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McCoy on Movies: Mean Girls

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“Lindsey Lohan? Never heard of her …” Regina George (Reneé Rapp, center) holds court in the lunchroom with Gretchen Wieners (Bebe Wood) and Karen Shetty (Avantika) in a scene from Samantha Jayne and Arturo Perez, Jr.’s production of MEAN GIRLS. Credit: Jojo Whilden © 2023 Paramount Pictures. All rights reserved. 

WATCH THE TRAILER HERE:

 

 
KEY CAST MEMBERS: Angourie Rice, Jenna Fischer, Reneé Rapp, Auli’I Cravalho, Avantika, Bebe Wood, Jaquel Spivey, Christopher Briney with Busy Phillips, Tim Meadows and Tina Fey

DIRECTOR: Samantha Jayne and Arturo Perez Jr.
THE BACK STORY: Based on the hit musical – which itself is based on the original hit 2004 theatrical film – Mean Girls stars Angourie Rice as Cady Heron, a young girl who has been homeschooled by her mother (Jenna Fischer) while living in Kenya. Ms. Heron, however, has taken a job back in the United States, meaning Cady is about to get her first taste of what life is like in an American high school.

And that’s where she encounters a cast of characters that are going to change her life.

After meeting her new homeroom teacher Ms. Norbury (Tina Fey), Cady is observed by Janis (Auli’I Cravalho) and Damian (Jaquel Spivey), two social outcasts who quickly see she needs a rundown of the law of the land. That means letting her know about the Plastics, a.k.a. queen of the school Regina George (Reneé Rapp) and her two faithful underlings, the clueless Karen Shetty (Avantika) and the smart-yet-still-fearful-of-her Gretchen Wieners (Bebe Wood). None of this would be a problem for Cady if Regina hadn’t also taken an interest in her … And Cady took an interest in Aaron Samuels (Christopher Briney), a.k.a. her ex. 

So … What happens when you mix teenagers, insecurity, hormones and life lessons all to the beat of a diverse musical soundtrack? A film that is sure to turn plenty of potentially mean older fans into pleasantly surprised moviegoers …

THE REVIEW: The musical version of a beloved stage production … Sometimes, it can turn out great (like Les Misérables) …Other times, you get Cats. But creating a movie musical based on a stage musical that was originally a film that came out just 20 years – YUP, 2004 was two decades ago now – ago? Now that could be a daunting task for any directing duo … But for one that is primarily known for shorts and music videos like Samantha Jayne and Arturo Perez Jr.? It has “make or break” written all over it.

Fortunately for Jayne and Perez, Jr. – and fans of the original film – Mean Girls 2024 makes for an entertaining film fans old and new will enjoy.

 
Here’s what works well about the musical film adaptation of Mean Girls: The story is told efficiently through a clever mix of traditional dialogue and song, the latter diving deeper into their respective characters’ psyches, motivations, fears and insecurities in a way the original did not. In addition, the dance sequences enhance each moment or scene in similar fashion, serving as a complement rather than a distraction. 

None of this would matter, however, without the performances of the relatively unknown cast. Whereas Rice channels Cady with the same innocence Lindsey Lohan did in the original, Rapp owns pretty much every scene she’s in – while yet being more relatable arguably than Rachel McAdams was in the role in 2004. Wood likewise gives Gretchen considerable spunk and Avantika plays her role with such a wide-eyed aloofness it honors the work her predecessor Amanda Seyfried did and then some. 

Cravalho and newcomer Spivey, however, may have the best star turns of the entire affair, each bringing a dynamic (and needed) entertainment aspect to the film. Fey, Tim Meadows (reprising his role as the beleaguered Mr. Duvall) and the other adults are wise to mostly stay out of the way, letting the young people – even though it’s hard to buy in to most of the cast outside of Rice, Cravalho and Avantika being in their teens –  shine. Of course, Jayne and Perez, Jr. deserve kudos for their interpolation of TikTok and the modern world into the mix to deliver the best package possible – then again, having Fey on board for this go round likely helps.

Whether you prefer the 2024 version of Mean Girls likely comes down to how much you love the original versus you love musicals. The new one has all the exploration of the insanity that is high school, the humor and utlimately the empowerment that made the original so beloved by so many, plus a few new wrinkles thrown in for good measure. Thus, both are fine, both are entertaining …

And don’t worry, both are worthy of fetch-ing your attention.

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

Doc Night Showcases Nonfiction Films by Wright State Motion Picture Students

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Students in Wright State University’s Motion Pictures Program will screen their short nonfiction films at Doc Night on Thursday, Jan. 11, at 7:30 p.m. at The Neon, 130 E. 5th St. in Dayton.

Tickets are $10, and additional donations supporting the Motion Pictures Program will also be accepted.

Doc Night will feature an eclectic mix of provocative, embracing and humorous films exploring young entrepreneurs, the world of industrial marijuana harvesting, a road trip across Ohio exploring roadside attractions, and an Army veteran’s experience as a trumpeter in Vietnam.

A question-and-answer session with the student filmmakers will be held after the screening.

Doc Night will showcase films by Sabian Berdin, Nathanael Blair, Ben Gabriel, Hannah Hall, Barry Kingston, Alex Kuhn, Maddie Pfahler, Jude Powell, Sam Shaffer, Zach Vogt-Lowell, Isaac Warnecke and Sam White.

Doc Night showcases the best short student documentaries from the Documentary Semester of the junior year of the Motion Pictures Program. Students spend the semester learning the art form and producing different types of documentaries. They also learn important skills that help them become future filmmakers.

Many of the documentaries screened at previous Doc Nights have played at film festivals around the country, and past Doc Night filmmakers have gone on to win Emmy and Academy Awards.

This story By Bob Mihalek first appeared on the Wright State Newsroom website.

