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TIFF Day #2 – 2023

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Hello Dayton937,

Today was a slimmer day for screenings.  Only three movies!

GONZO GIRL, dir. Patricia Arquette (USA). “Willem Dafoe and Camila Morrone star in Patricia Arquette’s high-flying, fast-paced directorial debut based on Cheryl Della Pietra’s semi-autobiographical novel chronicling her time as Hunter S. Thompson’s personal assistant.” (TIFF Catalog)  Though the names have been changed for the sake of the “novel,” this story of a young woman’s time as Hunter S. Thompson’s assistant is about a person meeting their “idol,” only to be be disappointed (but nonetheless grateful for the experience and the lessons along the way…and the material).  The performances are strong and Arquette’s direction is assured (Arquette has a subtle, strong supporting role, too) and the energetic “trip” is worth the ride.  There’s a cautionary line that Thompson’s secretary gives the new assistant in the movie – “Water down your drinks and fake half the lines he gives you, that’s the only way to survive.” That’s not a bad life lesson.

SUMMER QAMP, Jennifer Markowitz (Canada). “At Camp fYrefly in rural Alberta, queer, non-binary, and trans teens get to just be kids in a supportive space, surrounded by counsellors who can relate to their experience ― and help them toast the perfect marshmallow.” (TIFF Catalog). There are some powerful moments in this little documentary about queer youth going to summer camp…and there’s something wonderful about LGBTQIA+ kids getting such positive affirmations in a place where they don’t have to be afraid to express who they are.  There’s a lot to like here (I wouldn’t mind a short film about Marshall – one of the counselors), but overall, I didn’t love this doc.  I found it to be overscored and a bit repetitive. I recommend seeing it (but it’s not something I’d need to revisit).

DICKS: THE MUSICAL, Larry Charles (USA). “Larry Charles (Borat) conducts an uproarious musical-comedy riff on The Parent Trap that follows a pair of identical twins who conspire to reunite their divorced and disturbingly deranged parents (Nathan Lane and Megan Mullally).” (TIFF Catalog) A24’s raunchy, irreverent musical was my last film for the day.  This movie is based on material that comedians Josh Sharp and Aaron Jackson have been working on for years (they’re also the stars of the film).  IndieWire wrote this about the opening night, midnight screening: “No amount of context can prepare folks for the film’s final number, with a chorus that refers to God as a slur. The song that leapt from the screen out into the audience, with a flash mob of chorus members jumping out their seats to sing along, and pride balloons and penis inflatables dropping down onto attendees.”  This movie has some great melodies, fun material (Megan Thee Stallion & Megan Mullally steal the show), and some real laugh-out-loud moments.  It is destined to reach cult status, but I thought it wore a little thin pretty quickly.  The cast appears to be having a blast making this film (that’s almost always true when there’s a gag reel at the end), and I think it would be much more fun in a party-like environment (instead of the industry screening I attended).

Jake is heading back to Dayton tomorrow, and I’m sticking around for another week…lots more films to see.

Tomorrow is something I’m looking forward to most of all – IN CONVERSATION WITH PEDRO ALMODOVAR!

Hope you tune back in for Day #3.

Thanks for reading,
Jonathan

TIFF 2023 – Day #1

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Hello Everyone,

Off to the races.  I had five screenings on the agenda for today – 3 with industry folks and 2 with the general public.  Of the five, one was a real winner…and one had a lot of merit but could have been trimmed by 30 minutes (I know some critics will greatly disagree with me on that).

LAST SUMMER, dir Catherine Breillat (France).  My first film of the day was from a director who is quite used to working with taboo subject matter…and this was no exception. “In the latest film by French provocateur Catherine Breillat, a prominent lawyer’s passionate affair with her 17-year-old stepson threatens both her career and family.”  (TIFF Catalog)  In the opening scene of this (intentionally) cringe-inducing film, the protagonist is dealing with an underage client who is preparing for court.  She tells the girl, “in court, the victims often become the accused” – which sets a certain tone for the rest of the film.  Though the film certainly has some memorable moments and worked on some levels,  there were multiple decisions for a lingering camera which became frustrating and laborious.  And in the end, I ultimately didn’t buy the attraction and thus the affair – so the film really didn’t work for me.

THE CRITIC, dir Anand Tucker (United Kingdom).  Next up was a rather handsomely designed period film with Ian McKellan chewing up the dimly lit scenery. “Gemma Arterton and Ian McKellen star as adversaries forced to take desperate measures to save their careers, in this scintillating tale of ambition and deceit in the theatre world.” (TIFF Catalog). Though lovely to look at, I found some of the story a bit hard to follow initially…this was due in part to tiredness and the fact that all interior scenes at night appeared to be lit with a 20 watt bulb…which had me a little confused keeping track of characters who mostly appeared in shadows.  Though McKellan is having a ball, he is sadly better than the material.    It’s a noir-ish story which doesn’t quite commit to the genre.

FLORA AND SON, dir John Carney (US & Ireland).  My winner for the day was this little gem! “The latest from writer-director John Carney (ONCE, SING STREET) features a revelatory performance from Eve Hewson as a young mother trying to connect with her teenage son through a shared love of music.” (TIFF Catalog) The rough-around-the-edges characters are so wonderful in this heartwarming (and occasionally crass) story about an Irish woman who ends up taking on-line guitar lessons from a guy in California (played by Joseph Gordon Levitt) while trying to build a relationship with her son.  Lots of laughs and several tears…it really works.  (NOTE: We may bring this to THE NEON at the end of the month.)

ANATOMY OF A FALL, dir. Justine Triet (France). “Winner of this year’s Palme d’Or, and starring German actress Sandra Hüller, Justine Triet’s Anatomy of a Fall is a riveting portrait of a complex woman put on trial for the murder of her spouse.” (TIFF Catalog) (One big detail of the short synopsis from the catalog is the fact that the only potential witness of what transpired is the woman’s visually impaired son.)  I’ve heard a lot of great things about this (mostly) courtroom drama, and it works on a lot of levels…but boy, oh boy – it’s longer than it needs to be.  (And this was the 2nd film today which thematically explored a victim being put on trial during court proceedings.)  One of the strongest moments of the film is a tennis-match-like argument that is fascinating for its character development.  A solid film with an outstanding lead performance (but don’t go in the slightest bit tired).

NORTH STAR, dir. Kristin Scott Thomas (United Kingdom).  This is Kristin Scott Thomas’s directorial debut, and I was sadly a bit disappointed.  I considered leaving early and just going to bed…but I’m glad I didn’t.  There’s a 10-minute scene in a cemetery that’s worth the whole film (and I’d bet my next paycheck it’s the scene that was the genesis for the entire movie).  Some funny moments.  Some touching moments.  But I could have easily seen this as a short film.

NORTH STAR – directed by Kristin Scott Thomas

And now it’s time for bed!  Bright and early tomorrow!

Thanks for reading!!

Jonathan

P.S.  Here’s a little picture of me and Jake just before heading into the NORTH STAR screening.

 

Returning to Toronto International Film Fest – 4 Years Later!

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Hello Dayton937!

It’s been 4 years since I’ve made the trip to Toronto for TIFF (The Toronto International Film Festival), and my soul has truly missed it.  I know that this year will be very different.  Not only has COVID changed how festivals work, the ongoing writer & actor strikes will also likely change the energy at this year’s festival.  Regardless, I’m anxious to go and submerge myself in multiple screenings of international cinema for 9 days.

