to build upon the previous installments of the film while setting a meaningful stage for the next installment. Superhero film directors could learn a lot from Ball and his team with their work on KINGDOM, the effects making the old Charlton Heston films feel as dated as the acting within them.
 
Whereas Proximus and the idea of more is an easily relatable theme, his warning to Noah feels as true as it is sad when posted up against today’s political climate. Whereas trust can be weaponized for the advancement of one group versus another, KINGDOM also shows (albeit with a significant amount of blatant foreshadowing) what earned trust can be worth, why violence isn’t the answer and how man – or in this case, man and ape – often get in their own way of finding the way of life they wish to live. If there are criticisms to be had, it might be in the form of pacing (the first 30-40 minutes feel way longer than they are) and possibly the way in which William H. Macy’s character comes across as necessary yet one note. 
 
Those minor issues notwithstanding, KINGDOM OF THE PLANET OF THE APES achieves what it sets out to dow what so many have tried over the course of humanity: Remember that the word “humanity” includes the word “human,” even if it takes a bunch of apes to remind us of the best and worse of us as a species.

 

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

 

 

 

 

McCoy on Movies: Ghostbusters: Frozen Empire

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“Frozen Empire” shows latest “Ghostbusters” adventure not completely thawed out as much as it should be.

The teaser poster for GHOSTBUSTERS: FROZEN EMPIRE. Credit: Sony Pictures Publicity.

 

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Emily Alyn Lind, Logan Kim, Celeste O’Connor, Annie Potts, Kumail Nanjiani, James Acaster, Dan Akroyd, Ernie Hudson and Bill Murray with William Atherton

DIRECTOR: Gil Kenan
THE BACK STORY: Picking up after the events of Ghostbusters: Afterlife, GHOSTBUSTERS: FROZEN EMPIRE finds Gary Grooberson (Paul Rudd) now living with his girlfriend Callie Spengler (Carrie Coon), her now 18 and clamoring to be an adult son Trevor (Finn Wolfhard) and daughter Phoebe (McKenna Grace). Gone is the family house in the middle of nowhere Oklahoma, however, as the quartet is now living inside the Ghostbusters’ old firehouse in New York City. 
 
It’s a good thing, too, because it seems that something strange is always popping up, much to the chagrin of now Mayor Walter Peck (William Atherton). The organization’s longstanding oldest human nemesis, Mayor Peck is tired of the Ghostbusters’ constant destruction despite their work to constantly save the city, which is why he’s always looking for a way to shut them down. 
 
Phoebe, however, is dealing with her own problems. Informed she can’t be out working due to only being 15, Phoebe feels extremely out of place not being able to do anything, especially since it seems no one truly understands her. That’s why when she is greeted by a teenage spectre in the form of Melody (Emily Alyn Lind), she is happy for a newfound friend, even if they exists on two literally different astral planes.
 
There is something Phoebe, Gary, nor the rest of her family know, however … For while Raymond Stantz has been keeping up his fascinations with his occult book store and Peter Venkman is off doing Peter things, Winston Zeddmore (Ernie Hudson) has been using his company to study ghosts up close and personal. The research has brought about many revelations in ghost containment, which is good given that the old firehouse unit may be reaching capacity.
But what does any of that have to do with Nadeem Razmaadi (Kumail Nanjiani) and the strange brass ball that used to belong to his grandmother that he just sold to Ray? Let’s just say whatever is inside definitely wants to get out and turn the world into its own frozen empire …
 
THE REVIEW: After the maligned release that was 2016’s Ghostbusters installment, 2021’s Ghostbusters: Afterlife was a refreshing installment that honored the past films while carving out its own niche. In short, it felt like a new chapter in a story that enhanced it, capturing the sentimental and sweet with the funny and sarcastic.
 
GHOSTBUSTERS: FROZEN EMPIRE, however, by and large mostly just feels like a sequel. Save for the teenage coming of age elements of Grace’s character’s story – Is she out of place because she’s smarter than most of the adults? Is her relationship with Melody one that would be romantic if possible? – the story moves along, but lacks anything that makes it feel like other than what it is: A sequel that is okay but not on par with its predecessor. 
 