Dayton Dinner Theater presents Holiday Movie Classics

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Are you looking for fun holiday events to do this month? Dayton Dinner Theater is presenting three Christmas themed movie parties that are great for date nights, or small groups of friends & family: Elf, A Christmas Story, and Christmas Vacation.  See these classic holiday fils on the big screen in a fun group, interactive setting at The Brightside Music & Event Venue.
Before the movie starts enjoy live music and food that is directly inspired by the movie. The Brightside bar is open, and features themed drinks as well! During the movie, Dayton Dinner Theater features their famous interactive quote contest, fun facts, theme spotting, and a trivia contest during intermission. Although the movie parties are geared more towards adults, they are family-friendly. Costumes are encouraged!
Schedule: Doors open at 5:45pm. Food and live music are available from 6-7pm, the movie starts at 7pm,  a short intermission for dessert and trivia will start at 8pm. The movie ends around 9 pm.
When: Elf – Sunday, Dec 3, 2023
             A Christmas Story – Sunday, Dec 17, 2023
             Christmas Vacation – Friday, Dec 22, 2023
Where? The Brightside, 905 E 3rd St, Dayton, OH 45402
Note: Table reservations only for parties of 6 or more, otherwise, we have open seating.
Cost: $35 tickets available at daytondinnertheater.com. Advance tickets are required.

McCoy on Movies: Old Dad

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Bill Burr’s directorial debut for Netflix delivers laughs despite uneven storytelling

 
The poster for the new Netflix comedy OLD DADS. Credit: Netflix © 2023 Netflix. All rights reserved. 

 

WATCH THE TRAILER HERE:
 

 

KEY CAST MEMBERS: Bill Burr, Bobby Cannavale, Bokeem Woodbine, Katie Aselton, Rachael Harris, Jackie Tohn, Katrina Bowden, Reign Edwards, Miles Robbins and Josh Brener

DIRECTOR: Bill Burr

THE BACK STORY: Directed and co-written by Bill Burr, OLD DADS stars the comedian as Jack, a man who has a young son (Dash McCloud), loving wife in Leah (Katie Asleton) and two great friends in Connor (Bobby Canavale) and Mike (Bokeem Woodbine). Jack, Connor and Mike are also the co-owners of a throwback sports apparel company and are about to cash out in hopes of living the good life.

They are also in their very late 40s/early 50s, don’t like change and have some anger management/maturity issues. In Jack’s and Connor’s respective cases, they are also fathers of young children – and Mike? Well, more on that later …

Unfortunately for the trio, they are also struggling to stay in touch with today’s modern world, its trends and most of all, its sensitivities. So, be it the holier-than-thou attitude of his son’s kindergarten principal Dr. L (Rachael Harris), his new 28 year-old boss Aspen Bell (Miles Robbins), Connor’s overbearing wife (Jackie Tohn) and/or his miscreant son (Dominic Grey Gonzalez), Jack is nearing a breaking point. 

And as you might expect, when Jack and his friends break, a lot of feelings – and possibly some bones – are going to get hurt.

THE REVIEW: Burr has well-documented his journey as both an older father in real life and coming out of a traditional nuclear family in 1970s Massachusetts throughout his career. It’s served as fodder for many of his stand-up routines, his Monday Morning Podcast (and its Thursday follow-up) as well as his previous Netflix effort, the animated F is for Family. Thus, for those familiar with his work, OLD DADS will feel familiar with many jokes aimed at pointing out the hypocrisy and silliness (at times) of modern culture wars and aging … In a way that is likely to almost infuriate the very people who won’t see the humor in what is being criticized given the film’s language, viewpoints and nudity. (Yup, there’s nudity)

That notwithstanding, OLD DADS is a lot like parenthood itself: Entertaining at best, uneven and a little dystopian at its worst while in general doing a decent enough job at presenting its story. Some scenes feel to drag on unnecessarily while others feel inserted for the sake of being a funny moment rather than a moment that helps progress the story along. 

What does work, however, is that it is clear that as a director, Burr understands how a story arc should work, involves his characters so that their interactions don’t feel forced or ludicrous (even though some of their scenes togethers do) and how to deliver jokes that don’t feel recycled. It will be interesting to see what his next effort produces as OLD DADS shows he has come strong potential as a feature filmmaker … Even if that may come with a lot of not-so-safe for work – or millennials – content. 

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

 

 

 

 

 

McCoy on Movies: THE BURIAL

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Jamie Foxx, Tommy Lee Jones show spirited life in crowd-pleasing
Amazon Studios inspired by true events