The illuminated sign on King Street West indicates the start of the festival!

I’m feeling a little out of practice, but I hope to update you every day with details about the films I’m seeing, the Q&A’s I’m observing and the glitterati I’m spotting.  I’m not sure how many parties will be happening this year, but I hope to pop in on a couple.

For industry folks, the fest works a little different.  I will have an opportunity to see 10 films with the general public.  These are the screenings where directors, producers and stars might walk the Red Carpet and be interviewed for television.  When people think “glamorous film festivals,” these are the screenings that come to mind.  That said, the majority of the films I screen will be in multiplex settings with other press and industry folks.  I might get sandwiched between an international sales agent on one side and someone writing for HOLLYWOOD REPORTER on the other.  It’s fun to rub elbows with a variety of people who make this industry tick.

Maya Hawke as Flannery O’Connor in WILDCAT

I already have a handful of tickets to screenings and events.  In addition to the premiere of NORTH STAR on Opening Night (the directorial debut of Kristin Scott Thomas – starring Scarlett Johansson), Taika Waititi’s latest NEXT GOAL WINS and the anticipated feature WILDCAT (directed by Ethan Hawke and produced by Dayton’s own Karri O’Reilly), I’m so delighted that I scored a ticket to IN CONVERSATION WITH PEDRO ALMODOVAR – a sit down interview (Charlie Rose-style – but in front of an audience)  with my favorite filmmaker of all time!

I’ll try to stay on top of updating this blog on a daily basis after my first day of movie watching.  (Screenings start on Sept. 7 – and I’ll have a full day!)  I’ll screen films through the 15th and head back to Dayton on the 16th.

Thanks for reading.

More soon,

Jonathan

2nd National Cinema Day – $4 Movies This Sunday

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Still haven’t seen “Barbie” or “Oppenheimer”? This Sunday, you’ll be able to catch up for $4 a ticket in movie theaters nationwide.

Theater owners announced Monday that the second annual National Cinema Day will be held Sunday, Aug. 27. For one day, all movies — in all formats and at all showtimes — will be $4 at participating theaters. More than 3,000 theaters are participating, which accounts for most of the cinemas in the U.S., including the leading chains AMC and Regal.

Some of the chains even have deals on concessions. AMC is offering a small-popcorn-and-drink combo for $5; at Regal, the same combo is only $4. You can get a drink at Angelika for $4, and Cinemark is giving every guest a dollar off any popcorn, soda, or candy.

It’s the second straight year theaters are trotting out the one-day event at the tail end of summer. Last year’s inaugural National Cinema Day, put on by the Cinema Foundation, a nonprofit affiliate of the National Association of Theater Owners, was judged an enormous success. An estimated 8.1 million moviegoers bought $3 tickets on Saturday, Sept. 3.  The discount gimmick turned into the highest attended day of the year for theaters. A normally quiet time instead saw cinemas crowded with moviegoers — and theaters sold plenty of popcorn. This year, the day is moving up slightly on the calendar, shifting from Saturday to Sunday, and costs $1 more.

BREAKING: Raekwon of Wu-Tang Clan making opening night appearance at Yellow Springs Film Festival

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Raekwon from Wu-Tang

Yellow Springs Film Festival (YSFF) has just announce their opening film on October 6, 2023 is the Midwest Premiere of award-winning documentary short Taking Back The Groove. The moving portrait of disco legend Richie Weeks’ battle to reclaim the rights to his music and restore his legacy in the wake of the Black Lives Matter movement is directed by Celia Aniskovich (Call Me Miss Cleo) and executive produced by Raekwon of Wu-Tang Clan and trailblazing comedian Russell Peters. A post-screening panel discussion with Weeks, Aniskovich and Raekwon will be moderated by festival Founder Eric Mahoney. Tickets for the event go on sale Thursday, August 24th at 12:00pm EST.

Additional YSFF special events include a conversation with Comedian / Actor Fred Armisen (Portlandia, SNL, Documentary Now); an immersive documentary experience, 32 Sounds, with the director Sam Green and Oscar® winning director Steven Bognar in conversation; and a 40-year retrospective of the band Guided by Voices featuring their seminal documentary Watch Me Jumpstart by Banks Tarver.

Richie Weeks

The Festival program includes documentary features The Cave of Adullam by Laura Checkoway; Rather by Frank Marshall; Citizen Sleuth by Chris Kasick; We Are Fugazi From Washington DC by Joe Gross, Joseph Pattisall & Jeff Krulik; and Have You Got It Yet? The Story of Syd Barrett and Pink Floyd by Roddy Bogawa & Storm Thorgerson. Narrative features include Fancy Dance by Erica Tremblay; The Secret Art of Human Flight by H.P Mendoza, Madly by Gael García Bernal, Mia Wasikowska, Anurag Kashyap, Sebastián Silva, Sion Sono, & Bat for Lashes; and a 10 Year Anniversary screening of Only Lovers Left Alive by Jim Jarmusch.

The YSFF short films program features work by Steven Bognar, Charlotte Ercoli, Adam Meeks, Stephen Michael Simon, Max Cohn and Ellie Sachs, and will include the World Premiere of Lynn’s Fire by Steve Zahn (The Righteous Gemstones, The White Lotus).

The festival will also present a retrospective of the career of longtime Yellow Springs resident and Academy Award® winning director Julia Reichert, featuring film posters, interviews and excerpts of her incredible body of work available free to the public.

All films and events will take place October 6-8, 2023 in the village of Yellow Springs, Ohio at the historic Little Art Theatre, The Foundry at Antioch College and Crome Architecture. YSFF is produced by Hotshot Robot Productions Director / Producer Eric Mahoney and Creative Director / Musician Ian Jacobs, supported by the Yellow Springs Community Foundation.

For further info or to purchase tickets and badges please visit: www.ysfilmfest.com/

McCoy on Movies: STRAYS.

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“The audience might be as high as we are if they find this entertaining!” (From left): Bug (Jamie Foxx) Reggie (Will Ferrell), Maggie (Isla Fisher) and Hunter (Randall Park) prepare to have a snack – with unexpected consequences – in a scene from STRAYS. Credit: Chuck Zlotnick/Universal Pictures © 2023 Universal Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

 
DIRECTOR: Josh Greenbaum

KEY CAST MEMBERS: Will Forte, Brett Gelman, and the voices of Will Ferrell, Jamie Foxx, Isla Fisher, Randall Park, Josh Gad, Harvey Guillén, Rob Riggle, Jamie Demetriou and Sofia Vergara

