2017 movies

Film Review: RISK (USA 2017) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

rick.jpgThe story of WikiLeak’s editor-in-chief Julian Assange as seen by documentary filmmaker Laura Poitras.

Director: Laura Poitras
Writer: Laura Poitras (narration)
Stars: Julian Assange, Sarah Harrison, Jacob Appelbaum

Review by Gilbert Seah

One might remember the name – Laura Poitras. She was the one who accompanied Edward Snowden from Hong Kong to Moscow when he was in exile, while making the comprehensive doc Oscar Winning CITIZENFOUR that educated the world on the world’s most famous NSA whistleblower. Poitras returns to her roots, dealing again with what she knows best – making docs on whistleblowers or the like. Her new subject is an equally wanted man by the FBI, WikiLeaks founder Julian Assange. Julian is from Norfolk, England.

As with documentary subjects, the subject has to be larger than life, more than a normal person. In a surprise interview with singer/activist Lady Gaga at the embassy, Assange’s answer to one of her questions sums up the man. “Let’s not pretend for a moment I’m a normal person.”

The film begins with his call to the top brass in the U.S. , Julian wishing to speak personally with Hilary Clinton. His famous quote on the phone, Julian Assange: We don’t have a problem, you have a problem. Of course the U.S. authorities do not believe him, and the film documents the escalation of how Julian became one of America’s most wanted men.

As a result since the summer of 2012, Assange has been living at Ecuador’s London Embassy, having received asylum following sexual assault allegations in Sweden – offences Assange denies committing. Going to Sweden would also make him eligible for extradition to the U.S.

One of the most interesting things about documentaries is that the documentarist can never be 100% sure of the film’s end outcome. The same can be said for RISK. Her subject says that he never foresaw the events happening the way they did, and she herself was concerned with the film’s ending. The most important fact is that the doc would highly compromise Julian’s safety.

The film also detours with the side subject of Private Manning who was prosecuted by the U.S. and finally sentenced to more than 140 years of prison.

RISK, as in her other films, incites the anger of the audience at the U.S. authorities especially the FBI, a favourite target. The silly excuse of terrorist protection is again given as an excuse to compromise the privacy of the public. But the case is that they lie and do not reveal how much they have already violated citizen’s rights. The doc is good to explain that unless one is in their radar, they cannot do much with the data that they have – a case of too much data and too little manpower.

RISK ties in with Poitras other doc CITIZENFOUR with Sbowden on display in this film as well.

Because of the film’s nature and subject, it is at times all over the place, as Julian runs from one safe haven to another. The film also feels like an espionage thriller – only that this is the real thing. A fascinating documentary that should be seen!

Trailer: https://www.youtube.com/watch?v=1teM525rVlc

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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Film Review: THE LONG GOODBYE: AN ALZHEIMER’S STORY, USA, Documentary

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Played at the April 2017 LA FEEDBACK Film Festival.

MOVIE POSTERTHE LONG GOODBYE: AN ALZHEIMER’S STORY, 5min, USA, Documentary
Directed by Christian J. Harris

An intimate short story about Alzheimers and it’s effect on it’s victims and caregivers. Get an inside look of what it’s like to live with this disease through the eyes of a couple who just won’t give in.

Review by Kierston Drier:

In this heart wrenching testament to love conquering all things, The Long Goodbye is The Notebook, come to life. Directed by Christian J. Harris follows a husband-wife couple, married over fifty years. The wife is slowly dying from Alzheimer’s. The husband refuses to put her in a facility.

This is a love story. A real, honest and touchingly human look at vulnerability of love. A film with no easy ending, it reminds us that love is not about the end- but the journey. It is an open love letter to all who take the leap the love demands us to take. A cinematic look at one man reaching into a void to hold on to his best friend, this is a not a film to miss.

Watch it, for the dive into a human heart. Watch it for a true story of love conquering all. Watch it to hear his wife turn to him and say “You are my best friend.” A film written, directed and starred from the bottom of many hearts, The Long Goodbye is a beautiful film.

