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McCoy on Movies: PIECE BY PIECE

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Pharrell Williams gets animated in director Morgan Neville’s visually stimulating and inspiring LEGO® documentary

“You know, even as LEGO® men, no one know what the heck Daft Punk looks like under these helmets!” Daft Punk and Pharrell Williams take the stage in a scene from director Morgan Neville’s PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC.

WWATCH THE TRAILER HERE:

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KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Morgan Neville
 
THE BACK STORY: Pharrell Williams is nothing short of a modern day musical wunderkind. He’s produced scores of hits for some of the biggest stars in hip-hop, R&B and even pop music, not to mention his work with his band N*E*R*D (No One Ever Really Dies) and his solo career. But how in the world did a kid who grew up feeling like an outsider in Virginia grow into one of the most influential music composers of the last 35 years? Through the magic of LEGO®, director Morgan Neville – along with 3D animated versions of some of music’s most important figures – seeks to explain how he built up his career PIECE BY PIECE.  

 

THE REVIEW: A story presented in a format that captures the childlike imagination, whimsy and dreams that inspired its subject, PIECE BY PIECE shows that there is not only life in LEGO® filmmaking, but why Williams’ story is one worth telling. In doing so, the film delivers a portrait of an artist that despite making millions, feels relatable to men, women and children worldwide who dare to be creative and follow their dreams.

 

An animated documentary, let alone one told through animated bricks – let alone one that has to follow scores of LEGO® films that were essentially comedies or traditional comic book-style tales – wouldn’t work for most people. With PIECE BY PIECE, however, we are given an extraordinary insight into Williams’ mind, the path he took to become who he is and the passions that drive him. But in exploring those passions and seeing how they impacted his journey, moviegoers are treated to a story visually is suited for children, but delivers insights directed at the inner child in all of us.

Director Morgan Neville makes wonderful use of the LEGO® format, using the notorious bricks many a parent has stepped on in the middle of the night to showcase different emotions with an Inside Out-like flair. The whimsical figures relay the happiness of Pharrell’s big break and realization of when he has a hit on his hands exceptionally; likewise, disappointments, failure and loss seemingly hit harder watching the animated spirit that is Williams’ fade in his darkest moments. PIECE BY PIECE works so well in both instances due to the inherent nature of both toys and, as its subject mentions in the film, the ability to use them to craft a world out of one’s own desires and creativity.

The LEGO® format allows Neville to bring the complexities of Williams’ creativity and worldview to life in a manner that might not work as well in a traditional format, leading to eye catching imagery memorable as the soundtrack. Remarkably, one needn’t be a Williams fan to enjoy the storytelling of the film nor catch the inspiration it provides (although it certainly would help – brush up on your Golden Era hip-hop and 90s R&B, kids!).

In inviting us to come experience his story, Williams will likely end up inspiring the film’s audience to go explore their own … And that, in addition to clever humor, perfectly sequenced storytelling and a thumping soundtrack, is what makes PIECE BY PIECE a masterpiece.

 

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

 

 

 

 

‘OUT HERE DAYTON’ FILM FESTIVAL kicks off Thursday at Neon!

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OUT HERE DAYTON FILM FEST is preparing for its 19 th  year of celebrating the best of
LGBTQIA+ films from around the world with the Miami Valley. Decisions were so hard to
make decisions that the festival decided to expand by an extra day.  Join OUT HERE at
THE NEON during the long weekend of Oct. 10-13 for 9 different screenings – featuring 25
short and feature-length films. And don’t forget the Friday Night Party – this year at Lily’s!
which is just a block away from THE NEON’s front doors.
Directors Luke Willis (LADY LIKE) and Caden Douglas (MOTHER FATHER SISTER
BROTHER FRANK) will be in attendance for Q&A’s following their films.
Tickets are $10 for each screening, and a scholarship button is available on the website’s main
page for anyone seeking complimentary tickets.
Visit www.outheredayton.org for more details.

Here is a look at the schedule for the beloved film festival:

THURSDAY, OCT. 10:
7:30
LADY LIKE – 89 min, USA/UK – dir. Luke Willis
The pages of Lady Camden&#39;s fairytale are filled with growth, discovery, and a true
passion for performance in this imaginative, heartfelt documentary. A student of
dance, Camden had performed ballet across many international stages before lip
syncing on the catwalk of RuPaul’s Drag Race.
Preceded by:
STAN BEHAVIOR – 15 min, USA – dir. Tyler C. Peterson
A drag queen (Ginger Minj) embarks on a quest for better workplace rights but
ends up in a dicey situation.
KINGS – 6 min, USA – dir. Eric Garcia
Two drag kings fall in love during a bathroom quickie.