“When I move, you move – just like that!” Willie Gay (Jamie Foxx, center) and Mike Allred (Alan Ruck, to the immediate left of Foxx) prepare for war a.k.a. litigation against Ray Loewen’s massive funeral empire in a scene from THE BURIAL. Credit: Skip Bolen © Amazon Content Services. All rights reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Jamie Foxx, Tommy Lee Jones, Mamoudou Athie, Jurnee Smollett, Alan Ruck, Bill Camp, Pamela Reed, Dorian Missick and Amanda Warren
THE BACK STORY: Inspired by true events, THE BURIAL stars Jamie Foxx as Willie Gay. Who is Willie Gay? Well, he’s a self-made man, the son of sharecroppers in Florida who has created his own mini legal empire. A superstar lawyer, Willie hasn’t lost a case in 12 years, which is why he has a 50-room mansion, luxury cars and the “Wings of Justice,” his own private plane.
By comparison, Jeremiah “Jerry” O’Keefe is a fairly simple man to say the least. The owner of eight funeral homes in Southern Mississippi, he’s hoping to leave the family business (which he inherited from his father) to his extended family. Given that he’s got double digit children of his own and even more grandchildren, that legacy is one he takes very seriously. Unfortunately, some bad business deals have left Jerry needing income quickly – which is why he decides to take the advice of his longtime lawyer and friend Mike Allred (Alan Ruck) and sell three of his funeral homes. The buyer? Ray Loewen (Bill Camp), the billionaire owner of Loewen Corp, the funeral industry giant with more locations than Willie has jewelry … And Willie has a lot of jewelry.
But when the handshake deal between Loewen and Jeremiah goes south, Jerry’s young apprentice lawyer seemingly in training Hal Dockins (Mamoudou Athie) assesses the situation and comes to a realization: Given the demographics of the county where Jerry’s lawsuit has been filed, having a lawyer that is both talented and that the jury will likely identify with is going to be crucial to winning the case. That lawyer? Yup, you guessed it, Willie Gay.
Apprehensive to take the case at first, Willie eventually relents and begins preparing. But Loewen has deep pockets and hires an extremely talented legal team of his own that is also well-suited for the jury. It’s leader? Mame Downes (Jurnee Smollett). And as Willie is about to find out, Downes is nicknamed “The Python” for a reason.
So … What happens in this David vs. Goliath legal tale for the ages that delves into everything from contracts to family to shady business and even African-American history that Ron DeSantis and Sarah Huckabee Sanders will hate? You’ll have to get Amazon Prime to find out.
THE REVIEW: THE BURIAL is entertaining for many reasons. It’s not just because Foxx and Jones are accomplished actors who can convey a broad range of emotions, have a great chemistry and are able to take their characters’ contrasts and transcend them into appeal that cuts across demographics. Likewise, it’s not because the film hits all the standard courtroom drama beats without feeling like a song that has been played to death (no pun intended).
No, it’s not even because Athie may be the greatest actor alive at playing “the sky is falling and what are we going to do” black guy in ages. (The fact he is smiling in his imdb.com picture feels shocking given his on screen presence.) What makes THE BURIAL work so well is the interplay between the characters that makes their relationships interesting.
Jones and Foxx characters exhibit an onscreen bond that makes their friendship feel as genuine as it was in real life. Likewise, the competitive yet professional respectfully battle between Foxx and Smollett heightens drama to the situation without ever feeling corny or superficial. As a character driven film, both situations are crucial to the film’s enjoyability; otherwise it could play out like your average TV drama. Instead, the film has a bit of the same vibe as AIR, both exploring how their situations are far more important and deeper than the subject matter would originally have you believe. Every character learns a lesson without feeling preachy or superficial, another facet of the film director Maggie Betts deserves kudos for execution-wise.
A film that is the definition of an audience pleaser without feeling sappy or superficial (save for some outrageous courtroom moments), THE BURIAL proves that Jones’ and Foxx’ respective careers are very much alive.
If nothing else, you will never listen to Toni, Tony, Toné the same ever again.

 

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

 

 

 

 

Special Edition Trotwood Lager Can: Triangle Park Movie!

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Warped Wing Brewing Company, headquartered in the heart of Downtown Dayton, Ohio, is excited to announce the launch of a Special Edition Trotwood Lager can in collaboration with PalMar Studios, producers of the upcoming Triangle Park Movie! Allen Farst, director of the film and founder of PalMar Studios, will be on-site at the Dayton Taproom for the official launch of the Triangle Park Trotwood Lager 6pks on Thursday, September 28th, beginning at 4pm for a meet & greet and autograph signing. Event attendees can also enter to win a pair of tickets to special movie preview night at the Neon in November. The tickets include a Q&A with Allen following the showing.

“We’re all about celebrating Dayton’s rich history,” said Nick Bowman, Co-Founder and VP of Sales &

Marketing at Warped Wing. “The narrative of Triangle Park hosting the inaugural NFL game in Dayton has always been something our team has wanted to commemorate, but the timing was never right until the Triangle Park Film team approached us with the idea of a collaboration. It’s a great honor that we have the opportunity to pay homage to the Dayton Triangles with this special edition Trotwood Lager can!”

The film is scheduled to be released in theaters this November and on Amazon Prime Thanksgiving Day – and will feature several stars from the football world including Troy Aikman, Ben Roethlisberger, Larry Fitzgerald, Tony Dungy, Sean McVay, Joe Buck, Kirk Herbstreit and Cris Collinsworth. Additional details & a behind-the-scenes look at the making of the movie can be found at www.triangleparkmovie.com.

Copy on the can reads: “Sunday. October 3rd. 1920. Triangle Park. Dayton, O. The first-ever NFL game. 1 of 14 original professional football teams – The Dayton Triangles. Many interesting storylines existed with prohibition. An innovative town that had just risen back from a major flood. Women could vote. Professional football is born. Triangle Park celebrates an American football legacy. Relive the glory.”

Triangle Park Special Edition cans will hit distribution the week following the Taproom launch and will be available at select retailers while supplies last.

Warped Wing Brewing Co. is a Dayton craft brewery inspired by Ohio’s rich history of innovation and invention. We are committed to carrying that spirit forward by brewing new proprietary beer styles along with original “warped” interpretations.

BREAKING: See Fred Armisen perform LIVE in Yellow Springs

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The inaugural Yellow Springs Film Festival (YSFF) is bringing in the celebrities for their weekend-long festivities. Due to popular demand (sell out) of Fred Armisen’s “In Conversation With…” special event, festival organizer’s have added a special event live music performance “Comedy For Musicians, But Everyone Is Welcome” featuring Armisen.

Armisen has been new touring this new show all over the country, so organizers are thrilled to bring this event to the area. and this will be the area’s debut performance.

The festival also features a kick-off party with Raekwon from Wu-Tang Clan, who is debuting a film he executive produced called “Taking the Groove Back.” There is also a special retrospective of Guided by Voices 40 year career, along with lots of other special film events. Tickets and information for all the festival’s  events can be found at YSFilmFest.com.

HOW TO GO?

