INFINITY BABY (USA 2017)

November 10, 2017 festreviews 2017 movies, movie, Movie Review, Uncategorized Bob Byington, film reviews, gilbert seah, INFINITY BABY (USA 2017), Martin Starr, Megan Mullally, Nick Offerman

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A comedy about babies that don’t age.

The execution of the movie is as queer as its conception of the infinity baby. INFINITY BABY, shot in black and white is a absurdist social comedy that almost becomes a viable satire.

THE INFINITY BABY is so called because this baby does not age (hence being a baby forever). By giving the baby a fixed medication, the baby only needs to eat once a week and have its diaper changed once a week. The baby never cries but coos as cute as any cooing baby can be. The whole package comes at a cost of $20,000. The film follows one such baby that had her medication changed, died and ended growing up. How all this happens with all its absurdist hilarity makes up Byington’s occasionally very funny movie.

It is not this baby person that is the subject of the movie. The subjects are the employees involved with the infinity baby enterprise. These are imperfect people with imperfect lives which the film milks for all its hilarity. The inventor of the infinity baby is Neo (Nick Offerman) rich and powerful, and in his own works gives advice that people actually listen to. In his employ is Ben (Kieran Culkin, brother of the HOME ALONE Culkin) who wants a woman but is afraid to commit to a relationship. When things get too sticky, he brings the girlfriend to her mother who will ream her out and therefore break up the relationship with no guilt accosted to Ben. It is later learned that this woman is not really his mother, but a woman he pays to impersonate his mother to break up his various relationships. These scenes have to be seen to be believed. Ben is nothing more than an overgrown child, wonderfully portrayed by Culkin.

More outrageous are the two baby delivery guys, Larry (Steve Corrigan) and Malcolm (Starr). They are a gay couple who end up stealing a baby and keeping the $20,000 in order to boost their relationship. But they are lazy and increase the medication doses of the baby so that they do not have to clean and feed the infant so often. The bay dies. All hell breaks loose.

Director Byington claims that the film is inspired by Woody Allen’s BANANAS. The relationship part of the Wood Allen film is similar – the one where the character played by Allen’s then wife, breaks up with him. Byington’s film, based on the script by Onur Tukel (CATFIGHT) is made up of a series of comedic set-ups that are related by the theme of the infinity baby but mostly unconnected in flow. The film feels disjointed not aided by a non conclusive ending.

One would hardly expect a proper closed ending from a film with an absurdist plot. Still INFINITY BABY is highly amusing for its inventiveness, weirdness and very funny humour. The film was selected for the SXSW Film Festival and also won the CENTER Film Festival Special Jury Prize for Best Narrative Feature.

Trailer: https://www.youtube.com/watch?v=m1h5QtQ-_ZI

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DADDY’S HOME 2 (USA 2017)

November 10, 2017 festreviews 2017 movies, movie, Movie Review, Uncategorized DADDY’S HOME 2 (USA 2017), film reviews, gilbert seah, John Cena, John Lithgow, Linda Cardellini, Mark Wahlberg, Mel Gibson, sean anders, will ferrell

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Brad and Dusty must deal with their intrusive fathers during the holidays.

Director:

Sean Anders

Writers:

Sean Anders, Brian Burns (characters)

Stars:

Linda Cardellini, Mark Wahlberg, Mel Gibson

One can tell that there is something wrong with a movie when the movie within a movie turns out to be more interesting than the movie itself. In DADDY’S HOME 2, the families end up at one point stranded at a suburban cinema where a fake movie MISSILE TOW starring Liam Neeson is playing. Neeson pays a character (voice only heard) that rescues his family from terrorists at all costs. That fake film is heard for only a minute or two before director Anders turns the audience back to his nightmare Christmas movie – DADDY’S HOME 2

Moviegoers must have been very naughty during 2017 as Santa has rewarded them already with two awfully bad Christmas comedies – A BAD MOM’ S CHRISTMAS and now DADDY’S HOME 2. DADDY’S HOME numero uno arrived on Christmas Day 2015 and went on to gross a remarkable $150 million domestically. Thus arrives number 2 with Paramount hoping to do well again at the box-office.

The first film dealt with step-dad Brad (Will Ferrell) having to deal with his wife’s kids’ real father Dusty (Mark Wahlberg) showing up to undo all the values that Brad had instilled in his family. HOME 2 ups the angst with the arrival of the dads’ dads in the form of Mel Gibson and John Lithgow. Gibson has had quite the bad press and has been successful behind the camera (HACKSAW RIDGE, PASSION OF THE CHRIST) than in front of it. Surprisingly, he is the funniest and best of the cast in the film, playing against his true character in life – a macho, gun-totting anti-feminist old goat.