FRIDAY, OCT 11:
7:00
THE QUEEN OF MY DREAMS – 98 min, Canada/Pakistan – dir. Fawzia Mirza
Queer Pakistani grad student Azra is worlds apart from her conservative Muslim
mother. When her father suddenly dies, Azra finds herself on a Bollywood-
inspired journey through memories – from her mother’s youth in Karachi to her
own coming- of-age in rural Canada.
Preceded by:
QUEEN SIZE – 19 min, France – dir. Avril Besson
This morning, Marina has an appointment with Charlie to sell her a mattress. This
evening, she will cancel her plane ticket.
9:30
Post-Screening Friday Night Party – Lily’s Dayton in the Oregon District

SATURDAY, OCT 12:
12:30
TOP DRAWER SHORTS – Pack #1.

3:30
A HOUSE IS NOT A DISCO – 91 min, USA – dir. Brian J. Smith
Gorgeous and emotionally charged, A HOUSE IS NOT A DISCO goes behind the
scenes of the infamous Fire Island Pines, a gay fantasyland on the East Coast,
to uncover real life pleasures and simmering conflict – capturing the energy and
ideas of today’s residents, as millennials connect with old timers to reframe the
focus and value of the community.
7:00
BOB MACKIE: NAKED ILLUSION – 105 min, USA – dir. Matthew Miele
Showcases the six-decade career of award-winning costume designer, Bob
Mackie. And like his costumes, Mackie is wholly unique and unfiltered, which
makes for a compelling and candid subject- with interviews including Cher, Pink,
Tom Ford, Miley Cyrus, RuPaul, Carol Burnett, and more.
Preceded by:
WOULDN’T MAKE IT ANY OTHER WAY – 21 min, USA – Hao Zhou
an aspiring costume designer visits their island homeland of Guam to make
costumes for a children’s theatre and reconnect with distanced parents.
9:45
MOTHER FATHER SISTER BROTHER FRANK – 86 min, Canada – dir. Cadan
Douglas
The Jennings family are having their traditional Sunday dinner. As tensions
reach a boiling point, an unwanted guest arrives: Frank, Father’s wayward brother. To what end with Mother, Father, Sister, and Brother go to get rid of
Frank? Mindy Cohn and Enrico Colantoni star in this comedy horror that’s full of
violence, gore and big laughs.
Preceded by:
THE DINNER – 12 min, Spain – dir. Jesus Martinez
There are some issues which cannot be left for later!


SUNDAY, OCT 13:
12:30
TOP DRAWER SHORTS – Pack #2

3:15
WHAT A FEELING – 111 min, Austria – dir. Kat Rohrer
A chance encounter at a lesbian bar brings two women of a certain age living
strikingly different lives together in this winning romantic comedy. Named after
Irene Cara’s classic anthem from Flashdance, WHAT A FEELING blends heart
with a lack of self-consciousness, telling a poignant story of new love amongst
two women in the “sandwich generation” while also never taking itself too
seriously.
6:00
TURTLES – 82 min, Belgium/Canada – dir. David Lambert
Now in their 60s, Thom and Henri are a married couple living an outwardly sweet
existence at their quaint home in Brussels with their pet turtles Topsy and Turvy.
As they celebrate Henri’s retirement from the police force, Thom sees this as a
perfect opportunity to rekindle their passion after 35 years. But Henri can’t cope with his newfound lack of purpose, and thus… the two start to drive each other
crazy.

McCoy on Movies: Saturday Night

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Jason Reitman’s dramedy brings to life the chaos behind the magic of the origins of Saturday Night Live

The teaser poster for director/co-writer Jason Reitman’s SATURDAY NIGHT. © 2024 Columbia Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Jason Reitman
 
THE BACK STORY: On Oct. 11, 1975, the world was introduced to the original Not Ready for Prime Time Players, a.k.a. the cast of a comedy and music program called NBC’s Saturday Night, known today as Saturday Night Live. Fast-forward some five decades later and Saturday Night Live – SNL for short – would go on to not just become a hit, but an institution that would go on to birth the careers of some of the biggest names in entertainment.

 

But for those in the know, it wasn’t always that way; in fact, the first episode of the now iconic show almost never made it to air. But if young upstart producer Lorne Michaels (Gabriel Labelle) – along with the backing of his estranged wife/staff writer Rosie (Rachel Sennott) – has anything to say about it, that’s not going to happen.

 

It seems that NBC’s cash cow, Johnny Carson, has gotten into a tiff with the network, making Michaels and his company a potential pawn for their ongoing negotiations with their star. But despite that – in addition to fighting actors, drug use, potential censorship, production problems and a network executive (Willem Dafoe) ready to pull the plug on everything, Michaels isn’t ready to give up anytime soon. For the show must go on, as they say, and in the case of Saturday Night, go on it shall.