Many of the jokes feel like heavy-handed, well worn gags, the villain is almost an afterthought up until the last 20 minutes and Nanjiani feels a little out of place. The film’s narrative is also guilty of doing a lot of telling versus showing to keep things moving along and Murray dare I say feels like he’s just going through the motions when he’s onscreen. Then again, the visuals are nice, Grace does a lot of heavy lifting to give the film some sort of emotional center and the aforementioned last 20 minutes is an entertaining climax. 
 
That all being said, unless you are a diehard Ghostbusters fan (note: the author would include himself in that mix), you won’t really feel like you’re missing anything if you don’t catch FROZEN EMPIRE on the big screen. It’s a perfect Saturday afternoon movie for when you’re at home cleaning the house or not doing anything else, but if you’re worried whether or not you need to rush out to catch the latest installment, the answer sadly is no.
 
I ain’t afraid of no ghost, but I am afraid that the latest installment is more “okay” than it is spell-binding. 

 

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

 

 

Heart-Warming ‘One Life’ is a Beacon of Hope for the Modern World.

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We need heroes these days. People to take us from this incessant era of anger, heart-ache and the fake bliss that is social media. We need people who think beyond themselves. People who look to help others in the face of evil and terror. Our time, this time in the world is not anything new or out of the ordinary. There will always be poverty, war, homeless and HATE. We have those in check, and so, what we need are heroes like the one depicted in ‘One Life,’ a film now showing at the Neon Movies.

It is rare I think to write about film. It’s always ‘iffy’ to go there. But, if you like a recommendation, here it is. Sitting at 93% on Rotten Tomatoes, ‘One Life’ is proving to be that little film with a big heart, and a big consensus “You should see it…”

Anthony Hopkins (the perfect pick) stars in the film,  along with Helena Bonham-Carter (a role made for her) and Johnny Flynn (such a strong, staid performance.) Flynn plays the younger Nicky Winton. the hero of our story. Winton was instrumental in saving lives during the occupation of Czechoslovakia. His focus was on the children, who needed an escape from the oncoming Nazi regime. 5 decades later, Hopkins, the elder Winton, reflects on, and is haunted by, what became of those children. And we are in for an emotional roller-coaster, as the story unfolds, almost told too conventionally….Here is what happened, and here is why it mattered. But within that conventional style, we are given the facts, and the faces of heroes. (Bring your Kleenex) It all comes together with the film’s defining moments, and our hearts are, alas, FULL!

Though there will be times when you want to push the needle forward more quickly and with more finesses in the film, it’s the beauty of the actors’ performances that keep us engaged. The children in the film alone seem like seasoned performers, tugging at our heart-strings, yet never letting us forget the horror they are facing. The atmosphere, both in flashbacks and in the later years, is well-executed….there are definite ‘moods’ to both.

The film is directed by James Hawes, (the Challenger Disaster, 2013). His modest story-telling in ‘One Life‘ again retains his desire to get the story right…and let the reality in that, do the work. The movie is based on the book ‘ If It’s Not Impossible…: The Life of Sir Nicholas Winton.’ by Barbara Winton.

For Winton, it was always about doing what’s right by people. Within the hour and 45 minute film, you cannot help but think about our world….anti-semitism, invasion, refugees, and of course, the misplaced children. Injustice…I mean isn’t that what always brings about rising heroes…in film and in life. You will leave the theater, teary-eyed and wondering who will save us from ourselves…in our ‘One Life?’