Like all Christmas comedies, the usual disastrous set ups are there – the setting up of the electrical house decorations that go wrong (at least this one is quite elaborately done); the Christmas tree shopping; the snowball fight (not funny at all); the Christmas dinner; the feel good sentiment (it is only the children that count); the breaking of a hard heart (John Cena’s as the biological father of Dusty’s kid). The worst of all is the film’s climax, which must rank as the corniest set-up of all time that takes place in a cinema theatre during a blackout. There is a shameless promotion of the good of going to the movies where audiences are encouraged to turn to the next person to greet them.

A few non Christmas setups are included – the most notable being the bowling segment where one son has the problem of throwing his bowling ball into the gutter. It is a rather simple setup that turns out to generate only a few laughs, if any pity laughs. The predictable shoplifting gag does not work either nor the revelation of the notes that Dusty’s girlfriend takes of Brad’s wife that turn out to be good ones.

DADDY’S HOME 2 might work for the undemanding moviegoer. There were people applauding at he end of the film, but critics can only shrug at this early Christmas enterprise.

Trailer: https://www.youtube.com/watch?v=p8shgJX14HQ

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MURDER ON THE ORIENT EXPRESS (USA 2017)

November 10, 2017 festreviews 2017 movies, movie, Movie Review, Uncategorized Daisey Ridley, film reviews, gilbert seah, Kenneth Branagh, MURDER ON THE ORIENT EXPRESS (USA 2017), penelope cruz, Willem Dafoe

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A lavish train ride unfolds into a stylish & suspenseful mystery. From the novel by Agatha Christie, Murder on the Orient Express tells of thirteen stranded strangers & one man’s race to solve the puzzle before the murderer strikes again.

Director:

Kenneth Branagh

Writers:

Michael Green (screenplay by), Agatha Christie (based upon the novel by)

Stars:

Daisey Ridley, Penélope Cruz, Willem Dafoe

One of the most famous and read of the Agatha Christie’s murder mysteries, MURDER ON THE ORIENT EXPRESS the film benefits and suffers from being just that. There have been already 4 film adaptations of the novel, the best remembered being the 1974 Sidney Lumet directed outing with Albert Finney in the role of the titular detective, Hercule Poirot (the last syllable of his surname pronounced like a kiss) with his coiffed moustache.

This latest version directed by Shakespearean actor Kenneth Branagh who has directed films as diverse as THOR, DEAD AGAIN including Shakespeare’s HAMLET and HENRY V

written by Michael Green takes more liberty with the classic story.

When the film opens, it is crystal clear (no detective skills needed) that the first bits have nothing to do with the novel. Poirot (played by Kenneth Branagh himself) solves the case of a missing relic as the introduction to the film, just as in many a James Bond film that begins with an action sequence for an unrelated case. This shows Poirot’s efficiency and style with an added sequence of his complaint of not being able to get the perfect half-boiled eggs for breakfast.

The film then continues with the assortment of characters introduced as they board the Orient Express, most of whom Poirot always knows. A murder takes place in the midst of the journey and all the passengers in the first and second class departments fall suspect. The train is stranded due to a snow avalanche and Poirot has time to use his wits to solve the case.

There are a lot of factors going against this film version. The most important of these is the fact that everyone already knows who the murderer is. It does not take one with good memory to recall the 1974 version that all the passengers did it, taking turns at stabbing Ratchet (Johnny Depp), the evil man who masterminded a kidnapping that affected a dozen or so lives, all of whom seek the satisfaction of seeing the man dead. That said, the 1974 version has popped up on TV once too often and inevitable comparison will be made.

Both films are quite different. In the 1974 version, director Lumet has assembled an all-star cast more impressive than this one, and he has managed to isolate each character while making each one as interesting as the next which won Ingrid Bergman her second Oscar and his cast other Best Acting and Supporting Role Oscar nominations. While Lumet concentrated on the actors, Branagh chose to pick the cinematography (by Haris Zambarloukos who did THOR). Though Branagh’s film is stunning to look at, one can only look at landscape for so long. His film is monotonously paced and too slow in parts and too fast when Poirot explains the details of the murder. The trouble with film adaptations of Agatha Christie’s works is that too much plot needs to be revealed on film, whereas in a book, the reader can take the time to digest all the details. The missing button on the conductors’s suit, the kimono, the planning of the murder, who is who during the Armstrong kidnapping are all a lot to take in, in a very short time. Branagh also gives himself too much screen time including a speech on heart over justice. A few actors have to little to do like Judi Dench and Penelope Cruz while others like Michelle Pfeiffer overacts her role for all it is worth.

MURDER ON THE ORIENT EXPRESS ends with the hint of Poirot’s journey to Egypt to take on his next case which means perhaps a remake of DEATH ON THE NILE. Remember that one directed by John Guillermin with Peter Ustinov as the detective, the most campy one with Elizabeth Taylor as the killer?

Trailer: https://www.youtube.com/watch?v=Mq4m3yAoW8E

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Film Review: DARKEST HOUR (UK 2017) ***1/2

November 7, 2017 festreviews 2017 movies, movie, Movie Review darkest hour, film reviews, gary oldman, gilbert seah, joe wright, Kristin Scott Thomas, Lily James

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During the early days of World War II, the fate of Western Europe hangs on the newly-appointed British Prime Minister Winston Churchill, who must decide whether to negotiate with Hitler, or fight on against incredible odds.