 

THE REVIEW: Saturday Night is a lot like an episode of Saturday Night Live itself: It takes a while to find its footing, but once it does, it showcases the magic that has enabled the show to stay on the air for 50 seasons and counting.

 

Labelle captures the spirit of young Michaels perfectly, emulating everything from his famous brevity in conversations and the fine line between his confidence/anxiety to his ability to wrangle talent that often needs saving from themselves. Much like his real-life counterpart, Labelle’s performance is the glue that holds the film together, existing as the one constant in the sea of chaos that is and remains SNL.

 

Of course, Labelle wouldn’t be able to shine so brightly without the efforts of the cast, each providing an insight into both the absurdity of putting on a show like SNL and the humanity underscoring it.

 

Whereas Dylan O’Brien is terrific as the young, vibrant version of Dan Aykroyd that was bold, fierce and energetic, Cory Michael Smith embodies the on camera smug hilarity on camera – and documented egotistical terror off – that is Chevy Chase. Likewise, whereas Nicholas Podany, Taylor Gray and Mcabe Gregg capture the hungriness of young Billy Crystal, Al Franken and Tom Davis all hop sing for the chance to get on the air. Tommy Dewey perfectly presents the IDGAF nature of the late Michael O’Donoghue, Ella Hunt projects Gilda Radner’s eternal optimism to see the good in people and situations in spades. Cooper Hoffman’s embattled Dick Ebersol adds drama to the mix without ever feeling like he’s being dramatic for the sake of it, an important distinction that showcases his on screen skill.

 

Who arguably shines brightest in an ensemble cast about a show featuring an ensemble cast of differing personalities and experiences? Matt Wood and Lamorne Morris (no relation) as John Belushi and Garrett Morris, respectively. Whereas Wood hauntingly channels the mercurial complexity that was Belushi as both the artist and a man, Morris showcases the regalness and talent of the man with whom he shares a surname.

 

Then again, there’s really not a bad performance in the bunch, with everyone from J.K. Simmons as Milton Berle to Finn Wolfhard as an NBC page adding another ingredient to a near perfect dramedy recipe. If anything, one may feel a little melancholy for Laraine Newman as Emily Fairn’s portrayal comes across a tad like that of a small-town girl in over her head. (There also are hints at a romantic subplot with O’Brien’s Aykroyd that never come to fruition on screen, both in terms of portrayal and story.) Ironically enough, the film’s relatively unknown cast mirrors the spirit of the 1975 group of hungry performers looking for a chance, their performances showing the same talent and potential of their real life counterparts.

 

Of course, director Jason Reitman has to be given a massive amount of credit for pulling off Saturday Night as a film telling the story of the famed TV show. (A feat which he nonetheless does close to the actual show’s 90-minute airtime to boot.) The end result? A film that is essentially a love letter to an entity that has gone on to inspire thousands of comedians and actors over the decades by presenting all of the drama and hard work to entertain millions. 

 

That, in the end, makes Saturday Night worthy of a curtain call – or at least a viewing at your local cineplex.

 

 

 

 

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

 

 

 

Tony Danza’s hit live show, “Standards & Stories”

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The legendary Tony Danza will take the stage at The Arbogast Performing Arts Center for an unforgettable evening of music, stories, and timeless entertainment with his hit live show, Standards & Stories, on Saturday, October 12, 2024, at 7:00 PM.

Tony Danza and his four-piece band deliver a captivating performance that weaves together his favorite standards from the Great American Songbook, personal stories, and his undeniable charisma. Known for his signature blend of charm, wit, and showmanship, Danza brings a unique touch to each performance, offering audiences a glimpse into his life and his deep connection to the music he loves. His dynamic show also features a touch of tap dancing, ukulele performances, and a sprinkling of humor, making it a must-see for fans of classic entertainment.

The Mousetrap at Troy Civic Theatre

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Mousetrap by Agatha Christie, produced by special arrangement through Concord Theatricals, will be directed by Michael Schumacher. Early one winter afternoon, a brutal murder occurs on Culver Street in Paddington. Witnesses heard someone whistling the nursery rhyme “Three Blind Mice” just before the victim screamed. Later that afternoon, in the Great Hall of Monkswell Manor, Mollie and Giles Ralston prepare for the opening of their guest house, worrying about the effects of the severe snowstorm outside and their own inexperience in their new venture. Giles leaves, joking that since they know so little about their guests some might even be criminals. Alone, Mollie turns on the radio, where a description of the Culver Street murderer is being broadcast. The announcer mentions the suspect’s dark overcoat, light scarf, and felt hat just as Mollie picks up Giles’s dark coat, scarf, and hat.