Catch ‘One Life’ at the Neon until 3/28! Info Below:

https://www.neonmovies.com/home

 

McCoy on Movies: THE AMERICAN SOCIETY OF MAGICAL NEGROES

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Writer/director Kobi Libii strikes a strong social cord with satirical exploration of American society’s relationship to African-Americans with debut feature

“I heard the NPR reviewer didn’t like our movie … Looks like we better send them a magical Negro of their own …” Aren (Justice Smith) looks on as Roger (David Alan Grier) prepares to show him how to diffuse a potentially dangerous interaction in a scene from writer/director Kobi Libiii’s THE AMERICAN SOCIETY OF MAGICAL NEGROES. Credit: © 2024 Focus Features. All Rights Reserved. 
WATCH THE TRAILER HERE:
 

KEY CAST MEMBERS: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Micaela Watkins and Nicole Byer

DIRECTOR: Kobi Libii
THE BACK STORY: Ahh … The magical negro. First coined by Spike Lee in response to all the black characters that would appear in movies for no other purpose than to serve as a spiritual Jiminy Cricket or Tinkerbell to the lead white protagonist, the magical negro has existed in many forms on screen.
 
But what if they existed in real life? In writer/director Kobi Libii’s documentar-er, social satire, they are.
 
THE AMERICAN SOCIETY OF MAGICAL NEGROES stars Justice Smith (The Get Down, Jurassic World: Fallen Kingdom) as Aren, a yarn sculptor – yes, yarn – who’s career is going nowhere. He is, however, good at one very specific thing: Making white people feel comfortable around him … If they even notice he’s in the room, that is. That skill is what catches the attention of Roger (David Alan Grier), a bartender at the art gallery at which Aren is showing his work, which leads to him revealing a secret …
Roger is part of the aforementioned American Society of Magical Negroes, a collective of black people with magic powers which they use to keep white people happy and achieving their dreams. Why? Because in doing so, they help reduce the chances of other black people from getting unjustly fired from jobs, arrested – or worse. Showing Aren what he can do after inadvertently helping save him from a potential drunken Karen, Roger brings him to the secret society’s headquarters where he gets the full rundown. Skeptical at first, Aren eventually relents and decides to join up as Roger’s protege.
On assignment, Aren gets paired up with Jason (Drew Tarver), a depressed tech bro who works at a Facebook-esque social media company. And things are going well enough … Until they aren’t. Why? Because of the presence of Lizzie (An-Li Bogan), Jason’s boss. She’s cool, she’s hip, she’s smart and she’s funny … And she’s the same girl for whom Aren also has eyes.
Knowing that magical negroes must always put their clients’ happiness first before their own, Aren finds himself at a crossroads: Does he sacrifice the first person who’s made him feel good about himself or preserve the safety of all black people in America? For if one magical negro blows their assignment, all of their fellow negroes’ magic will cease to work.
 
THE REVIEW: THE AMERICAN SOCIETY OF MAGICAL NEGROES is a social satire. For many people of color, however, watching the film may feel more akin to watching a documentary. For in touching upon how fictional characters have navigated white society for years dating back to the early 1900s, the film subtlety touches on real aspects of the modern experience, especially in how a post-2020 has made it even more necessary. 
 