THE STORY: Brought to you (in)famously by the team behind Cocaine Bear and 21 Jump Street, STRAYS centers on Reggie (voiced by Will Ferrell), a naive, optimistic Border Terrier who doesn’t realize his owner Doug (Will Forte), hates him. Like, really hates him. That’s why when Doug finally is able to ditch him on the streets of the Pacific Northwest, he has no idea what’s going on.
Bug, a Boston Terrier (voiced by Jamie Foxx) with a literal love of couches, however, does. That’s why he decides its best to hip Reggie to what’s happening alongside his crew of Maggie (voiced by Isla Fisher), an Australian Shepherd and Hunter, a stressed out Great Dane (voiced by Russell Park) who doesn’t want to stop wearing his protective cone. Once Reggie realizes what’s happened, he decides his time to take revenge against Doug by biting off his favorite toy (and TRUST ME, it AIN’T a toy!).
But will Reggie get his revenge? There’s only way to find out …
THE REVIEW: Let me be brief: I liked Cocaine Bear. I own 21 Jump Street on Blu-Ray.  STRAYS, however, shouldn’t be adopted by movie audiences.
In fact, for neutering comedy the ways it does, it should be put down with extreme prejudice.
There are essentially three joke subjects in strays: Feces, sex/bodily fluids and anatomy. That’s about it. And they are worn out to death in the dumbest, grossest fashion possibly for 90+ minutes. As a stand-up comedian, I know that when used well, profanity can be of the highest verbal linguistics (see Pryor, Richard and Carlin, George for proof). STRAYS, however, uses profanity (along with the aforementioned three other subjects) so gratuitously that it becomes as ineffective as it is offensive. And it’s plenty offensive simply for how much it wears out those three tropes.
I for one am extremely happy Jamie Foxx is doing better after his recent health episode not only for his own well-being, but for the fact this hopefully won’t be his last theatrical release. The film tries to break free from its 14 year-old boy juvenile nature in its last act … Only to have that derailed by more silliness before the eventual “I guess I’m still watching this” ending. Forte is a shoo-in for a Golden Raspberry nomination, which might be the only endorsement PETA or the SPCA might give this gross-out trainwreck of a comedy. I mean, the long-forgotten The Happytime Murders was FAR more entertaining than this even though you knew it was wrong (and Jim Henson Studios HATED what it did to puppets), but STRAYS …. Not so much. When you find yourself asking “How did this get made?!” and “How much money was wasted on this?!” you probably won’t be thinking “sequel!”
They say all dogs go to heaven – but as STRAYS proves, there really are some bad dogs in this world and this movie is full of them.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: Barbie: The Movie

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The beloved children’s doll comes to life in a perfect for adults comedy/musical/drama that will entertain, inspire

“Where’s Allan and Skipper? Oh don’t worry – they’re around!” Barbie (Margot Robbie) and Ken (Ryan Gosling) as seen in the official poster for director/co-writer Greta Gerwig’s comedy/drama/musical BARBIE. © 2023 Warner Bros. Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

 
DIRECTOR: Greta Gerwig

KEY CAST MEMBERS: Margot Robbie, Ryan Gosling, Simu Liu, America Ferrera, Ariana Greenblatt, Michael Cera, Issa Rae, Kate McKinnon, Will Ferrell, Kingsley Ben-Adir, Rhea Perlman and the voice of Helen Mirren

THE BACK STORY: Inspired by the iconic doll of the same name, Barbie stars Margot Robbie in the titular role as a stereotypical Barbie doll living in Barbieland. She is stereotypical in that she walks with arched feet perfect for her high heels, every day is the best day ever and she spends most of her time hanging out with her fellow Barbies like President Barbie (Issa Rae), Mermaid Barbie (Dua Lipa) and other more career-minded versions of herself. Also propagating Barbieland are the Kens, including her boyfriend (Ryan Gosling) and his top rival (Simu Liu). There’s also Ken’s sidekick Allan (Michael Cera), but no one pays any attention to him.
Things start to take a turn for our golden girl, however, when she begins having thoughts about death and her feet flatten out unexpectedly. This leads her to seek out the wisdom of the abused but resilient Weird Barbie (Kate McKinnon), who explains what’s happening: A very sad girl in the real world – yes, the Barbies know there is a difference between them and humans – is playing with her and altering her existence in Barbieland. Thus, she must travel the mystical space from Barbieland to the real world and help make her sad real world owner happy again.
Also tagging along for the ride? Well, her boyfriend Ken of course. Arriving in Los Angeles, Barbie and Ken discover that real world is nothing like either of them thought … Which leads to some very precarious situations. And once the head of Mattel (Will Ferrell) finds out, the desire to literally put stereotypical Barbie back in her box becomes paramount.
But how do a simple receptionist (America Ferrera) and her estranged daughter (Ariana Greenblatt) fit into helping Barbie get back home, restore Barbieland and prevent a potential disaster that could alter both of their worlds forever? You’ll have to watch the movie to find out!
THE REVIEW: How do you take a beloved yet controversial children’s toy and make a two-hour opus of comedy, music and drama that is funny, poignant and – dare it be said – inspiring? You do what director/co-writer Greta Gerwig and her script partner Noah Baumbach have done with BARBIE.
 
Barbie – which is probably best left in the viewing pleasure of those 16 and up so they can catch all the cultural references and homages to decades of the character’s history – features a perfect mix of self-awareness, irreverence and heart. With Robbie and Gosling leading the way under Gerwig’s watchful eye, the film acknowledges all of the factors that have made her a staple of many children’s childhood while at the same time having fun with all of the things it has been criticized for throughout its history.
The twist, however, is that while it acknowledges those flaws, the film uses them as opportunity to talk about change in a way that shows how BARBIE is really just a reflection of the society in which she exists. This leads to moments of self-discovery for Barbie (and thus the audience), realization and empowerment in a way that genuinely may lead to inspire women of all ages.
That being said, the BARBIE experience is a phenomenal ride of comedy, music and sentiment thanks to the aforementioned stellar performances of Robbie, Gosling and their cast mates. The skill with which they bring their characters – none of whom are exactly known for their verbal history – to life is a masterclass in acting. Whereas Robbie gets to look pretty (she is Barbie, after all), she brings a score of humanity to a toy that has been criticized for the plastic nature – pun intended – of her supposed existence and affect on little girls worldwide.
This in turn makes her journey of self-discovery one that is not about a toy, but coming to grips with reality and finding your place in the world in which you live. That, of course, is just one of the messages that is delivered without being preachy or forced, making the film’s rather dramatic final 40 minutes a perfect compliment to the lighthearted 80 that precedes it.
Gosling’s performance is pretty much everything you could want out of playing the most famous fake boyfriend of all-time. Aloof and goofy to perfection while showing his character’s desire to just be respected, it feels like Gosling is channeling Terry Crews’ President Camacho from Idiocracy (which sadly feels more like a documentary than comedy at this point) with his comedic timing. His singing, dancing and rivalry moments with Liu’s character are just as outstanding, proving that his La La Land work wasn’t just a fling.
The same can be said for the rest of the cast, be it Cera’s perfect “This is what Michael Cera excels at” turn as all-around good guy Allan or Rae’s encapsulation of President Barbie. Whereas McKinnon’s excellent portrayal as the Barbie little girls mangle is hits every beat about the reality of what being a Barbie can be, Ferrell’s portrayal as a man who profits off of a woman’s idea but is (mostly) self-aware of it are both uproarious. Add Ferrera’s and Rhea Pearlman’s characters to the mix as older, wiser women who know just how special Barbie can be and it’s easy to understand how she became an iconic figure long before she hit the big screen.
Performances aside, there are just so many details that Gerwig places into the film that significantly impact the audience’s enjoyment of the film in a positive way. This includes everything from a masterful use of Barbie’s signature color palette to life-size constructions of notable toys and wardrobes to breaking the fourth wall and playing on the idea of what would Barbie really say and do if she were alive. From “what did they just say?!” moments to homages to classic Barbie fare, the film never really misses anytime it swings since the cast and crew are all committed.
Make no mistake: In the wrong hands or with a different vision, BARBIE could easily become a mess of a film that feels cartoonish, a half-baked money grab or just unnecessary. Instead, Mattel’s ability to step back and allow Gerwig and company to virtually have no limits on their creativity has created a film that will likely be viewed as classic as the doll that inspired it.
In short, BARBIE features a girl living in a Barbie world – and we would all be better off if we could live in it, too.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

Yellow Springs Film Festival Coming in October

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This fall the village of Yellow Springs, OH will launch its first official film festival slated for October 6-8, 2023. Films and events will run at The Little Art Theatre, The Foundry at Antioch College and Crome Architecture

The first Special Event announcement is the audio immersive film experience, 32 Sounds (World Premiere, Sundance 2022). Audiences will be outfitted with headphones to explore what Rolling Stone calls, “The greatest documentary you’ve ever heard”. Oscar Award nominated director Sam Green will be attending both screenings to speak about the project and answer audience questions after.