When: October 6, 2023

Doors open at 4pm

Show starts at 5pm

General Admission $30

Get festival information here: https://www.ysfilmfest.com/

Get tickets for Fred Armisen show here: https://www.eventbrite.com/e/fred-armisen-comedy-for-musicians-but-everyone-is-welcome-tickets-72233386904

 

    

 

 

Neon Introduces Cult Movie Mondays

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Downtown Dayton’s only movie theater will be starting a new film series featuring cult movies.  The Neon will kick this off on Monday, September 25th at 7:30pm with the cult classic and locally filmed DEADBEAT AT DAWN, written and directed by Jim Van Bebber.

Synopsis: One last job separates the leader of the Ravens gang from an early retirement. When he finds his girlfriend beaten to death by members of a rival gang, he seeks revenge, knowing that he may be dead by dawn. Will more blood bring her back?

In addition to the film, they will host a Q & A with Jim Van Bebber before the film along with screenings of some of his early short films.
Everything starts with special programming at 7:30pm and the film starting promptly at 8:00pm.
Tickets are $11 in advance, $14 at the door, and $53 for a 6 pack of tickets in advance (only available at cultmoviemonday.com or in-person 30 min. before the screening).

TIFF Day #9 – 2023

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Hello Dayton937,

Today was my final day of screenings for 2023.  Over the past 9 days, I’ve gone to 35 screenings..and I’ve screened 33 films.  How’s that possible?  I walked out of one and I saw one film 2 times.

There are/were so many other films at the festival that I wish I had been able to see – sometimes it was a matter of scheduling, and other times it was a matter of buzz not happening until after the opportunities had passed. HIT MAN, DREAM SCENARIO, AMERICAN FICTION, SING SING, and ZONE OF INTEREST are among the films I hope to catch in the months ahead.  Then there are the films of the season that didn’t screen at TIFF…they either already played at Cannes, Venice or Telluride…or they’ll be screening at NYFF – like PRISCILLA, POOR THINGS, ALL OF US STRANGERS, MAESTRO, FERRARI or KILLERS OF THE FLOWER MOON.  So there’s still a lot to see this year!

My first film today was complicated subject matter. MEMORY, dir Michel Franco (USA) “Past, present, and future collide when Saul (Peter Sarsgaard) follows Sylvia (Jessica Chastain) home from a high school reunion, in this touching and masterful film by director Michel Franco.” (TIFF Catalog)  Without giving too much away, Sarsgaard’s character is dealing with dementia – so his memories are inconsistent and unreliable.  Chastain’s character made accusations as a young person that weren’t believed…so her memories are challenged at every step.  The performances here are strong, but there are clearly moments of improvisation within the script – and some moments/performers are better than others.  Though there’s some great work happening here, I found myself cringing so often at decisions that characters were making…which I found truly upsetting.  But in the end, I guess that would only work if I felt an investment in them.

STRANGE WAY OF LIFE, dir Pedro Almodovar (Spain) – REPEAT VIEWING!  I wanted to see the new Almodovar on the big screen again.  The film is only 30 minutes, so I scurried and chose a front row seat.  I wanted to be consumed by it…it’s Almodovar – so the production design and color palette are incredible, and the guys are all beautiful.  One fun fact about this short is that Almodovar shot it on an old set that Sergio Leone used to shoot three Westerns with Clint Eastwood (so many classic Westerns were shot in Spain…so when uninformed actors like Sam Elliott complain that there’s no place for gay characters in Westerns…and that directors who aren’t from America shouldn’t be making American Westerns – they need a bit of education).  The thrust of this film is mostly to answer a question that was posed in BROKEBACK MOUNTAIN but never answered…and because Almodovar was originally courted to direct BROKEBACK, he decided to answer the question 20 years later. (That said, Almodovar means no disrespect to BROKEBACK.  He says he loves what Ang Lee created.)

My next film was new Blanchett.  I couldn’t skip a chance to see Blanchett at work.  THE NEW BOY, dir. Warwick Thornton (Australia) “Starring Oscar winner Cate Blanchett, this spiritual drama from Warwick Thornton (TIFF ’17’s Sweet Country) hauntingly evokes Australia’s fraught colonial legacy through the story of one very special child.” (TIFF Catalog).  This story is about an Aboriginal boy who is dropped off at at place for orphans in the middle of nowhere Australia where a nun – Sister Eileen (Blanchett) – runs the shop….and Sister Eileen is also charged with converting the boys to Christianity (the pastor who is supposed to be in charge is mysteriously absent).  The boy seems to have a special gift – a little light that he conjures and uses for healing and comfort.  The film is gorgeously shot, relatively quiet and full of great performances.  It shows us what happens when we force our own doctrines on those around us.

What a way to end my festival! My final film was a documentary about one of my favorite filmmakers/filmmaking personalities – the late, incredible Agnes Varda!  VIVA VARDA, dir. Pierre-Henri Gibert (France) “This profile of filmmaker Agnès Varda brings fresh perspectives missing from her autobiographical work, as it covers her oeuvre spanning from her emergence in the French New Wave to acclaimed works such as Vagabond and The Gleaners and I.” (TIFF Catalog). I was a little nervous about this film.  How could a filmmaker create something fresh and new about Varda – she spent the last several years of her career telling us all about her life.   Well…In fact, there was a lot more to tell!  This concise, hour+ documentary is so packed with great material that I want to see it again again – sometimes focusing on the subtitles, sometimes focusing on the visuals…and then going back to the source material and watching the films.  (Next Criterion sale, I’ll be buying the 15-disc set.). Varda was a pioneer and quite a character.  The director introduced the film (and did a Q&A), and he said that the French have pivoted to a positive gaze of Varda’s work due in part to North America’s embrace…France had often written her off and not included her in much talk of the French New Wave until “recently.” I can’t wait to see this film again.