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Film Review: GEORGE, 7min, USA, Documentary

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Played at the April 2017 LA FEEDBACK Film Festival.

MOVIE POSTERGEORGE, 7min, USA, Documentary
Directed by Mary Gerretsen

A short profile documentary about a man’s life and journey through love, loss and illness.

Review by Kierston Drier:

Directed by Mary Gerresten, George is nothing short of delightful. It is the story of the complex tapestry of one man’s life through love, loss and grief. George, our hero, is young at heart, vibrant, poetic, witty and utterly charming. A familiar character to anyone who has ever had a favorite uncle or grandfather.

Without spoiling the emotional rollercoaster, for a film under eight minutes long it is hard not to cry when it ends. Not because George’s life is unbearably tragic- but because in the short time the film takes, you fall in love with man. You fall for his spirit, his highs and his lows. You fall, hook, line and sinker, for his heartfelt connection with his wife. You slide head over heels for the clear love and devotion he has for his family. And you are sad when the credits roll. Because you already miss him.

What sparkles about this film, is it’s amazing ability to straddle comedy, tragedy and poignancy without feeling condensed or rushed. The piece flows naturally, and absorbs the viewer so thoroughly, that the film feels shorter than it is.

A beautiful piece of cinematic storytelling, watch George. It will remind you to never take life too seriously and that aging is a privilege denied to many.

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Film Review: HAVE A LITTLE FAITH, 12min, USA, Comedy

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Played at the April 2017 LA FEEDBACK Film Festival.

MOVIE POSTERHAVE A LITTLE FAITH, 12min, USA, Comedy
Directed by Ashton Avila

A rebellious teenager is determined to get kicked out of her new Christian High School and teach the new boy she meets there what it really means to “have a little Faith”.

Review by Kierston Drier:

We all remember that one person in high school. They walked in a shook up your world- they oozed coolness or bravado. For Thomas, that girl is new student Faith, who wanders into his Christian prep school with her skirt hiked high, blowing bubble gum in his face. A manic-pixie-dream-girl with attitude. Enter offbeat comic gem that is Have A Little Faith directed by Ashton Avila.

Fresh, bright and funny, this is a charmingly little coming-of-age story. When Faith offers to have sex with Thomas he doesn’t actually seem to believe it- but then it happens! What keeps this story fresh and unique, is that it shows the honest, awkward and, yet- sweet moments that these two share while the try to get it on in the school auditorium.

Another great thing in this piece, is the performances. Faith is a rebellious, irresponsible troublemaker who is impossible not to like, and Thomas is a good boy bitten by the craziness that is adolescence. This piece also has some of the best closing music for it’s ending sequence. It is sometimes refreshing to take a step back into youth, when experiences were new and aching to be seized. Have A Little Faith will refresh you, for sure.

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Film Review: UNCLE ALBERT, 11min, USA, Dark Comedy

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Played at the April 2017 LA FEEDBACK Film Festival.

MOVIE POSTERUNCLE ALBERT, 11min, USA, Dark Comedy
Directed by Summer Blake

A dark comedy about the nuances of emotional response; Karen’s left emotionless following the death of her distant Uncle, Albert, she’ll stop at nothing to prove to fellow guests that she can indeed feel “sad.”

Review by Kierston Drier:

Directed by Summer Black, Uncle Albert is an open letter of support to anyone who had to go the funeral of a relative they barely knew and didn’t care about. In Karen’s case, it’s uncle Albert who was probably the creepy uncle that gave weird hugs and asked you to pull his finger way too many times.

The main issue for Karen is that she can’t seem to fake it. Try as she might she can’t feign sympathy for this poor dead jerk. Following her on this comic trail of family obligation are the larger-than-life family members that attend every funeral; the distraught relative who does nothing but cry, the overly dramatic jackass who is deeply affected by this passing and having an existential crisis about it.

The flirt who might get to take someone home. And all through this, Karen has to find a way to fake it till she makes it- at least until she can get home and call it cocktail hour.