The Co Call for Artrisian- Created Items

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The CO is currently seeking artist / artisan-created items, ornaments, and decor for consignment for the holiday season. Submissions should meet the following criteria:

MUST

Be modern/contemporary in design and style; exhibit the highest level of craftmanship; be structurally sound, safe, non-toxic, fit for its intended use, and display ready; all necessary hardware and components must be included (earring backs, wired paintings, matted prints)
DEADLINE: NOVEMBER 1, 2024

NOT ACCEPTED

Country craft or boho; items with mechanically produced components (jewelry with commercially-produced chainmail or pendant); items featuring holiday tropes (Santa Claus, reindeer, Christmas trees, etc)

HOW TO APPLY

  1. Complete online submission form at codayton.org/shop or submit images to [email protected]
  2. Upload JPEG images of proposed items
  • up to 5 images of items of the same media (eg 5 handblown glass vases)
  • up to 10 products will be accepted (exceptions apply to smaller items such as ornaments & jewelry)

 

QUESTIONS?

Call us at 937/224.3822 or via email at [email protected]

Click here for full application

Dayton Story Slam Has A New Home

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Our monthly Story Slam open mic event is back for another season of amazing stories. Join us at our new location, The Brightside.
This open mic event hosts some of Dayton’s best tellers.
Storytellers are encouraged to prepare a 5-minute story relating to the theme and place their name in the hat. Tellers are drawn at random
Bring a story, and bring a friend.
The best story of the night wins $50 and a guaranteed spot at next month’s Story Slam.
Our theme for Sept is “Goodbyes and Hellos.”

An Astounding Visit to the ‘SOUTH PACIFIC!’

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Dayton is known for its Arts and all that are involved in it. With that in mind DPAA has put together a production of ‘South Pacific’ that is not to be missed. The event, directed by Joe Deer, is getting all the buzz. Luckily, I was able to hear from Joe about that show and how it all came together!

937: First of all, thank you for taking a minute to share some information about the ‘SOUTH PACIFIC’ performance coming to the Schuster Center this weekend, September 21 and 22. I understand this version of the show is slightly different?

JD:  This version of South Pacific was created for a concert at Carnegie Hall about 20 years ago that starred Reba McEntire and the Broadway star, Brian Stokes Mitchell. It’s adapted by David Ives, who is a terrific comic playwright on his own and who has done many adaptations of classic musicals for the New York City Center encore series. It retains virtually every note of the original score, but has trimmed the book substantially. That said, this is still a heartwarming, charming, and very moving story. I don’t think audiences are going to recognize that very much has been cut. Every storyline is still intact and every character still appears.

937: I’m intrigued. I love the idea of a faster paced show! But how and when did this all come together for Dayton Performing Arts Alliance. Sounds like it was all hands on deck!

JD: Two years ago, Kathleen Clawson , the artistic Director of Dayton Opera, and Neal Gittelman invited me to help create a concert evening celebrating the life and work of Stephen Sondheim. We used students from the musical theater, acting and vocal performance majors out at Wright State University and that was a huge success. Almost immediately, they approached me again about a collaboration on a concert musical. By that time, Wright State University administrators had met with People at the Dayton Performing Arts Alliance and created a more formal collaborative agreement. This is the first project out of that.

937: What a collaboration…and it has all fallen together well?

JD:  This has been a really great collaboration. We have so many different kinds of members of the artistic community involved here. Dayton Opera. Wright State Alumni and Faculty.  The production team is largely from the Dayton, the opera, and Dayton Performing Arts Alliance. With all those different groups coming together, you might expect some difficulties in making things work. But, that has not been the case.

937: I love that it seems so community focused as a production! Tell me this Joe, since the show is pared down, do we lose any songs. People love the ‘South Pacific‘ soundtrack.

JD: The score for this revolutionary musical remains very much intact. With one notable exception – you’re going to hear 46 musicians playing a score that was written for about half that number.  There’s a kind of enhanced time machine quality to getting to perform a score like this with an orchestra the quality of the Dayton Philharmonic. Kathleen was very intentional about finding singers that are the quality Dayton Opera patrons are used to hearing, but who have an understanding and love for this kind of musical theater. She did a remarkable job. I will tell your readers that a number of Dayton actors who are some of their favorites are in this, including Bruce Cromer, Jake Lockwood, Josh McCabe, and a handful of others. I leave rehearsal at the end of the day feeling so happy to work with the quality of singing actor that we are fortunate to have this production.

937: This just sounds incredible!! What do you feel the audience with walk away with after seeing ‘South Pacific?’

JD: I think audiences are gonna walk away from this production surprised by how relevant it still feels. You are uplifted and awakened to the revolutionary nature of this show, which is now 75 years old. Rodgers and Hammerstein were very daring in what they set out to do. And the show won a Pulitzer Prize for drama as a result. That’s very unusual.

937: You know I’m in that musical theatre stuff myself, and my love also goes into the visual aspect. What can we expect there?