The initial slate of additional documentary features will include, The Cave of Adullam (Tribeca ’23), Rather (Tribeca ’23), Citizen Sleuth (SXSW ’23), We Are Fugazi From Washington DC (’23), and Have You Got It Yet? The Story of Syd Barrett and Pink Floyd (’23).

The Shorts program will feature work from Steven Bognar, Rick Gomez / Steve Zahn, Charlotte Ercoli, Adam Meeks, Stephen Michael Simon and more. Narrative programming / special events announcements will come throughout the summer.

YSFF will also have a free retrospective of the career of Julia Reichert, a longtime Yellow Springs resident and Oscar Award Winning Director. Patrons can peruse film posters, listen to interviews and view excerpts of her incredible work.

The festival is the brainchild of filmmaker and producer Eric Mahoney. Mahoney’s work has premiered at Cannes,  Tribeca and SXSW and he is the host of the film centric Kon-tiki Podcast. He most recently directed and produced the documentary, Brainiac: Transmissions After Zero (World Premiere SXSW 2019). He is co-producing the event with Ian Jacobs, a Brooklyn based editor / producer / musician and long-time collaborator.

This year the festival has partnered with the Yellow Springs Community Foundation, a 501c3 nonprofit, who is acting as the fiscal sponsor. YSFF has been able to launch from the immense generosity of private donors, local sponsors and is now in the midst of a crowdfunding campaign on Kickstarter. Backers can get first access to special events, purchase a badge for the duration of the festival or get merchandise while helping the YSFF to establish what they hope will be an annual and scalable event.

 

McCoy on Movies: Asteroid City

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Wes Anderson’s latest film lands with a crater-like thud of jumbled, unfulfilling quirks and boring execution and familiarity

“Hello? Otto? I don’t know A Man Called Otto – this is a entirely different cinematic story, sir!” Auggie Steenbeck (Jason Schwartzman) chats with the father (Tom Hanks) of his now-deceased wife about his current plight in the mysterious desert town of ASTEROID CITY. Credit: © Courtesy of Pop.87 Productions/Focus Features 

 

WATCH THE TRAILER HERE:

 
DIRECTOR: Wes Anderson

KEY CAST MEMBERS: Jason Schwarzman, Scarlett Johansson, Tom Hanks, Jeffery Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Ethan Josh Lee, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan and Jeff Goldblum

THE BACK STORY: A story within a story, ASTEROID CITY begins with a narrator (Bryan Cranston) who introduces us to Conrad Earp (Ed Norton), a 1950s-era playwright in the throes of his latest work: “Asteroid City,” a desert town somewhere in between California, Nevada and New Mexico (presumably near Route 66) famous for its asteroid crater. A group of high school geniuses is about to converge on the one gas station, one diner and 10-spot motel town (population 87) for the awarding of a scholarship, which will be presented by General Grif Gibson (Jeffrey Wright).
Driving one of the geniuses is Auggie Steenbeck (Jason Schwartzman), a man accompanied by his three aspiring witch elementary school age daughters named after constellations and Woodrow (Jake Ryan), his eldest child that has already figured out what his dad needs to tell the family: Their mother died three weeks ago. But once their car breaks down and the town mechanic (Matt Dillon) says it’s gone for good, that prompts Auggie to call his father in law Stanley (Tom Hanks) to pick up the girls while his son attends the high school event.
Also attending the gathering? Film actress Midge Campbell (Scarlett Johansson) with her estranged genius daughter (Maya Hawke), Roger Cho (Steven Park) with his school newspaper genius son Ricky (Ethan Josh Lee) and J.J. Kellogg (Liv Schreiber) with his “someone dare me” son Clifford (Aristou Meehan).
Outside the pages of “Asteroid City,” however, the production team has its own issues as its director (Adrien Brody) is going through a personal turmoil and Earp is having trouble getting his story to progress.

 

THE REVIEW: I am going to open this in the tone and pace of a standard Wes Anderson character.
At 6:30 p.m., the screening started.
At 6:36 p.m., I checked my watch as I knew I was in for a long cinematic experience.
At 6:52 p.m., I contemplated leaving the theater and acting as if I had achieved something in true Wed Anderson character fashion, knowing I would be exposed by my fellow critics would not let me get away with my actions.
At 7:06 p.m., I nearly fell asleep until I felt my body slump in my non-reclined Barcalounger
At around 7:50 p.m., something interesting happened. There was also a moment of nudity that, while unnecessary, broke up the monotony of the pretentious, self-indulgent, quirky for the sake of quirky characters with dialogue that is supposed to feel artistic and stylish but in reality is overwrought if not also often nonsensical.
At about 8:10 p.m., I began preparing for the eventual summation scenes that, despite so much build up, will have hardly any true resolution and the film will just end awkwardly.
By 8:30 p.m., my nightmare was over, serving as a reminder to never give it to the temptation to watch another Wes Anderson film again only to realize I will somehow likely be suckered back in this vicious cycle yet again.
Wes Anderson aren’t about anything but Wes Anderson. The characters are always the same. The may vary in terms of age, ethnicity or sexual orientation, but THEY. ARE. ALL. THE SAME. They speak in ways no human being would ever speak, both in terms of vocabulary, sentence structure or the way they interact with one another, from their clipped, hushed tones to the robotic, emotionally unavailable yet wishing they could be mannerisms.
There is always a child that is smarter than an adult (a staple of an Anderson composition). There is always a person trying to control something that is not in their control (in this instance, it’s Wright as a general trying to keep order in a small desert town, Schwartzman as a new widow and Hanks as his estranged father in law) … And there is always a woman who or two that is beautiful but is very self-aware of how their physical presence is harmful to themselves or others (see Johansson’s character as a mother) … There’s also always Jason Schwartzman and Tilda Swinton.That’s just a fact.
Asteroid City isn’t just bloated by the staples of Anderson’s films. It’s also got the story within a story thing happening and one is far more interesting than the other, which simply seems to serve no purpose than to find a way for Cranston to provide his best Rod Serling imitation while Norton channels his best Truman Capote. It’s never feels like an homage, however – it just exists. And therein lies the problem.
As is the case with so many of Anderson’s films – The Fantastic Mr. Fox standing out as exception more and more with each new release – these stories just exist. There is nothing captivating, enthralling, enticing, exploratory or exciting. They just take up space on the screen like the characters often do in each other’s realities. That’s before you get into the whole discussion of how the story-within-a-story doesn’t work one iota, instead becoming a jumbled ensemble (an Anderson staple on steroids in ASTEROID CITY) with characters just taking up time and energy that should have been devoted to focusing on just a few to make a better film. (I don’t know what it is that makes actors go “I can have four lines for a non-memorable character in a 2-hour Wes Anderson movie?! I’ll take it!” but given that he repeatedly can find big names that will do it, I’m just happy he directs movies instead of political campaigns.)
It’s like being in a coffee shop with a hipster who is annoyed with other hipsters trying to be the ultimate hipster to establish their dominance … Only for those hipsters to be attempting the exact same thing to the chagrin of everyone else in the room who just wanted fresh java to start their day. Wes Anderson movies are only for people who like complaining about people who don’t “get” Wes Anderson movies, which reinforces Wes Anderson’s want and desire to make them regardless of whether he actually should.
In the end, the reality of Anderson’s latest work is this: 20+ plus years of watching the same movie has left this reviewer with a strong desire for an asteroid to obliterate whatever scripts he has waiting in the wings.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: THE BLACKENING.