Before walking into  VIVA VARDA tonight, I was already mourning the end of this year’s festival.  I often hear industry folks complaining about being at the festival.  It’s like people complaining about where they live – what a bore.  I have absolutely adored submerging myself in international cinema over the past nine days.  During the last few years, I have truly missed this part of my job…and I’m so glad I was able to come back.

Over the coming days and weeks (and possibly through repeat viewings), I’m sure my feelings on certain films will evolve (sometimes due simply to more rested eyes).  I know that I can be a little rough on films sometimes, but I’ve been honest with my gut responses to all 33 films immediately after seeing them.  Thanks for coming along on the journey with me…I hope to see you back in Dayton.

My best,

Jonathan

TIFF Day #8 – 2023 – 30 Films Screened So Far

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Hello Dayton937!

Today was looking slim initially.  My only official film on the books today was NYAD – everything else came as surprises…and we all know that not all surprises are good.

My first film was from Cuba. WILD WOMAN, dir. Alán González (Cuba). “Yolanda, a Cuban woman, goes from dancing her heart out at a house party to running against the clock to find her son and skip town once a video circulates from that gathering that seems to incriminate her.” (TIFF Catalog)  Not only did I feel like this film was missing a reel (that doesn’t really happen anymore), it also is as much about the landscape as it is about the main character.  Though the lead actress was quite compelling and gives an honest and rather heartbreaking performance, not everyone is as good. I ultimately was only slightly invested to find out “what happens” at the end, and I don’t see this film breaking out.

My next film was my first “early departure” from TIFF.  If you’re new to my blog, you might not know that I don’t review or name names for films that I don’t finish.  I don’t think it’s fair to write reviews for films that I don’t watch from beginning to end.  In this case, the idiot dialog and some really poor performances (it seemed like every line was said with a knowing smile) made me cringe a lot…and my eyes were starting to hurt from rolling so much.  It was noted at the start that it was being presented courtesy of Paramount+, so maybe you’ll stumble upon it there one day – let me know if you watch a movie with some really big stars there in the near future.

Next up was a film I was anxious to see…and it didn’t disappoint. NYAD, dir. Elizabeth Chai Vasarhelyi, Jimmy Chin (USA). “Annette Bening and Jodie Foster dive into the dangerous waters of the Florida Straits, in this film based on the true story of the woman who, at the age of 64, became the first person to swim from Cuba to the US without a shark cage.” (TIFF Catalog) This film was directed by the folks who brought us the incredible doc FREE SOLO – and it’s their first time directing a narrative.  They’s got the chops to do it…and with Bening and Foster as the talent, it turns into crowd-pleasing gold. As a bonus, Elizabeth Chai Vasarhelyi & the real Bonnie (Nyad’s best friend turned coach) were in attendance to introduce the film and partake in a Q&A after.  It was spectacular, and Bening is so very present and alive in this performance!  The film is inspiring on a lot of levels, and every now and then, I saw a little glimmer of my friend Julia Reichert in Annette Bening. I’m sad that most people will see this on Netflix…it deserves a big screen with good sound.

I tried to get a ticket to the film AMERICAN FICTION tonight, but demand was too high – and even though I waited over an hour, at least 100 of us were turned away…so instead, I chose a documentary about a performer I admire but didn’t know much about. LIL NAS X: LONG LIVE MONTERO, dir. Carlos López Estrada, Zac Manuel (USA). “Watch superstar Lil Nas X transcend genres and defy expectations in this revealing, jubilant, and inspiring musical documentary.”  This documentary, though certainly a PR piece, shined some light on a performer who is breaking down barriers.  I admire how unabashedly queer and flamboyant Lil Nas has become in the public eye over the past couple years, and it was nice to get some background on him as well as explore some production moments of the tour I wasn’t able to attend.  For all the quick fame and money that has come his way, Lil Nas still seems a bit naive but also grounded on some level…and that’s refreshing.  Madonna makes a quick appearance in the doc – which certainly seems to give a nod to TRUTH OR DARE – which was groundbreaking 30+ years ago.

Tomorrow is my last full day of screenings.  On some level, it’s hard to believe it’s winding down…on another, it seems like I’ve been here for months.

Thanks for reading!

Jonathan

TIFF Day #7 – 2023

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Hello Dayton937!

24 hours ago, my schedule for today was slim.  I only had a couple potential screenings scheduled (and they were tentative)…then first thing this morning I mapped out 5 movies.  And a couple of them were fantastic.  It was a very full day!

My first screening of the day was a musical of sorts…all songs/performances are motivated from the radio or a boom box – and characters sing along. CHUCK CHUCK BABY, dir. Janis Pugh (UK). “A film of love, loss, music, and female friendship, set in and around the falling feathers of a chicken processing plant in industrial north Wales.” (TIFF Catalog) This love story is sweet and touching and some of it it is in a rather unlikely setting – a chicken processing plant. Though I found some of the story and motivations a little thin, there’s still a lot to like.

I had only read a little bit about my next film…and nothing had prepared me for it! MOTHER, COUCH, dir. Niclas Larsson (USA). “Three estranged children come together when their mother refuses to move from a couch in a furniture store, in this film boasting all-star talent including Taylor Russell, Ewan McGregor, Ellen Burstyn, F. Murray Abraham, Lara Flynn Boyle, and Rhys Ifans.” (TIFF Catalog) Very shortly after the start, I wondered, “Are we in purgatory?  Is this an existential crisis?  Is this the love-child of Charlie Kaufman and David Lynch?” With an ominous/0ften thriller-like score, this film is a strange one – set in a furniture store selling furniture from the past with current-day prices…but if you stick with with it until the end, it slowly reveals itself and has and you figure it out. I won’t give it away.