Validating how cool a non-POC is due to their outfit, knowledge of 90s hip-hop or sneaker collection? Check. Being the black friend they can speak they can “speak honestly” with without fear of retribution? Check. Explaining that someone isn’t a bad person just because they had no clue about something that culturally affects and/or has been affected black people for eons that they’ve clearly ignored all the signs of, dialogue about and/or protests? Check.
Why do I say all these things? Because these are things that I personally have experienced, which is something I’m quite confident I’m not alone in experiencing. And with his debut feature THE AMERICAN SOCIETY OF MAGICAL NEGROES, writer/director Kobi Libii brings those feelings to the forefront for the entire world to see in humorous, yet heartfelt fashion.
Some may take issue with the underlying romantic comedy notions – let alone Smith’s character falling for a non-black female lead. That idea, however, undercuts one of the prime stories present in the film that is also present for many black people in real life: Just being free to do, say, think whatever and fall in love with whomever you like without worrying about how someone else – in this instance, white people – are going to react to or feel about it.
In turn, one can live their life how they see fit instead of always trying to appease someone else out of fear of retaliation, inferiority complexes and/or hatred for their simple achievements. Don’t believe me? Take a look at the average headline with the dreaded letters “DEI” in the title. Whereas some outright refuse to acknowledge a system that has benefitted them, others take the stance of, “If someone else is getting closer to me socially/economically/civil rights-wise, I MUST be losing my status at the top of the food chain.” With THE AMERICAN SOCIETY OF MAGICAL NEGROES, Libii dives deep into corporate structure and shows how its the subtle things that people may not even realize that can have significant, lasting impact in both a positive and unfortunately more often than not, negative sense.
Smith is perfect as a nondescript everyman, the type that would hear “I don’t even think of you as black” as if that is some sort of complement from start to the film’s apex. But in watching him navigate the world around him, his slow own self-denial of his situation evolves into revelations that might feel revelatory to some and shocking-for-not-being-able-to-see-it-until-its-pointed-out-in-blatant-fashion to others. This in turn makes his relationship with Bogan’s character such a joy to watch – for despite being two people who would seemingly be from very different worlds, their connection to each other is so undeniable it’s a pleasant reminder of what the human experience should be in a world where, unfortunately, it just isn’t.
Of course, David Alan Grier is excellent in his role as the wise, old sage trying to guide his young apprentice. For a man well-known for his comedic prowess dating back to the late 80s/early 1990s – YES, In Living Color really is more than 30 years old – watching him delve expertly between comedic and dramatic has always been one of if not his best skill. THE AMERICAN SOCIETY OF MAGICAL NEGROES gives him a chance to do so adeptly as he showcases his range.
Sadly, in the wake of the stellar American Fiction – doesn’t it feel like that’s going to be the “here’s your good black film, now let us just acknowledge that and move on?” movie of 2024 following the Academy Awards – THE AMERICAN SOCIETY OF MAGICAL NEGROES is likely to get lost in the shuffle. Some of that may be due to its title; some of it may be due to lack of starpower and buzz it has … And some may be to general disinterest.
Then again, come to think about it – general disinterest in the African American experience is quite an American experience, which kind of explains how we got here in the first place, don’t ya think?

 

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

 

 

 

 

 

 

Yellow Springs Mini-Film-Fest

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Eric Mahoney, the filmmaker behind the Yellow Springs Film Festival has just announced he’ll be hosting a one day  “MINI-FEST” on Saturday April 6th at the Little Art Theatre in Yellow Springs!
He shared that this is halfway between last years festival and the Oct 4-6 2024 festival, “so it just seemed to think the mini-fest was a great way to keep the film festival in peoples minds. This will be the first time for folks to see these films and we’re excited to share them with film fans.”

Featuring  films fresh off their premieres at Sundance / SXSW / Venice and see live conversations with visiting Directors. Tickets to all films and events on sale now for all 4 event/screening for $15-20. The Little Art seats just around 100, so buy your tickets online before they sell out.

Saturday, April 6
The Little Art Theatre
247 Xenia Ave
Yellow Springs, OH 45387
Sat, Apr 6, 3:00 PM
The Little Art Theatre • Yellow Springs, OH
9 – 11:30pm EDT
 THANK YOU VERY MUCH (2024) Directed by Alex Braverman

Documentary about performance artist and “song and dance man” Andy Kaufman

McCoy on Movies: Drive-Away Dolls

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Ethan Coen’s latest cinematic escapade one not worth the drive 

 

“Maybe there’s a better movie hiding in this trunk?” Jamie (Margaret Qually) and Marian (Geraldine Viswanathan) take in an unexpected discovery in a scene from co-writer/director Ethan Coen’s DRIVE-AWAY DOLLS, a Focus Features release. Credit: Jojo Whilden © 2023 Paramount Pictures. All rights reserved.
WATCH THE TRAILER HERE:
 

 

 

KEY CAST MEMBERS: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, C.J. Wilson, Joey Slotnick, Colman Domingo, Bill Camp, with Pedro Pascal and Matt Damon


DIRECTOR: Ethan Coen

THE BACK STORY: The scene: Philadelphia 1999, right on the verge of Y2K. Jamie (Margaret Qually) is a free-spirited individual who likes to have sex with any woman she sees fit, much to the chagrin of her police officer girlfriend Sukie (Beanie Feldstein). Marian is a very uptight woman stuck in an office job who can’t seem to move on from her last girlfriend years ago … Which is why she decides to plan a trip to Tallahassee, Fla., to go visit her Aunt Ellis (Connie Jackson). 