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“Wait … Is that Tucker Carlson at a Kanye West concert?!” A group of old college friends – King (Melvin Gregg), Allison (Grace Byers), Lisa (Antoinette Robinson), Nnamdi (Sinqua Walls), Clifton (Jermaine Fowler), Dewayne (Dewayne Perkins) and Shanika (Xochitl “x” Mayo) in THE BLACKENING. Credit: Glen Wilson © 2023 Lionsgate Publicity
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Tim Story

KEY CAST MEMBERS: Melvin Gregg, Grace Byers, Antoinette Robinson, Sinqua Walls, Jermaine Fowler, Dewayne Perkins and Xochitl “x” Mayo with Deidrich Bader, Yvonne Orji and Jay Pharoah

 

THE BACK STORY: A group of young Black friends decide to meet up at a cabin in the woods to relive their college party days. This includes former thug turned reformed married man King (Melvin Gregg), the biracial Allison (Grace Byers), the lawyer with a penchant for molly (the drug, not a person) Lisa (Antoinette Robinson), Lisa’s old college flame Nnamdi (Sinqua Walls), the nerdy Clifton (Jermaine Fowler), Lisa’s gay best friend Dewayne (Dewayne Perkins) and the always ready to get down for a good Shanika (Xochitl “x” Mayo). Also set to join the party are Morgan (Yvonne Orji) and Shawn (Jay Pharoah)
Problem is, once the gang arrives, they discover very quickly that something is wrong. That’s when they find themselves locked in a room being forced by a terrifying voice coming from a Sambo figure from “The Blackening:” A board game that challenges their knowledge of black history and culture. And once a TV cuts on showing one of their friends in an extremely compromising position, they know just how serious their situation is.

So, what happens when the group is forced to confront their own hypocrisies, idiosyncrasies and culture to ensure they can stay alive? A lot – and since they all can’t die first, a lot of hilarity is set to follow.

THE REVIEW: While it’s not a pure classic (there are some moments that feel like missed opportunities to go even deeper on certain subjects), THE BLACKENING is sure to become a certified ‘hood classic among African Americans. Additionally, the film also carries the potential for a Friday-like following among all those who enjoy African American culture. For with THE BLACKENING, audiences are treated to a look into race (both in terms of what it means to be Black in America and in the eyes of other Black people) set against a cleverly-composed story with enough twists and turns to work on both a horror and comedy level.
In other words, it’s really entertaining and far more poignant than it should be for a 96-minute movie with a largely unknown cast.
Feeling a lot like the best work of Key & Peele within a horror movie context, The Blackening explores familiar territory – politics, what it means to be black, colorism and homophobia within the black community, etc. It does so, however, in a way that is entertaining, smart and multi-faceted, going out of its way to showcase how black people don’t exist as a monolith. In doing so, it also presents opportunities for the audience to examine how they think and act regarding those issues through laughter without being preachy, heavy-handed or depressing.
This wouldn’t be possible, of course, without the cast’s chemistry and the management of director Tim Story (Ride Along, Barbershop and the first two Fantastic Four films). Making fun of the horror movie format while working within it can go terribly wrong if not done properly, as can trying to use humor to make good points. Fortunately the cast passes its vibe check in spades (pun intended given the significant of the popular Black card game to the plot), making the film move at a crisp, suspenseful pace.
What could be better? Well, each character could get a chance to serve as a reflection of the different cross sections of society and the repeated use of the n-word could have sparked a great discussion among the characters. Likewise, some of the film’s subject matter feels a little late to the party in lieu of the fabled work of Chappelle’s Show, the aforementioned Key & Peele and Saturday Night Live‘s phenomenal “Black Jeopardy” sketches starring the late Chadwick Boseman and Tom Hanks. Alas, it’s hard to cram everything into just one movie and projecting the things one would love to see versus what the filmmakers gives will always leave room for a little disappointment.
Still, while it won’t reach Get Out levels of cultural discussion or impact, THE BLACKENING will add to our nation’s ongoing conversation about race, but will do so with a bunch of laughs along the way. It would be very interesting to see a non-black audience watch the film with a black audience watching them and vice-versa as that inherently would spur some great conversations. (I can only imagine the puzzlement of some leading conservatives asking what exactly “the cookout” is and the significance of an invite.)
All that notwithstanding, THE BLACKENING is one hell of a good time at the movies and welcome addition to a cinematic world where far too often the only thing black is the first victim.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: The Flash

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“All right … Let’s get out there and revive a cinematic universe!” Credit: © 2023 Warner Bros. Pictures
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Andy Muschietti

KEY CAST MEMBERS: Ezra Miller, Michael Keaton, Ron Livington, Michael Shannon, Sasha Calle, Maribel Verdú, Kiersey Clemons, Ben Affleck … And some other special guests.

 

THE BACK STORY: Barry Allen (Ezra Miller) is a member of the Justice League, the super-powered team of heroes consisting of himself, the cybernetic Victor Stone a.k.a. Cyborg, Diana Prince a.k.a. Wonder Woman, Bruce Wayne a.k.a Batman, Arthur Curry a.k.a. the Atlean known as Aquaman and Clark Kent a.k.a. Kal-El a.k.a Superman. While each has suffered their own traumas, they have each respectively come to accept it, move on and help save the world from numerous threats.
But what would the world be like if they could undo that trauma? Well, in the case of Barry, he discovers that he just might be able to do so.
You see, while in the middle of another superhero quest, Allen discovers that, when fully charged, he can run so fast he can actually travel back in time. That gives the opportunity he’s always wanted: To save his deceased mom (Maribel Verdú) from her murder/fatal accident (it’s never really explained what happened, but you can draw your own conclusion) and clear his father (Ron Livingston) in the process.
Unfortunately for Barry, he is about to learn that messing with the space-time continuum comes with some serious consequences just like Bruce Wayne (Ben Affleck) warned him … And his adventure with Bruce Wayne (Michael Keaton) – and Barry Allen (Miller again) is about to prove with dire consequences.
 