Knowing I was going to potentially screen 5 films today, I almost cancelled this one in order to meet up with some friends…but upon reading a bit more about it, I decided to keep on schedule.  The original French title for this film is HLM PUSSY – a codename the young ladies of this film give to themselves – meaning low income housing pussy. I’m so glad I went to see it.  SISTERHOOD, dir. Nora El Hourch (France). “Three teenage girls, inseparable friends, struggle with the aftermath of a pivotal incident that brings to light their differences in race, social class, and cultural privilege, threatening their seemingly invincible bond.” (TIFF Catalog). The performances in this film are incredible…the three young leads are all phenomenal – and I didn’t feel like I was watching performances.  The story of social media and class, and race and privilege are contemporary and so honest.  This is Nora El Hourch’s first feature, and I’m absolutely certain we’ll see more from her – I was shaken and moved and very invested in this great film.

My next film was my third film dealing with WWII…and it’s also based on a real person. IRENA’S VOW, dir. Louise Archambault (Canada, Poland). “In occupied Poland, a former nurse (Sophie Nélisse) risks her own life to shelter a dozen Jewish men and women from the Nazi war machine.” (TIFF Catalog). This is an absolutely fascinating story told with a lot of gloss.  There were some big eye roll moments (like the Jews hidden in the basement preparing food for a dinner party so Irena could keep up with the pace)…that said, there were some good moments of tension, too.  Overall, it wasn’t gritty enough for me to totally get behind it (I also questioned some of its messaging, t00)…but I think it will find an audience – particularly in the Jewish Film Fest circuit.  The historical updates at the end were a treat after seeing the film.

My last film of the day turned out to be a gem….something that really spoke to me. FLIPSIDE, dir. Chris Wilcha (USA). “Chris Wilcha helped adapt This American Life to television. His new documentary embodies the spirit of that show as he tries to save a New Jersey record store, in this comic yet deeply moving reflection on opportunities lost and gained.” (TIFF Catalog). This doc is about so many things…it’s about a filmmaker who has several unfinished projects, it’s about his closets in his parents’ house – full of stuff from his childhood and teenage years, it’s about writing and working, it’s about family, it’s about a dying record store.  In the course of making this film, the filmmaker is able to include segments of many unfinished films (which validates the initial work in some regard), and he went back home to talk with his parents about where he came from and what he’s achieved.  I related so much to this film, and it even had me in tears.  (I have to paraphrase because I can’t read my scrawling handwriting) – at one point in the film, Wilcha talks about being middle-aged and beginning to understand one of life’s great paradoxes…he said you can feel devastating, debilitating heartbreak for not accomplishing certain things you set out to do in life – while also feeling good about where you’re at and the choices you’ve made. This struck a real chord with me, and I hope we can bring this film to town.

 

Thanks for reading!

Jonathan

Tix Now On Sale for Triangle Park Movie

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In the fall of 2020, Centerville filmmaker Allen Farst held a press conference at Carillon Park, in front of the old locker room of the Dayton Triangles announcing he was making a movie about the first NFL football game played here in Dayton on October 3, 1920.

In an interview with Dayton Daily News reporter Don Thrasher Farst said, “to be honest, I can’t believe no one’s ever told the story about the first ever NFL football game. The thing is, you’d have to be from here to even know about it.”

Check out this behind the scenes video about Triangle Park.

The film will uncover the facts around this seminal game in over 100 years.  One of 14 original professional teams, the Dayton Triangles played on Sunday October 3rd, 1920 in front of 5,000 fans. Farst goes to the depths to connect family decedents of former players even finding never before seen football treasures while leaning on football greats such as Troy Aikman, Ben Roethlisberger, Eric Dickerson, Joe Buck, Cooper Kupp, Joe Theismann, Larry Fitzgerald, Cris Collinsworth, Tony Dungy and more to uncover this generational story.

In filming the reenactments of the game here in Dayton at Triangle Park, Farst used the helmets, pads and uniforms worn in the 2008 George Clooney comedy “Leatherheads.”

The film is now ready to be shared with our community and the first screening will be held on Oct 25th at The Plaza Theatre, in Miamisburg. Get Tickets here.

There will be more screening November 7th – 9th at the NEON Theater in Dayton. The worldwide release on digital platforms Amazon Prime & Apple TV will be on Thanksgiving Day.

TIFF Day #6 – 2023

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Hello Everyone.

I saw three films today, and that has my count up to 22 over the past  6 days.

I started my day with the biggest sob of the fest so far. ONE LIFE, dir James Hawes (UK). “Sir Anthony Hopkins stars as Sir Nicholas Winton, a British stockbroker who helped rescue hundreds of children from Europe on the verge of the Second World War, an act of compassion that was almost forgotten for 50 years.” (TIFF Catalog). Some might think this little film is too easy or on-the-nose…and I would understand where they’re coming from…but I don’t agree.  This film works and achieves exactly what it set out to do.   The narrative has parallel story lines – a more contemporary story about a man cleaning his office and remembering his past…and the memories come to life of the work he did just before WWII.  It’s powerful…it’s inspiring…it speaks to current political and humanitarian issues.  With handsome photography, score and production design, I know this would be a hit with our audience.  I’m showing two pics from this film because Hopkins isn’t the only big star in this film.

My next film covered some similar territory as ONE LIFE – but this biopic is itching to get Kate Winslet another Oscar nomination. LEE, dir. Ellen Kuras (UK). “Oscar winner Kate Winslet stars in this fascinating portrait of the great American war correspondent Lee Miller, whose singular talent and ferocious tenacity gave us some of the 20th century’s most indelible images.” (TIFF catalog) Lee Miller was a model turned photographer, and she most famously worked as a war correspondent for British Vogue.  The film is set up as Miller is being interviewed about her life and career – so the life story is told through flashbacks that are motivated by photos that she is showing her interviewer (played by Josh O’Connor from THE CROWN).  I questioned some tonal “shifts” in the film, but ultimately thought it was a strong endeavor and spurred my interest to learn more about the subject.  Some people might feel cheated by the last 15 minutes…I rather liked the ending (as well as the contextual photos and “update” at the end).