JD:  We have a marriage of very traditional scenery and costumes with some very 2024 technology that helps to tell the story. But, the real stars of the show are Rodgers and Hammerstein and the remarkable performers who bring the score and story to life. This production is going to be thrilling for every audience member. Whether you have a lot of familiarity with this show or whether it’s a brand new experience for you.I am simply thrilled to be part of it.

937: ALL THE SUCCESS in the world to you Joe! Cannot wait to see this!

SOUTH PACIFIC show on  September 21, 2024, at 7:30pm & September 22, 2024, at 2:30pm. Performances are in the Winsupply Theatre at the Schuster Center. For tickets click below:

Rodgers and Hammerstein’s South Pacific

 

 

 

 

Edgar Allan Poe Speakeasy

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Step back in time and immerse yourself in the dark and mysterious world of Edgar Allan Poe. This exclusive speakeasy will transport you to a bygone era as you sip on expertly crafted cocktails inspired by four of Poe’s most beloved stories. Led by the speakeasy’s lead mixologist and Poe historians, this immersive evening promises to be a chillingly unforgettable experience. Don’t miss your chance to bring Poe’s tales to life, one sip at a time, and get your tickets for the Edgar Allan Poe Speakeasy in Dayton!

TIFF Day #9 – 2024

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Hello NEON Community.

Today was my last day of screenings, and I officially passed the “30 films” mark.

My first film of the day was one I was eager to see – QUEER, dir Luca Guadagnino (Italy, USA) “Brilliant, audacious author, meet brilliant, audacious director: it takes risk to translate the work of William S. Burroughs for the screen, but Oscar-nominated filmmaker Luca Guadagnino’s (Call Me by Your Name, TIFF ’17) spin on the Beat legend’s autobiographical novel matches its source material in vulnerability and taboo-smashing adventurousness. Starring Daniel Craig and featuring supporting turns from Jason Schwartzman and Oscar nominee Lesley Manville (Phantom Thread), Queer is a hallucinogenic odyssey bathed in desire.” My first Guadagnino film at TIFF is one of my favorite memories…it was a screening of I AM LOVE – which is still one of my favorite films for the 17 years I’ve been attending the festival.  On top of that, other Guadagnino films have played very well for us at THE NEON – CALL ME BY YOUR NAME and CHALLENGERS are among them.  This story is told with magical and drug-induced imagery in wonderful ways, and the Craig’s performance is really quite wonderful.  The film is a slow burn, and I think it might grow on me in time…but about half way through, I was feeling underwhelmed (though I thought the last 20 minutes were very strong).  I had been told by some industry folks that the sex scenes were more than theater-goers could handle – so I was prepared…but in the end,  they weren’t as risqué as I’d thought they might be.

Next up was a complete surprise.  I like Tom Hiddleston & Chiwetel Ejiofor, so I decided to try THE LIFE OF CHUCK, dir Mike Flanagan (USA) “Mike Flanagan takes a detour from the macabre with this adaptation of a uniquely structured Stephen King novella that unravels a seemingly ordinary accountant’s world. The world feels like it’s ending and everybody’s saying goodbye to Chuck. Wherever Marty (Chiwetel Ejiofor) goes, he can’t get away from Charles Krantz (Tom Hiddleston). His face is showing up on billboards, window signs — even TV commercials. What’s so special about this seemingly ordinary accountant and why does he warrant such a sendoff?” (taken from TIFF catalog) This is told in three parts, and Part 3 is where we start.  It’s inventive and plays with genre in an interesting way (Part 3 is a scary end-of-days sci-fi genre (but seeming more like real-life these days) and Parts 2 & 1 are origin story dramas.  At the end of the day, it’s a film about memories and how we’re shaped as adults. Some may say it’s a little too saccharine, but I absolutely adored this film – and it is definitely in my Top 5 of this year’s festival!

My last film of the festival was from the “Midnight Madness” category – THE SUBSTANCE, dir Coralie Fargeat (United Kingdom, United States of America, France) “Demi Moore portrays a fading Hollywood star feuding with the manifestation of her younger self (Margaret Qualley) in this award-winning body-horror satire from writer-director Coralie Fargeat (Revenge)” (taken from TIFF catalog) This film has a lot to say about beauty and age standards for television and film (and even the general public), and it’s hyper-stylized.  It’s a kind of DEATH BECOMES HER directed by Cronenberg, and it’s very fun (and rather grotesque).  For the first 90 minutes, I wished we had booked it at THE NEON next week…but then it jumped the rails and became a full-on gore fest…I’m glad we didn’t. (I think a large part of our regular customers would revolt…plus it will be playing at the multiplexes.)  Overall, I personally liked it – but it absolutely not for everyone.