 

THE REVIEW: Warner Bros., the parent company of DC Comics, has had one heck of a time getting there superhero universe off the ground. For every one good movie or TV show they make – Wonder Woman, Harley Quinn & The Birds of Prey, Peacemaker, for example – they seem to make another – Black Adam, Batman vs. Superman, the original cut of Justice League that eradicates any momentum they have. Throw in the fact six actors have played Batman since 1989 (Keaton, Val Kilmer, George Clooney, Christian Bale, Affleck and Robert Pattison) and they’ve all existed in their own worlds (until now) and the lack of a comprehensive plan has made a mess of things. In turn, it’s allowed the competition – Marvel, for those who aren’t good at reading between the lines – to repeatedly do this to them with every release.
What THE FLASH does well, however, is what many of its DC predecessors have not: (1) Develop its lead character (who admittedly at times almost does feel like he is playing second fiddle in their own movie); (2) Tell a story that is compelling due to its depth with visuals that mostly enhance versus detract away from it and (3) Find its emotional center without forcing or shoehorning it in as an afterthought. In turn, the supporting characters actually help enhance the overall quality as opposed to taking away from it and being better than the lead (see Brosnan, Pierce in the aforementioned Black Adam).
Love or hate Ezra Miller for its somewhat polarizing performance in Justice League and/or all his away from a movie set antics, about 25/30 minutes or so into the film, everything just seems to click. He is able to make all of the character’s antics transition and make you forget about him and instead focus on the character, his motivations, flaws and strengths. While fans can (and likely will) continue to debate whether or not he should be recast in future films, this performance is one Miller can truly call their own (Note: Miller uses the they/them/theirs pronouns). Warner Bros. has done a very clever campaign by minimizing Miller in the trailers leading up to the film, but it’s likely that once people see it, most of the harsh fan boy population will just be happy with the finished result enough to cool down.
Is the film perfect? No. Keaton owns all of his moments as the film at times feels more like “The Flash and the Justice League” and is a definite way to set up future DC Multiverse films since the previous ones have, well, failed to do so. Likewise, some of the CGI sequences are very noticeable for their enhancements; if you had a problem with the last two to three Marvel live action releases, be prepared to be taken out of scenes with some of the motions here. That notwithstanding, director Andy Muschietti does bring a visual style that is (1) effective and (2) much needed to make the film work as a whole. Likewise, he and his team are able to provide just the right amount of humor true to what Miller’s take on the character does without being too corny too often and he is able to center the story to keep it from feeling like a series of random events.
Where the DC Cinematic Universe goes from here remains to be seen; if THE FLASH is any indication, however, it seems to finally be finding its footing to go alongside aforementioned The Peacemaker HBO series in moving away from cartoon-ish pulp to grittier fare. They still need to find some villains other than Lex Luthor, Joker, Penguin and General Zod to beef up and raise the stakes, but again, THE FLASH shows things are improving. And in a world where Wonder Woman 1984 exists, that is a very good thing indeed.
The final verdict? Despite a star that has been as problematic as the entire DC Comics cinematic universe has been to date, THE FLASH is the most complete Warner Bros. comic book-based adventure in quite some time. Hopefully, it is a quick step in the right direction … And not a flash in the superhero pan.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: Transformers: Rise of the Beasts

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Director Steven Caple, Jr., Anthony Ramos and Pete Davidson finally help Transformers franchise rise to the occasion with latest entry

“PETA is gonna have problem with this, right?!” Cheetor (voiced by Tongayi Chirisa) gets up close and personal with Mirage (voiced by Pete Davidson) as Arcee (voiced by Liza Koshy) looks on in a scene from TRANSFORMERS: RISE OF THE BEASTS. Credit: © 2023 Paramount Pictures. All rights reserved. 
WATCH THE TRAILER HERE:
 
 
DIRECTOR: Steven Caple, Jr.

KEY CAST MEMBERS: Anthony Ramos, Dominique Fishback, Pete Davidson, Colman Domingo, Luna Lauren Velez, Dean Scott Vazquez and the voices of Peter Cullen, Ron Perlman, Peter Dinklage, Michelle Yeoh, Liza Koshy, John DiMaggio, David Sobolov, Michaela Jaé Rodriguez,  Cristo Fernández, Tobe Nwigwe and Tongayi Chirisa 

 

THE BACK STORY: Set in 1994 long before Shia LeBeouf’s Sam Witwicky would ever enter the picture, TRANSFORMERS: RISE OF THE BEASTS finds former U.S. Army private Noah Diaz (Anthony Ramos) trying his best to do right by his family. His hardworking mother (Luna Lauren Velez) is doing the best she can to provide while his 11 year-old brother (Dean Scott Vazquez), whose sickle cell anemia is causing him all sorts of complications.
Not finding opportunities to make the money – or C.R.E.A.M. in accordance with the film’s hip-hop heavy soundtrack – necessary legally, Noah takes a gig to steal a Porsche from a local parking garage. But this is no ordinary Porsche.
That Porsche is Mirage (voiced by Pete Davidson), one of several Autobots living on Earth after the destruction of their home planet Cybertron. Led by Optimus Prime, (voiced by longtime Transformers mainstay Peter Cullen) the Autobots are stuck with no way home since the one thing they need – a key – has been lost forever … Or so they think.
You see, that key was taken and hidden centuries ago by robot gorilla Optimus Primal (voiced by Ron Perlman), leader of the Maximals, robots who took on animal form instead of cars like the Autobots. But like the Autobots, the Maximals have a natural enemy: The Predacons, a race of robots led by the aptly-named Scourge (voiced by Peter Dinklage) that answer to Omnicron (voiced by Colman Domingo of Fear the Walking Dead fame). Why is that important? Because Omnicron is the Transformers equivalent of the Death Star in Star Wars and Galactus in the Marvel Cinematic Universe: A massive villain who consumes planets – like the Maximals home world – to sustain himself.
So … What happens when aspiring museum intern Elena Wallace (Dominique Fishback) inadvertently makes a discovery that threatens life on Earth and every other planet in the galaxy? You’ll have to watch the movie to find out.
THE REVIEW: As a kid, I LOVED Transformers as an animated series. I LOVED original animated adventure, The Transformers: The Movie. I had several of the toys – I have never gotten over my Optimus Prime getting broken in elementary school by another kid nor never getting the Dinobots – comic books and more. So, in 2007, when I heard they were making a live action Transformers movie, I was excited.
Then I saw it … And it absolutely sucked. As did the first sequel, Transformers: Revenge of the Fallen with the two hip-hop robots I joked about on my second stand-up album, Remarkable. And if you think I had similar thoughts about the 2011 sequel Transformers: Dark of the Moon, you’d be right. That’s when I tapped out. Sure, I caught a few minutes of the latter sequels on cable in recent years, but I couldn’t bring myself to watch them.
Needless to say, I walked into the latest sequel – which is actually a prequel to the first live-action film but a sequel to 2018’s prequel Bumblebee (that film was set in 1987, FYI) – with the lowest of low expectations. I came prepared to hate it, to talk about Michael Bay’s love of explosions, the corny jokes and dumb human characters that are inconsequential to all the Battlebots-style goofy sequences on the screen in front of me.
Well, I hate to admit this, but here it goes … I actually liked TRANSFORMERS: RISE OF THE BEASTS … And many audiences will, too.
It only took them several tries, but Paramount Pictures has finally turned out a Transformers movie where the story mostly makes sense, the jokes aren’t cringe-inducing (and dare I say, in a few instances, smart) and the human characters are actually interesting. Even more astounding? The action sequences work and there are is a BIG surprise that could signal the fix of something else much maligned 1980s kids will likely let out an audible gasp in response to it.
I’m not saying RISE is perfect. What I am saying, however, is that this film is enjoyable as everything pretty much works more than it doesn’t. Why? The film inserts the things that many of the others were lacking: Some intelligence and genuine emotion combined with visuals that pop and sequences that bring it all home.
Love him or hate him, Davidson has figured out who he is and is a perfect fit as Mirage and a much-needed balance from the wet blanket of a leader that has defined Optimus Prime throughout the series. Perlman, however, is able to bring some less-depressing leadership qualities to Optimus Primal, teaching the Autobot he was named after a thing or two in the process.
Likewise, Ramos and Fishback bring some much needed humanity (pun intended) to their roles, a quality that has been so forced throughout the Transformers live action franchise it’s not even funny (because it never was). Ramos is infinitely relatable as a character, which makes his journey interesting, a promise he delivers on with a solid performance. Likewise, Fishback’s character is smart but not too smart for the room to the point it’s annoying or silly, just effective and inspiration since the majority of women in this series well … Haven’t exactly been the given the best roles.
While one would be tempted to give credit to Michael Bay for stepping out of the director’s chair and focusing on actors right for the roles instead of familiar names and/or pretty faces, that would simply be too easy and frankly rude. For in the case of director Steven Caple, Jr., you can tell he was like many youths growing up in the 80s and 90s: An actual Transformers fan who saw great potential for the lack action films but knew how important it was to finally do them justice, striking the right balance between humorous and heartfelt as well as intense and interesting.
Given the implications of the film, it remains to be seen where exactly the franchise goes from here. But in much the same fashion that Warner Bros./D.C. is hoping James Gunn can get its comic book movie franchise finally headed in the right, consistent direction, if this is any indication of what’s next, there might be hope yet this series might finally deliver more than meets the eye since what had been previously seen wasn’t worth it.
But for those craving an entertaining Transformers movie, RISE OF THE BEASTS is far more fun than you’d ever expect.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: Spider-Man: Across the Spider-Verse