Seeing how Sukie has had enough of her cheating, Jamie invites herself along for the ride, determined to get her best friend some romantic action. Problem is, the duo don’t have a way of getting there. That’s when Jamie comes up with the idea to find one via a car delivery service owned by the understated Curlie (Bill Camp). Curlie just so happens to have a Dodge that needs to get to Tallahassee the next day, so the girls take the charge and are off.

Problem is, that Dodge contains two very special items in its trunk that the hot-headed Flint (C.J. Wilson) and his more even-keeled partner Arliss (Joey Slotnick) are supposed to pick up and drive to Tallahassee. What are they? Well, let’s just say they both once belonged to The Collector (Pedro Pascal) and now, much to his chagrin, they don’t … and The Chief (Colman Domingo) is determined to get them to his client. Who is his client, you ask? Senator Gary Channel (Matt Damon), a conservative, family-oriented politician desperate to get the silver briefcase and its contents back.
 
So what happens when an uptight, introverted lesbian hits the road with her good-time seeking fellow lesbian while unknowingly being pursued by two thugs over 1,000 miles? You’ll have to see the movie to find out.
 
THE REVIEW: Sometimes, you watch movies and go “This isn’t for me.” It happens. Maybe it’s because you don’t like the dialogue. Perhaps its because the subject matter doesn’t interest you. It could even be that the scenario is so ludicrous that unless you see Chris Bridges pop up in between Fast & Furious movies and State Farm commercials, you can’t buy in.
 
In the case of DRIVE-AWAY DOLLS, it’s all three coupled with just the sheer absolute goofiness of the film from start to finish.
 
Alongside his older brother Joel, Ethan Coen has made his fair share of beloved cinematic excursions. This include Fargo, Burn After Reading and No Country for Old Men. With Drive-Away Dolls, Coen has also delivered a film that might become a cult classic among the LGTBQIA+ lesbian community for its depictions sexuality and self-discovery … But not among anyone looking for a good movie.
Save for the scenes feature Beanie Feldstein, the humor – when present – in DRIVE-AWAY DOLLS fails to deliver its intended result. One day, filmmakers will learn quirky for the sake of quirky isn’t comedy; it’s just annoying – and unfortunately, for every one person that find’s Qualley’s character funny, someone else will see that person that ruins a party with their loud, obnoxious and “well, this is happening, so just roll with it” behavior. She is a pure antagonist to the point you often find yourself feeling bad for Viswanathan’s character.
Make no mistake, diversity in mainstream film is an important thing that needs to be encouraged and supported. That being said, DRIVE-AWAY DOLLS at times feels a little more exploitative than inspired in terms of its characters’ sexuality. (Editor’s note: As a heterosexual, cisgender male, I understand I am not the target audience for the film. However, I know that when I’m watching an extended scene that feels like it is included simply for either shock value or the audience’s titilation, it is a bit distracting to say the least.) And in case you needed someone to just say it for you, DRIVE-AWAY DOLLS is NOT going to make any routine Fox News’ watcher’s top 10 list for 2024.
Save for one very poignant sequence of Viswanathan’s and Qualley’s characters respectively coming to truly understand their relationship, a large portion of the film suffers from a Wes Anderson-level of quirky for the sake of quirky with ridiculous characters, dialogue and actions. While the film’s final 20-25 minutes do ramp things up in terms of watchability and enjoyment, the preceding hour is inane enough to make most audiences not care once they arrive.
Here’s to hoping that DRIVE-AWAY DOLLS is the start of more representation of the LGTBQIA+ community on screen but the last time they are showcased in such silly fashion.

 

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