Funny, because in one way or another it is all too familiar, Uncle Albert takes the comic notes you can find in a funeral and puts them under a microscope. And it does a really good job at it.

So buckle up, grab some popcorn, and get ready to laugh yourself to death- it’s a pretty good way to go.

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Film Review: CONFESSION, USA, Horror/Thriller

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Played at the April 2017 LA FEEDBACK Film Festival.

MOVIE POSTERCONFESSION, 5min, USA, Horror/Thriller
Directed by Sofia Vyshnevetska

The loving father, after kidnapping and cruelly killed his little daughter by pedophile, turns into a proficient butcher. Desire of revenge will be confessed in another way of expiation…

Review by Kierston Drier:

Revenge, is a complicated emotion. It burrows inside us and simmers slowly. Enter Confessions, directed by Sofia Vyshnevestka, a subtle, striking, beautifully short and terrifying film. Subtle, because you don’t immediately know what the motives of the two men in the room are- but they are there, and one is passing a wad of money over to the other.

And after a quick breakdown to what is and is not allowed, the first man is brought down the dirty hall to a dirty bedroom and let inside. On the bed, appears to be a young girl.

Feeling sick? If you are anything like this reviewer, you might be. But the twist will push you to your breaking point.

A gut wrenching tale with many moral layers, I’m Not Him is a fascinating story of love, loss, desire, damnation and the ultimate revenge. It’s a dark tale with a gut wrenching twist not to be missed, this piece also boasts beautiful colors and excellent shooting. Check out Confession but be warned- it is not for the faint of heart.

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Film Review: JEREMIAH TOWER: THE LAST MAGNIFICENT (USA 2015) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

jeremiah_tower.jpgBoth a biopic of a complicated man and an exploration of the gathering forces that converged to shape a new American cuisine and create the cult of “celebrity chef”.

Director: Lydia Tenaglia
Stars: Mario Batali, Anthony Bourdain, Francesca De Luca

Review by Gilbert Seah

 What’s so special and who is this Jeremiah Tower that the man deserves a full length documentary dedicated to his honour?

Tower is a Master Chef and restaurateur who change the look of restauranting. As chef, he would mingle among the customers, something never done before and he created the importance of a chef’s name in a city. Tower was also a very intriguing person, a visionary and someone, everyone admires.

“I have known Jeremiah for 14 years and yet I can say that I do not know him.” So says one of Jeremiah’s friends. The documentary takes considerable amount of time to introduce this Master Chef and restaurateur to the audience. It is only after 15 minutes that the doc links food to the man, in a cruise ship where Jeremiah, as a boy tastes his first cream cake dessert.

JEREMIAH TOWER: THE LAST MAGNIFICENT is the new food documentary tat explores the remarkable life of Jeremiah Tower, one of the most controversial and influential figures in the history of American gastronomy. Tower began his career at the renowned Chez Panisse in Berkeley in 1972, becoming a pioneering figure in the emerging California cuisine movement. After leaving Chez Panisse, due in part to a famously contentious relationship with founder Alice Waters, Tower went on to launch his own legendary Stars Restaurant in San Francisco. Stars was an overnight sensation and soon became one of America’s top-grossing U.S. restaurants.

After several years, Tower mysteriously walked away from Stars and then disappeared from the scene for nearly two decades, only to resurface (as when the film opens) in the most unlikely of places: New York City’s fabled but troubled Tavern on the Green. There, he launched a journey of self-discovery (offering loss of voiceover for the film on this matter) familiar to anyone who has ever imagined themselves to be an artist. Featuring interviews by Mario Batali, Anthony Bourdain, Ruth Reichl and Martha Stewart, this delicious documentary tells the story of the rise and fall of America’s first celebrity chef.

The film traces using a combination or home movie footage and re-enactments how Jeremiah grew into cooking. He was always living in posh hotels whee he discovered the kitchen, dazzled by the cooking aromas. The hotel kitchen staff adopted him as their own. The audience is told Jeremiah read menus more than story books and concocted meals form the menus as well as collected menus. All this explains Jeremiah’s chef roots in a fascinating manner.