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“Hey girl … Just hangin’ out???” Miles Morales (voiced by Shameik Moore) checks in on his surprise visitor Spider-Gwen a.k.a. Gwen Stacy (voiced by Hailee Steinfeld) in a scene from SPIDER-MAN: ACROSS THE SPIDER-VERSE. Credit: © 2023 CTMG, Inc. All Rights Reserved.

 

WATCH THE TRAILER HERE:
 
DIRECTOR: Joaquim Dos Santos, Kemp Powers and Justin K. Thompson

KEY CAST MEMBERS: Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni with Daniel Kaluuya and Oscar Isaac

 
THE BACK STORY: Fifteen year-old Miles Morales (voiced by Shameik Moore) has a lot going on for him. He’s already getting chances like attending Princeton University, his father (voiced by Brian Tyree Henry) is on the verge of getting promoted to police captain, his mother (Luna Lauren Velez) loves him to death and oh yeah – he’s spent the last year+ serving as Brooklyn’s own friendly neighborhood Spider-Man.
Unfortunately, that last part is about to cause him – and a bunch of other people – a LOT of trouble. Why? Because the incident that saved his universe the last time he was facing someone with villainous plans has created a new, more dangerous villain: The Spot (voiced by Jason Schwartzman), a man who, thanks to that super collider that blew up, has turned to a life of crime and seeks revenge on Miles for what he inadvertently made him.
But while Miles may think of The Spot as a “villain of the week,” there’s another group of people – Spider-powered people, as it turns out – that know he is a dangerous anomaly that needs to be stopped. So when Miles old friend Spider-Gwen (voiced by Hailee Steinfeld) shows up out of the blue, he quickly learns that it’s not just a social visit.
It’s time to go Across the Spider-Verse.
THE REVIEW: In short, to use a phrase the young people say, SPIDER-MAN: ACROSS THE SPIDER-VERSE, is “dope AF (and NO, I shan’t explain those last two letters, nor the word ‘shan’t!).
The animation in the film is unlike anything you’ve ever seen and truly brings the characters to life, which is no small feat considering the fact that save for some very smart exceptions, all of them are animated. The Spider-Verse comes alive in each setting the film travels across in its 2 hour and 15 minute runtime, which feels short when the film gets to its Avengers: Infinity War-like ending.
The fact the film is visually stimulating is enhanced by the stellar vocal performances of the film’s cast and smart, engaging pacing/storytelling presented by its trio of directors. Like the film that proceeded it, ACROSS THE SPIDER-VERSE tells engaging stories of parents and children, responsibility, the struggle to deal with loss and grief and accepting your fate versus defining it for one’s self. Throw in the fact the film is able to hit measures of diversity, equity and inclusion in a way that is: (1) Respectful of the various cultures it showcases in a way that is (2) Smart (3) Engaging and (4) Funny in such a way it’s (5) sure to upset the “anti-woke”/keep superheroes male and white crowd and you have an early contender for not only Best Animated Feature at the Academy Awards – an honor it’s predecessor has already taken home – but Best Picture, period.
With so many Spider-Man movies already existing in the 21 years Sony Pictures has owned the cinematic rights to the character, one could be forgiven for thinking there’s not possibly anything left that could be compelling enough to see on screen. ACROSS THE SPIDER-VERSE proves that idea wrong in spades, owning the screen as its own unique-yet-stil-connected-to-everything-else-Marvel entity in the process. From the Easter eggs hidden for long-standing Spider-Man fans, cameo appearances to incorporation of other adventures in the character’s two decades’ plus on screen, the film is both homage to those that have come before it and its own being. That is no easy feat to pull off but one the film does excellently from start to finish much to what most certainly will be Spider-Man fans’ delight.
To say more would be to spoil all the fun – and ACROS THE SPIDER-VERSE might just be the most fun you’ll have at the movies all summer.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

Dayton Filmmakers Gear Up For Next Film

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Meet Michael Box & Patrick Bertram Hague – the founders of EchoEterna.  These two wizards are going to make the next big film right here in Dayton, Ohio.  I had a chance to chat with these intelligent and creative people, and between our musings about music and movie trivia, raising kids, and favorite bourbons, we finally got around to the nuts and bolts of our conversation – their film. The movie is a dramatic sci-fi feature in which renegade musicians navigate an illegal underground music scene, set in a near-future society where creative freedom is monitored by a restrictive authority class.

Q: How did you come up with the movie name of SpeakEasy?

Michael: I can’t remember who thought of it, but the way the characters in our story have to play in underground, illegal locations, hiding their equipment, and risking everything reminded us of Prohibition Era bootleggers. The title of SpeakEasy was with us almost as soon as our first words were put on paper. 

Q: Speaking of names – what’s the story and significance of the name of your Production Company, EchoEterna?

Patrick: So, EchoEterna is a very very subtle reference to our first project, a sci-fi film. The story contains cryptic references to time travel, linked to a top-secret experiment with the codename “EchoEterna”. 

We’ve always loved the phrase, and it only made sense to adopt it as the name of our company. It feels fitting in ways I’m not sure I know how to articulate. Lol. You know– it’s a reference to our humble beginnings, but it also feels like an apt representation of the types of films we want to make. 

Q: Where did you two meet?

Michael: We met 20+ years ago at a Springboro church. Pat was a drummer in the adult service and the evening youth service. The band needed a bass player, so I put down my electric guitar and picked up a bass. For the next five years, we played almost every week together.

Patrick: This will sound odd, but we actually met at church. In another lifetime, Mike and I were in a worship band that ended up becoming pretty popular in the Midwest and a few other areas. I was a dumb teenager who happened to be pretty good on the drums, and Mike was a seasoned musician who knew his way around the bass guitar. Together, I can’t help but admit: we made a pretty sick rhythm section. We gigged around quite a bit with the band, playing retreats and youth events on a regular basis. 

Q: Did you become interested in filmmaking together or did you each already have an interest?