So that’s that!
32 Films (33 screenings overall – I saw 1 film 2 times), 2 sit-down interviews with a big star and a big director, lots of connections with other people in the business, 1 star-studded party and a couple good meals.  Thanks for coming along on this ride with me.  I hope to see you soon at THE NEON.

Take care,
Jonathan

 

TIFF Day #8 – 2024

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Hello NEON Community.

Things are winding down at TIFF.  Lines are shorter and energy is dwindling (especially mine)…but today had a couple nice surprises in store!

Nobody plays tormented better than Sarah Paulson…so I went to see HOLD YOUR BREATH, dir Karrie Crouse, Will Joines (USA) “Sarah Paulson returns to her home in genre work in this supernatural and psychological film from Karrie Crouse and Will Joines…In dust bowl Oklahoma of the 1930s, a mother (Paulson) nears the breaking point as she tries to protect her daughters from deadly windstorms and the impact of her own harrowing past. ”  (taken from TIFF catalog) Though the set-up was great and the photography is lovely (sometimes almost sepia-toned), this film didn’t trust its own material enough.  The addition of jump scares just for the sake of jump scares cheapened the experience.  Though this film is not without some wonderful, haunting moments (like when Sarah is sewing late at night and sews the fabric to her skin without realizing it), I can ultimately see why Searchlight has decided to move this one directly to the Hulu streaming platform instead of giving it a theatrical release.

The next film on today’s list was fantastic! WILL AND HARPER, dir Josh Greenbaum (USA) “This heartfelt documentary from director Josh Greenbaum (Barb and Star Go to Vista Del Mar) follows Saturday Night Live alumni and close friends Will Ferrell and Harper Steele as they traverse the US by car following Steele’s announcement of her transition.” (taken TIFF catalog). This roadtrip doc is full of friendship, laughter, and a desire to better know a friend…it also deals with some emotional truths that many Americans have never faced.  We were told at the beginning of the screening that we would be joined by special guests for a Q&A afterward…and it was delightful to process the film with the director, producer as well as Will Ferrell and Harper Steele!  Harper right away addressed the fact that many people who transition don’t have the resources or the support that she has had.  That said, the inner struggle and turmoil when deciding to come out was just as strong for her.  I highly recommend this film. It works! (the photo below is one that I snapped during the Q&A)

My last film of the day was an unsettling and transfixing period piece. THE GIRL WITH THE NEEDLE, dir Magnus von Horn (Denmark, Poland, Sweden) “In Magnus von Horn’s stylish and audacious blend of true-crime drama and expressionist nightmare, a young seamstress trying to survive in post-WWI Copenhagen makes a fateful connection with one of the era’s most infamous figures.” (taken from TIFF catalog) At the end of the day, this is a horror film.  That said, it’s not what you think of for today’s horror market.  It’s beautifully shot, the script is terrific, the score is inventive…yet there’s something upsetting and potentially sinister at most every turn.  It’s hard to say I “like” this film, but I do think it’s quite brilliant.

Tomorrow is my last day of films…and it’s likely going to be a short day.  I’ll at least hit 30 films by tomorrow – and I’m very anxious to see Luca Guadagnino’s new film QUEER – starring Daniel Craig.

Thanks for checking in,
Jonathan

TIFF Day #7 – 2024

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Hello NEON Community!

My first movie of today was from the director of our highest grossing documentary ever PIECE BY PIECE, dir Morgan Neville “The life of singer and producer Pharrell Williams is told through LEGO pieces in this animated feature debut from Morgan Neville, featuring the voices of Gwen Stefani, Kendrick Lamar, and Jay-Z.” Neville is responsible for WON’T YOU BE MY NEIGHBOR – so I trusted his instincts and went to see this animated doc about Pharrell.  This creative and thoughtful piece is meant for the whole family – and I hope cinemas and PR folks work with lots of school-aged kids to get them to see this movie so it can inspire them.  We were told that Morgan Neville would join us after the screening for a Q&A…but we were surprised by Pharrell also joining him.  Their talk of equating legos with creating art – assembling layers of existing pieces – was all very intriguing, and Pharrell seems to be in a very grounded place regarding the “grace [he’s] been shown despite years of arrogance.”

Next up was a narrative film about the creation of the first episode of the groundbreaking sketch comedy show – SATURDAY NIGHT, dir Jason Reitman (USA) “Director Jason Reitman captures the frenzied lead-up to the very first episode of Saturday Night Live as a motley bunch of then-unknown and untrained young comedians prepare to step into a revolutionary spotlight that will change history and make them all stars.” (taken from TIFF catalog) This frenetic film is so much fun and full of iconic characters, and it was nice that we got it introduced by Jason Reitman – who was both charming and funny.  I know our audience would love it!