Besides haute cuisine, director Tenaglai also reveals the personal and difficult life of the man. Tower was a homosexual, coming out during taboo times. His restaurant, Stars was singled out by the AIDs activists, despite him paying the hospital ills for two of his employees who came down with the disease. Everyone wanted to sleep with him – and he did with both sexes. His relationship with Alice Waters, an important part of his life is also given due screen time.

JEREMIAH TOWER: THE LAST MAGNIFICENT is an interesting account of an interesting man. The doc will not disappoint.

Trailer: https://www.youtube.com/watch?v=8lSwXSPigOk

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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Film Review: HOUNDS OF LOVE (Australia 2016) ****

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

houndsoflove.jpgVicki Maloney is randomly abducted from a suburban street by a disturbed couple.

Director: Ben Young
Writer: Ben Young
Stars: Emma Booth, Ashleigh Cummings, Stephen Curry

Review by Gilbert Seah 

 Not wholly original, but still absorbing, HOUNDS OF LOVE, writer/director Ben Young’s story of an abducted teenager by a disturbed couple pays homage to David Lynch’s BLUE VELVET. The slow motion beginning of HOUNDS OF LOVE and the common theme of kidnapping reminds cineastes immediately of BLUE VELVET.

HOUNDS OF LOVE is supposed to be based on true events – macabre as they may be. The setting is 1987, Perth, Australia whee a seemingly typical Australian suburban couple have a secret hobby – kidnapping schoolgirls and murdering them. But their latest desperate victim finds ways inside their heads.

The slow motioned tracking shot of schoolgirls playing netball after school is stunning as it is eerie. One can tell something is going to happen – the abduction of the first victim of the kidnapping couple. For those unfamiliar with the game (played in places like Britain, Australia and Singapore where this reviewer was born), the scene is even more fascinating with the girls in netball outfits tossing a ball into a net.

The film then settles on the next victim. Vicki (Ashley Cummings), a rebellious teen, is first seen in the film after having ‘it’ with her boyfriend Jason (Harrison Gilbertson). Vicki is staying with her mother, Maggie (Susie Porter) who she cannot get along with. After being grounded, Vicki sneaks off to a party at night when she is abducted by Evelyn and John White (Emma Booth and Stephen Curry). The audience would likely think that this is what Vicki deserves, after misbehaving and disobedience. But then, no human being should go through what she does in the next few days.
The one thing that stands out in this film (and differentiates from Lynch’s BLUE VELVET) is director Young’s ability to connect his audience with his characters.

Director Young devotes a lot of time towards his female characters. Evelyn is shown to be the most sympathetic of the film’s characters. She loves her dog, her partner-in-crime, John (a real nasty piece of work) and is just caught with all the bad luck. The audience ends up sympathizing with both her as well as Vicki. Vicki’s mother, Maggie is also portrayed as a strong mother, who despite having to take s*** from her daughter, loves her to no end and will not give up in the search for her. The father, Trevor (Damian de Montemas) and Jason are hilariously given token roles.

What is impressive too are the top notch performances all around. Emma Booth carries the lead role confidently as well as the two other women Cummings and Porter. Stephen Curry who plays the nastiest villain seen in a while, looks completely different (most remembered from the Aussie film THE CASTLE) with his tacky moustache. Young spends some time with him grooming his moustache in the mirror before strutting out of the bathroom like a stud.

The film is expectedly violent and the ending matches the violence of BLUE VELVET without resorting to tricks like the cutting off of an ear. The climax of the film is a real nail-biter.

HOUNDS OF LOVE unsettled festival audiences in Venice and at SXSW and will definitely do the same with audiences everywhere. Young is clearly a talent to watch. Universal Pictures has already signed him on to direct the new 2018 sci-fi thriller EXTINCTION.

Trailer: https://www.youtube.com/watch?v=UNEurXzvHqE

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

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FILM REVIEW: THE DINNER (USA 2016) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the_dinner.jpgA look at how far parents will go to protect their children. Feature film based on a novel by Herman Koch.