Michael: I’ve been a music and movie nerd for as long as I can remember. I had dreamed of being a writer for Rolling Stone; traveling with bands and writing about our misadventures. When the movie, Almost Famous, came out, I connected with it instantly. Pat was working on a script and had hit a roadblock. He asked if I’d be interested in helping. I just thought it was a chance to help a friend. I never thought it would spark my interest in filmmaking, but once we started shooting, I was hooked. 

Patrick: Before becoming filmmakers, we would always geek out and bond over movies and dystopian sci-fi novels. Separately, we both wrote fictional and sometimes non-fiction pieces in our own time, believing we were potentially capable of writing books or in-depth articles about music and film. Around the fall of 2009, I eventually had a realization that the ‘novel’ I thought I was writing was better suited as a screenplay. Not realizing that you could download software to format a screenplay, I formatted one myself in Word (yes, it was a F-ing nightmare). It was a 250-page, one-hundred million-dollar, bloated disaster of a story, but I wrote it nonetheless. It didn’t take a genius to tell me that I needed help, and Mike was the most obvious candidate to bring on board and fix the mess I made. To this day,

I am super proud of the work we put in (on our own time), and ultimately it became the basis on which we made our first feature film– One that we funded entirely on our own and shot on old-school Kodak 16mm film stock.

 

Q: You guys are working on literally everything about this movie aren’t you?  From producing to directing to raising funds and even to writing the music – yes?

Michael: Yeah, it is ambitious and exhausting, but we’ve always had a DIY way to our process. Sometimes that works well, sometimes we realize we need to ask for help. But in the end, I’m confident in our vision and our skills. So I wouldn’t really want it any other way

Patrick: Yes, to an extent. As for the production, we are the top dogs. And now we actually have ‘employees’ so there’s been a slight learning curve to delegation and being bosses (as much as I hate being a boss). So we’re writing and producing the thing, I’m directing and shooting it, and we are for sure the guys who are venturing out and raising the funds. That being said, we have SO many incredible friends and family members who are getting involved and pulling strings behind the scenes. Maybe even things that will never be accounted for, or credited in the film. It has a become a living, breathing organism at this point; one that Mike and I might not even be able to fully control. And that excites us. As weird as it sounds, that’s kind of the dream, right? As for the music, I would say we’re writing A LOT of the music ourselves, and overseeing some of it. We’ve pulled musicians from old bands, current bands, siblings, cousins– ANYONE who gets what we’re doing who can add to the vibe we’re attempting to cultivate. Similar to the ‘film collective’ we hope to create through EchoEterna, the songs and score for ‘SpeakEasy’ will definitely be a (hopefully) beautiful collage of our ideas mixed with the ideas of genuinely talented folks who we’ve worked with or encountered over the years. 

 

Q: How hard has it been to find actors who actually can play music or musicians who can actually act?

Michael: WEIRDLY, two of our shortlisted actors responded to our casting call almost immediately. That experience set us up to believe it was going to be easy. Excuse me while I laugh my ass off… It’s been VERY. DIFFICULT.

Patrick: Obviously, we don’t have the budget to hire name actors who we can pay to be given lessons on their characters’ respective instruments, and then pay to spend weeks or months of rehearsal time to make sure they operate as a BAND, let alone how they operate as CHARACTERS who need to seem as if they’ve been in a band together for years. Bottom line: casting this project has been an interesting ride, and there were certainly times when we’d stay up late with a bottle of bourbon wondering if it was even possible. Fortunately, we are beyond happy with our shortlisted actors for the main band. Super happy with their dedication and progress so far.

These two are serious, talented, and motivated filmmakers.  They are working on funding the project (along with everything else that goes into this) – not to mention they both have families and full-time gigs  (Patrick is the drummer in the popular Dream-Pop band MOIRA and Michael is a supervisor at Mary Haven Youth Center, a division of the Warren County Juvenile Court).  One question I forgot to ask: do they ever sleep?

For more information on the film, how to get involved, how to invest or just to follow their great journey, check out 

Instagram: @echoeterna

FaceBook: EchoEterna Productions, LLC

EchoEterna.com 

[email protected]

 

PS:  Coming soon – Casting in Dayton!  Follow  FB & Instagram for updated information.

FilmDayton’s Small Role in Monica, Opening Today At The Neon

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As the Dayton Film Commissioner, our job at FilmDayton is to help films get made here.  We’ll get the call when a production team needs assistance, often with locations.

In June of 2021 we got one of those calls from a location scout on behalf of Varient Entertainment LLC. about a movie that would be filming in the area and needed assistance securing locations and coverage from the local sheriffs office for some street scenes.

In August of 2021 Variant used a room at the Red Horse Motel on Dixie Drive and some county roads in the Moraine area, specifically Diamond Mill Rd,  Manning and Weaver Roads to film scenes for the movie.

While the majority of this project was filmed in Cincinnati, getting several scenes filmed in the Dayton area is always a win, as we are able to show the cast and crew our local hospitality. Speaking of local, several locals were hired to work on this film   The Moraine Fire Department also worked with the production team, offering them space for hair and make up for the actors.

Another Dayton connection for this film, the co-star of the film, Trace Lysette, grew up in Dayton, running track athlete at Colonel White High School.  In an interview with Dayton Daily News, she recalled seeing “The Rocky Horror Picture Show” at The Neon as a teenager.

The film had its world premiere at the 79th Venice International Film Festival on September 3, 2022, Monica opens at The Neon today,  Friday May 19th  and the  screening at 7:15 will feature a special conversation with the lead actress!  The film synopsis is “a woman returns home to care for her ailing mother who she hasn’t seen in years in this tender portrait of family, forgiveness, and acceptance.”

Showtimes at The Neon:
Fri, Sat, Sun (May 19-21)
1:15, 4:15, 7:15
Mon, Tue, Wed (May 22-24)
3:30, 7:15
Thu (May 25)
3:30
The film will open at the Little Art Theater in Yellow Spring June 2nd.

 

Father-son duo Martin Sheen and Emilio Estevez re-release ‘The Way’.

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“The Way” is a powerful and inspirational story about family, friends and the challenges we face while navigating this ever-changing and complicated world.

“The Way” is a powerful and inspirational story about family, friends and the challenges we face while navigating this ever-changing and complicated world. Martin Sheen plays Tom, an American doctor who comes to St. Jean Pied de Port, France to collect the remains of his adult son (played by Emilio Estevez), killed in the Pyrenees in a storm while walking the Camino de Santiago, also known as The Way of Saint James. Rather than return home, Tom decides to embark on the historical pilgrimage to honor his son’s desire to finish the journey.

In 2010 Estevez and Sheen began a bus tour to promote the film. FilmDayton and the Dayton Art Institute helped bring them to Dayton!

Now after a two-year journey to gain back the rights to The Way, Emilio Estevez has arranged with Fathom Events to re-release the film nationwide on May 16 on about 800 screens or more. The effort has led to not only a chance to dust off a 12-year old film, but also to start progress on a sequel.

Estevez says in an interview with Deadline says  “This has always been a very special movie to me. This has grown from a passion project into something else. This is a second bite at the apple, which is rare for a movie,” Estevez said. “It’s a movie that is now more of its time than when we made it. Going through and coming out of Covid, people want to get out and travel again, see the world and be less isolated.”

Fathom Events is hosting the special screening on May 16th at 7pm here at the Regal Fairfield Commons.  You can buy tickets online for $15.