My last film of the day was determined by one of the leads – Tilda Swinton. THE END, dir Joshua Oppenheimer (Denmark, Germany, Ireland, Italy, United Kingdom, Sweden) “Joshua Oppenheimer, known for his groundbreaking documentary The Act of Killing (TIFF ’12), makes his fiction debut with this sombre musical about a family in denial at the end of the world, starring Tilda Swinton, Michael Shannon, George MacKay, and Moses Ingram.” This ambitious movie has a lot to say about our ability to lie to ourselves.  And though I understand this is really just an allegory, I found myself questioning so many details about the film. Though there were many details I admired, I was ultimately not fond of this very long film.

Thanks for checking in again!
I’ve got three films set for tomorrow!

Jonathan

TIFF Day #6 – 2024

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Hello NEON Community,

I want to make sure I send a big THANK YOU to Dayton937 for allowing me to use their platform for daily postings while at TIFF.  It’s a great way to stay in touch with all of you while’s I’m on the road.

My first movie today was a BIG one.  It’s a musical set in many cities around the world (produced by France) – but mostly set in Mexico. EMILIA PEREZ, dir Jacques Audiard (France) “Featuring fearless performances from Zoe Saldaña, Selena Gomez, and the amazing Karla Sofía Gascón, the latest from director Jacques Audiard (Rust and Bone, TIFF ’12) audaciously merges pop opera, narco thriller, and gender affirmation drama.” (taken from TIFF catalog) I didn’t quite know what I was in for, but this musical, gangster melodrama took me for quite a ride.  I was a huge fan of RUST AND BONE over a decade ago, so I was intrigued to see what Audiard would do with a musical.  It’s big and bold and whirlwind of styles and voices – and it ultimately works in its sometimes frenetic style…and the three leads are really wonderful (Saldaña really shines).

Next on my list was RIFF RAFF, dir Dito Montiel (USA) “With an all-star ensemble that includes Ed Harris, Gabrielle Union, Jennifer Coolidge, and Bill Murray, the latest from director Dito Montiel (Man Down, TIFF ’15) is a pitch-black comedy about family, loyalty, and murder.” (taken from TIFF catalog) I 100% know there’s an audience for this film…It’s just not me.  Back in college, all of my classmates loved Tarantino.  He made a joke out of violence..and it was widely copied and embraced by numerous filmmakers.  I wasn’t interested.  The screenwriter for RIFF RAFF noted that several years ago, people read his script and told him “people don’t make movies like this anymore”…he then noted that the director fought to get it made and now people are loving it – he said, “it’s like the new old-fashion.”  The comedic use of shooting people – seeing their brains splatter on the wall..watching someone get their head bashed in…all surrounded by dialog that’s meant to evoke laughter – it’s all here.  It’s just not my thing.  (In addition – There’s some really bad idiot dialog in the beginning of the film to set everyone up…and then the use of bad voice overs – so even more reason for me not to like it.) The one aspect of the film I did like?  Jennifer Coolidge!  From her first entrance on screen to some key moments of droll delivery, she’s gold.

After meeting Jake at the train station, I scurried to my next screening – MISERICORDIA, dir Alain Guiraudie (France, Spain, Portugal) “The latest feature by acclaimed French writer-director Alain Guiraudie (Stranger by the Lake, TIFF ’13) is a deliciously twisted tale of sexual repression in a small town marked by death.” (taken from TIFF catalog) This quirky, sexually repressed, dark and funny tale is set in a very small, pastoral town (it seems to be populated by about 8 people), and it’s a slow burn.  With unsettling occurrences throughout, this story is a quiet treat.  The director was sadly not in attendance because the film is currently getting a release in France – and he had obligations to make appearances at many of those screenings.

My last film of the night was one I was excited to see – BABYGIRL, dir Halina Reijn (USA) “Nicole Kidman is captivating as a high-powered executive who risks everything when she starts a sexual relationship with an intern (Harris Dickinson) in this thrilling erotic drama from writer-director Halina Reijn (Bodies Bodies Bodies).” Sadly, I found this one to be a disappointment.  The audience was laughing and gasping at every turn…but I found myself quite often rolling my eyes and shaking my head.  Though Kidman’s performance is very good, I questioned a lot of the material and thought if felt repetitive.  It’s being billed as an erotic thriller, but I found very little thrilling or fresh material here.

Only three days of movies left!

Thanks for checking in,
Jonathan

TIFF Day #5 – 2024

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Hello NEON Community!

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

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

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

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

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

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

Thanks for reading!
Jonathan

TIFF Day #4 – 2024

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Hello NEON Community!

Today was a rougher start than usual.  I knew I needed to be in a physical line by 8:00…but 8:00 is when I need to be on-line attempting to get tickets for later in the day.  And being outside in a line means that I have to use data instead of a decent internet connection…so it was a stressful start to the morning.  Regardless, I got a couple tickets for later in the day that were on my list – so then I was off to the races.