My final film today was a mini crowdpleaser – complete with audience applause in the middle of the movie…but sadly, it’s not the next JOJO RABBIT.  NEXT GOAL WINS, dir. Taika Waititi (USA). “Michael Fassbender, Elisabeth Moss, and Oscar Kightley star in Taika Waititi’s comedy about the American Samoa soccer team’s attempt to make a World Cup — 12 years after their infamous 31-0 loss in a 2002 World Cup qualifying match.” (TIFF catalog) This film treads familiar territory.  In fact, it’s so familiar that some of the jokes seem lifted directly from TED LASSO.  It’s an underdog story, and you really start rooting for the losing team – and I did find myself on the edge of my seat a few times.  Unfortunately, there were moments when Michael Fassbender’s disposition changed on a dime – and I questioned a few times if I had fallen asleep and missed something.  Regardless, there’s still a lot to like about this rag-tag soccer team, and I think audiences will embrace the movie together on the big screen…but it’s not great. (And I kinda hate that Waititi put himself in the film…his intro is so unnecessary, and his caricature is cringe-worthy.)

No big parties or anything crazy tonight.  I’m going to write THE NEON’s newsletter and hopefully get a good night’s slepp.

Thanks for reading!

Jonathan

 

TIFF Day #5 – 2023

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Hello Everyone,

My first film of the day was a story I knew in part because we’ve played material over the years at The Dayton LGBT Film Fest  (now known as OUT HERE DAYTON FILM FEST) about Bayard Rustin.  RUSTIN, dir George C. Wolfe (USA). “George C. Wolfe brings Bayard Rustin’s story to life, with a joyous performance by Colman Domingo as the activist who organized the 1963 March on Washington while being forced into the background because of his sexuality.” (TIFF Catalog)  I was a little nervous about this film with its opening scenes.  There was a little too much camera mugging and the tone seemed too easy and light…but I ultimately think it was a device to get the masses hooked into sitting down for a good history lesson. Rustin was ahead of his time for a lot of his reasons, and I hope people of all backgrounds check out this crowd pleasing film.  One line that really stood out for me was when Rustin talks about his detractors.  “The day I was born, I was born a homosexual.  They either believe in freedom and justice for all – or they don’t.”  Domingo is fantastic!

My second film of the day was a public screening, and Elliot Page and director Dominic Savage were in attendance. CLOSE TO YOU, dir. Dominic Savage (Canada, UK). “Sam (Elliot Page) has a chance encounter with an old friend (Hillary Baack) on his way home to a dreaded family reunion that forces him to confront long-buried memories.” (TIFF Catalog) This trans story about a man visiting family who hasn’t been home in almost 5 years has some really incredible moments.  In fact, there’s a moment when my audience burst into applause about 80 minutes into the film.  Savage’s process for filmmaking is to essentially have a draft…he knows where he wants the film to go and the trajectory of the story – but dialog is up to the actors.  Some takes go 20-50 minutes long as actors play their roles and figure out the material together.  Unfortunately, I felt like this rawness didn’t always work…there were some moments that seemed a little too stilted – as though some of the family members had never met (and maybe that’s the point…they never really did get to know each other) – but I can’t help but feel like more editing would help.  This film is worth it for a few key moments and for the original story.

At my next screening, I fell in love.  The three lead character’s in Alexander Payne’s new film are incredible.  THE HOLDOVERS, dir. Alexander Payne (USA). “Paul Giamatti stars in Alexander Payne’s latest about the bond that forms between a strict professor and a belligerent student he’s stuck supervising over the winter holiday at an elite boarding school.” (TIFF Catalog)  The screenplay to this film is gold, and the performances are spectacular.  Underneath the bristling and biting dialog are warm and tender moments that are well-earned. Alexander Payne was in attendance, and he spoke of his love for TIFF audiences.  He said he loves how cinema culture is woven into the fabric of Toronto life…and “for my money, Toronto is the Paris of North America.” Da’Vine Joy Randolph (who also had a very small part in RUSTIN) and Dominic Sessa will hopefully become even bigger stars! I loved this film…and I can’t wait to see it again.

My last film of the day has a big Dayton/Ohio connection.  Produced by Daytonian Karri O’Reilly, this film had a lot of familiar names attached.  I attended the premiere, and Karri was one of the very first people Ethan Hawke thanked.  He said that she “willed this film into being.” WILDCAT, dir. Ethan Hawke (USA). “Ethan Hawke explores the life and art of American author Flannery O’Connor — played by his own daughter, Maya Hawke — in his latest interrogation of the artist’s way.” (TIFF Catalog) This film is a bit complicated as it is about an writer’s process…we hop around from Flannery’s life to her inspirations and her stories – being told on-screen using people from her daily life – so I can already hear some of our customers saying they’re confused.  That said, if you let the film wash over you, the visual styles are different enough to let you understand where you are in Flannery’s early days of writing.  For such an “intimate” story, it’s a really big film…and Karri told me they were able to do it with a very modest budget.  Flannery O’Connor fans, literature fans and people who enjoy thoughtful, well-crafted films will find a lot to love in this film.  The Q&A after the film and the after-party were a blast.  I’ve attached a couple photos for you below.  Maya Hawke, Laura Linney and Christine Dye are all terrific in this film…and they (among numerous other cast and crew) were at the party.

Maya Hawke as Flannery O’Connor in WILDCAT

Photo taken by Soozie Eastman of 502 Film in Louisville. (My hand is in the right corner taking a similar picture, but Soozie’s was better!)

The praises of Daytonian Karri O’Reilly were flowing from Ethan Hawke.  I even overheard “let’s do more” while posing for this pic!

Thanks for reading.  It’s super-late…and I have an 8:30 screening.

My best,

Jonathan

TIFF Day #4 – 2023

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Hello Everyone!