Director: Oren Moverman
Writers: Oren Moverman (screenplay), Herman Koch (novel)
Stars: Richard Gere, Laura Linney, Steve Coogan

Review by Gilbert Seah

 THE DINNER is basically a four handler psychological drama which shows how far parents will (or will not go) to protect their children. In THE DINNER, two family of parents sit down to a dinner at a posh restaurant to discuss the implications of their children who have killed a homeless woman by setting her on fire.

As appropriate for a film entitled THE DINNER, the film is told in four parts – aperitif, main course, dessert and digestif. The film also contains acute and often hilarious observations, lightening the film’s serious theme, of the posh restaurant. It is clear that director Oren is not fond of these hip establishments. Paul Lohman (Steve Coogan) constantly hurls insults at the waiters and servers to the point of vulgarity. It is of great relief that at one point the maitre’d finally tells him off.

Director Moverman (THE MESSENGER, LOVE AND MERCY) is expert at getting the audience’s attention and creating drama at the dinner table. This is evident at the one hour mark of the film when all the hidden facts of the incident are slowly revealed. The key confrontation scene takes place in the Library section of the restaurant. It is really odd that the music is played quite obtrusively during the conversation. I am not sure whether this is done on purpose to up the ante during the segment because the music is really loud and annoying. It is certain that this kind of music is never played at any restaurant’s waiting area.

Steve Coogan ditches his British accent to play a sarcastic American teacher. The reason he was chosen for this film THE DINNER has likely something to do, though it does out really matter, being in the food/restaurant critic films THE TRIP and THE TRIP TO ITALY. Coogan, known to be sarcastic in real life, steals the show, managing to elicit a few laughs from his sarcastic remarks at the awkward dinner situation. It is surprising that he gets second billing to Richard Gere, likely because this is an American film and Americans might not know who Coogan is. Gere is quiet in the first half of the film, showing his true acting colours only after the second half. Laura Linney is as usual, very good as the mentally disturbed wife.

The film accurately touches the right chord on when human beings cannot come to an agreement and cannot no longer live with each other. This comes about, as the film demonstrates, when ones basic principles go against another’s. Stan wants his son to pay for his crime, his wife does not and neither does Paul’s wife Claire. It is clear that mothers will normally go all out to protect their children, particularly sons, while fathers are more inclined to teach their sons to do what is right.

Moverman manœuvres his film towards an exciting climax where no one can foresee who will do what at the end. The ending turns up quite a brilliant touch too (not to be revealed in the review).

Trailer: https://www.youtube.com/watch?v=zP26KWVw5jE

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

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Hot Docs Review: A CAMBODIAN SPRING (UK 2017) ***1/2

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

A CAMBODIAN SPRING.jpgIn Cambodia, “they used to kill with weapons, now they kill with corruption.” In the aftermath of the Khmer Rouge, decades of civil war, and the installation of Hun Sen as prime minister, the oppression continues.

Director(s): Chris Kelly
Producer(s): Chris Kelly

Executive Producer(s):
Bob Moore
Christo Hird
Edwina Forkin

Review by Gilbert Seah

There are serious docs and and there are hilarious docs at HOT DOCS 2017.

A CAMBODIAN SPRING is one of the more serious docs of the festival dealing with one of the most serious issues facing people today – human rights and human rights in a country that is corrupted, inhuman and cruel.

The country is Cambodia and writer/producer/director/editor Chris Kelly gives his audience an intimate and unique portrait of three people (among them a monk and a resident of a home around a lake stolen by the Government) caught up in the chaotic and often violent development that is shaping modern-day Cambodia.

The film, shot over six years, charts the growing wave of land-rights protests that led to the ‘Cambodian spring’ and the tragic events that followed. This film is about the complexities – both political and personal, of fighting for what one believes in.

The film educates the world to the real Cambodia. There are unforgettable images on display here – like children taking to the streets and a bloodied injured old woman.

_________

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com