My first film of the day was NIGHTBITCH, dir Marielle Heller (USA) “An overworked stay-at-home mom (Amy Adams) tries to catch a break, any break, while caring for her rambunctious toddler. Also, she might be turning into a dog.” (taken from TIFF catalog) Heller made a film I adored at TIFF back in 2018 – CAN YOU EVER FORGIVE ME (with Melissa McCarthy playing Lee Israel)…so I was quite interested to see this…but I was also skeptical given the synopsis and trailer.  It turns out, I rather liked it. This is a film about a woman rediscovering herself after having dedicated a couple years of her life, without rest or instrospection, to raising a child.  It’s about motherhood being primal – and that mothers are gods who create life…and that a child’s first act is one of violence as they enter the world.  There’s a monologue at the beginning of the film that I think will be used often down the road for women auditioning for roles…it’s pretty spectacular.  Overall, I liked this film, and Amy Adams is fantastic.

Next up wasn’t a film, but a chance to sit in on an interview with a contemporary icon. IN CONVERSATION: CATE BLANCHETT.  This session was spectacular, and the interview was hosted by TIFF CEO Cameron Bailey. Blanchett is grounded, wise, and very funny.  The event took place in the Royal Alexandra Theatre – a lovely space that reminds me a bit of The Victoria.  Blanchett was asked about some career defining collaborations, the different roles she’s taken (both as an actress and as a producer), and she reflected on certain projects.  When told that we’d be looking at some different clips of her work, she asked if there was a barf bucket…then after a clip from ELIZABETH: THE GOLDEN AGE, she shrieked and gasped and exclaimed, “I keep waiting for RuPaul to ask me to be on the show.”  It was a delightful afternoon full of insight and a true desire to connect with the audience in front of her.  (And of course I loved when she talked about CAROL – and how hard it was to find funding…and how TALENTED MR. RIPLEY was one of the best gigs she’s ever had.) Such a lovely event!
I didn’t have the best seat in the house…but it was pretty good.  Here’s a little pic I snapped:

Another conversation was next…but I couldn’t stay the entire time. VISIONARIES: ALFONSO CUARÓN had Cuarón on stage being interviewed by a film critic – and the conversation got started by talking about his relationship to the other 2 very famous Mexican directors – Guillermo del Toro & Alejandro González Iñárritu.  I could only stay for about 20 minutes because 1) it got a late start & 2) I had another screening.  While on my way to this event, I stopped on the sidewalk for a quick phone call…and a car pulled up and Cate Blanchett got out.  I love little moments like this while at TIFF!

I rushed out of the Cuarón event in order to get to FIRE INSIDE, dir Rachel Morrison (USA)  “Renowned cinematographer Rachel Morrison makes her feature directorial debut with this film about boxer Claressa Shields’ true-life ascent to the Olympics. It’s a unique sports story that goes beyond the triumph of the underdog to ask what comes after.” (taken from TIFF catalog) You might recognize Rachel Morrison’s name from other projects like FRUITVALE STATION, MUDBOUND and BLACK PANTHER – this is one reason I wanted to see this film…the other reason was that it was written by Barry Jenkins.  I’m going to be completely up front with you.  I don’t like boxing (in fact, I really loathe any sport where you’re supposed to attack or strike someone – I’ve never understood the allure).  That said, this film is very well done.  The story of rising up, having a mentor and working against an oppressive system is powerful.  The film works on several levels, and it will help create an understanding to the masses just how biased and sexist the sporting world is to athletes that don’t fit certain societal “ideals.”  It’s a great little film, and I hope it gets a good release.

My last film of the night (which now has me at 16 films for the first 4 days) was ON SWIFT HORSES, dir Daniel Minahan (USA) “Set in the 1950s, this gorgeous adaptation of Shannon Pufahl’s 2019 novel follows a seemingly sensible newlywed (Daisy Edgar-Jones) and her wayward brother-in-law (Priscilla’s Jacob Elordi) as they undertake parallel journeys of risk, romance, and self-discovery.” This ambitious period film has compelling characters, lovely production design, beautiful camera work, some great costumes and one really bad wig (boy, oh boy…a bad wig can really ruin an entire scene). There are some wonderful moments in this film, and the sexual awakenings are interesting – but it just doesn’t add up. I kept watching because I liked the characters – I just wish I had liked the screenplay better.

Tomorrow is CONCLAVE – a film we’re considering for Thanksgiving.  It’s getting rave reviews, and I can’t wait.

Thanks for checking in,
Jonathan

TIFF Day #3 – 2024

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Hello NEON Community!

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

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

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

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

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

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

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

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

Jonathan