I discovered a great feature about my industry pass which allows me to gain access to even more films.  I was afraid some of my days would only have a couple screenings…but now I’m certain I’ll have at least 3 each day.

Today I screened 4 films and popped into Janus’s industry party where I saw a few familiar faces (sometimes you have to go to Toronto to see people from Columbus and Cincinnati).

UNICORNS, dir. Sally El Hosaini, James Krishna Floyd (UK, USA, Sweden) “An alluring fusion of forbidden romance and colliding cultures, Unicorns stars Ben Hardy and newcomer Jason Patel as two people who might become lovers, if only they can build a bridge between their very different worlds.” (TIFF Catalog) Though rather predictable and familiar, this tale will find an audience based on strong performances – particularly from Ben Hardy.

My second film of the day was such a treat! WICKED LITTLE LETTERS, dir.Thea Sharrock (UK) “Olivia Colman and Jessie Buckley play neighbours who get on each other’s nerves in this dark comedy about a small English town where residents start receiving anonymous, expletive-laden letters, igniting a scandal in their community.” (TIFF Catalog) Because the director and producers (one of whom is Olivia Colman’s husband) had a flight to catch, they were interviewed about the making of the film before we screened it…and I’m so glad I went in with a bit of background.  Based on a true story, this cheeky comedy is laugh-out-loud funny but has so much to say (about gender and even religion).  The absolutely splendid performances and production design/cinematography/costumes make for a terrific film.  Certainly a favorite so far! (I was filled with glee when Eileen Atkins appeared on screen…a personal favorite!)

SEVEN VEILS, dir. Atom Egoyen (Canada). “Atom Egoyan and his Chloe star Amanda Seyfried reunite for this knotty psychodrama about a young theatre director forced to re-examine her own trauma while working on a remount of Salome.” (TIFF Catalog) Fans of opera will certainly like this visually intriguing, behind-the-scenes film about the mounting of a SALOME production – but something was missing for me. I like seeing an artist at work, and I like seeing how a show/performance/film comes together…but I never really felt an honesty in the home-video flashbacks and in Seyfried’s performance to feel like we were getting to a real place.  There were some laughable moments in the material in some of the drama (as in several audience members started laughing) that had me question tone/intention.

My final film of the day was perhaps the most “mainstream” of my selections so far. KNOX GOES AWAY, dir. Michael Keaton (USA). “Michael Keaton directs and plays Knox, a hitman losing his memory, putting him in a race against time to help his estranged son (James Marsden) cover up a messy crime.” (TIFF Catalog) This entertaining film is surprisingly touching with some laughs and tense moments along the way.  I think it will certainly find distribution. This film also stars Al Pacino and a sweet, small role with Marcia Gay Harden.

Off to bed.  Looking forward to WILDCAT and THE HOLDOVERS tomorrow!

Thanks for reading,

Jonathan

TIFF Day #3 – 2023

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Hello Everyone,

Just three screenings today…but a solid day.  It’s hard to believe that 3 days have flown by so quickly.  I’ve seen 11 films, spent time with Jake (before he returned to Dayton earlier today) run into a handful of old friends and colleagues on the street, watched a movie with a filmmaker whose work we’ve screened at OUT HERE DAYTON FILM FEST (formerly known as The Dayton LGBT Film Fest), and still managed to keep up with this blog.  That said, I have yet to do the whole late night party scene…things have changed a bit since I’ve been gone – the festival and myself.

My first film was made in Montreal.  SOLO, dir. Sophie Dupois (Canada). “Set in Montreal’s vivacious drag scene, this tender character study from writer-director Sophie Dupuis (Underground) focuses on a talented young performer whose past and present merge in unexpected ways.” (TIFF Catalog) Simon is a successful makeup artist and drag performer, but when a Oliver, new guy shows up in the dressing room, he sets his eyes on something new.  At first, the chemistry is wonderful – but eventually we realize that Simon is willing to compromise himself for what he thinks he needs in his life..and Oliver is a master manipulator.  This film is well done with great, fleshed out performances…and full of people I “know.”

HIS THREE DAUGHTERS, dir. Azazel Jacobs (USA). “A tense, captivating, and touching portrait of family dynamics starring Carrie Coon, Elizabeth Olsen, and Natasha Lyonne as sisters who converge after their father’s health declines.” (TIFF Catalog) What this film lacks in visual appeal (there are some very strange choices about shooting people up against a blank wall), it makes up for in screenplay and performances.  This little gem’s third act is terrific…and the claustrophobia of being in a relatively small New York apartment for the majority of the film works on a lot of levels in creating tension and drama.  These women are all terrific.

IN CONVERSATION WITH PEDRO ALMODOVAR (with screening of STRANGE WAY OF LIFE, dir. Pedro Almodovar (SPAIN)).  Today’s event with Almodovar was a treat.  Almodovar talked with Cameron Bailey for about 45 minutes about his career – and it was insightful and delightful.  He talked about the “transition” from screwball comedies to melodrama and the industry’s rating system.  Then he screened the short film STRANGE WAY OF LIFE – a gay Western with Ethan Hawke and Pedro Pascal…which Almodovar explained was his sort of answer to BROKEBACK MOUNTAIN (which he had been asked to direct years ago).  “Two lovers reunite after 25 years apart, but secret ulterior motives threaten to spoil the relationship, in this emotional western from Pedro Almodóvar.” (TIFF Catalog)  Pedro then returned to the stage to talk for a bit more before taking questions from the audience.  Sadly, there wasn’t much time for questions and I didn’t get to ask mine.  (Almodovar apologized to the audience that neither of the lead actors would be seen naked in the film.)

 

I’m about to head out and meet one of our Board members for a cocktail this evening.  Susan and her husband are at the festival for the first time, and I’m anxious to hear what they’re seeing and how they like their experience so far.

Until tomorrow!

Thanks for reading,

Jonathan