Director:

Joe Wright

Writer:

Anthony McCarten

Stars:

Gary Oldman, Lily James, Kristin Scott Thomas

Director Joe Wright returns to his period World War II roots of ATONEMENT with a theatrical historical drama set during the first year in office of Sir Winston Churchill (Gary Oldman) as Prime Minister of Britain. The United Kingdom was then on the brink of invasion by Adolf Hitler’s Germany. Wright covered in ATONEMENT the evacuation of troops form Dunkirk, France and in this film covers the same event but from another angle – the difficult planning and fight that championed it. It is in many ways a more difficult endeavour as witnessed in this film, appropriately entitled DARKEST HOUR.

The film opens with the forced resignation of then Prime Minister Neville Chamberlain (Ronald Pickup) less than a year into the war due to his incompetence. Churchill is selected as his only viable replacement despite his controversial career (the most important being the loss thousands of men of men at the Gallipoli War). With British resources dwindling, France having already fallen, and the U.S. not helping much at the time, a contingent led by Foreign Secretary Lord Halifax (Stephen Dillane) pushes hard for peace talks with Hitler.

There is much to enjoy in this feel-good, rouse up ones emotions war drama. Wright provides Churchill a grand theatrical entrance as he is shown first in bed lighting his signature cigar. The film even ends with his most famous speech in the House of Commons (We will fight in the streets, in the hills etc.) Between them, Churchill is shown as a man, supported by his wife, who finally gets the courage to fight for his convictions. His stately residence, the Parliament house, the cabinet rooms all form the mighty props in the grand venture. The cinematography by Bruno Delbonneland with camerawork is superb, mainly of the interior rather than exterior.

Oldman’s performance of Churchill is magnificent. Oldman, looking like Churchill, aided by Kazuhiro Tsuji’s great prosthetics and make-up, goes right into character rather than just impersonating the man. This is an Oscar worthy performance. Other performances are excellent all around with Kristin Scott Thomas making an impression with her little written role of Mrs. Churchill.

The chief complaint of the film is the manipulative segment of Churchill’s ride on the London Underground, where he speaks candidly to a number of tube riders on their view of entering the war. He speaks to a too good to be true assortment of characters – a child, a black, a housewife, the working-class who all are able to voice their opinions (including the child and the black who can quote Shakespeare) too eloquently with the scene ending with Churchill crying into his handkerchief.

DARKEST HOUR is the second film this year with Churchill as the main character, the first one being Jonathan Teplitzky’s CHURCHILL starring Brian Cox. Both films show two different sides Churchill took on the War – the first with Churchill against the Normandy Allied Invasion. Both are worthy war dramas, both worth a look with DARKEST HOUR being the bigger more splashy production.

Trailer: https://www.youtube.com/watch?v=4pNOCzV5jG0

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Film Review: LAST FLAG FLYING (USA 2017) ***

November 7, 2017 festreviews 2017 movies, movie, Movie Review bryan cranston, film reviews, gilbert seah, LAST FLAG FLYING, laurence fishburne, Richard Linklater, Steve Carell

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Thirty years after they served together in Vietnam, a former Navy Corpsman Larry “Doc” Shepherd re-unites with his old buddies, former Marines Sal Nealon and Reverend Richard Mueller, to bury his son, a young Marine killed in the Iraq War.

Director:

Richard Linklater

Writers:

Richard Linklater (screenplay), Darryl Ponicsan (screenplay) |1 more credit »

Stars:

Bryan Cranston, Laurence Fishburne, Steve Carell|

Director Linklater broke into the film-making scene with youth films like SLACKER and DAZED AND CONFUSED. He progressed into romantic comedies like BEFORE SUNRISE and BEFORE SUNSET, but with a more realistic edge. His breakthrough film was the highly acclaimed BOYHOOD that reported too12 years in the making. His latest, LAST FLAG FLYING is arguably most serious film, dealing with real adults coming to terms with their lives and with the death of one of the sons.

LAST FLAG FLYING is based on the novel by Darryl Ponicsan co-written by him and Linklater. The film understandably contain the least improvisation of Linklater’s work, the story bound by the novel and the script that Linklater co-wrote. The more structured narrative serves as both an advantage to his film with more focus but then lacks some of the inventive energy he is so well known for.

The time setting is 2003. 30 years after they served together in the Vietnam War, former Navy Corps medic Richard “Doc” Shepherd (Steve Carell) re-unites with ex-Marines Sal (Bryan Cranston) and Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. This is a serious road trip reuniting the marines as the three reminisce on what they themselves have gone through.

Linklater is unafraid of the use of strong language in his script. Foul language involving the ‘f’ word is common along with talon drugs and prostitution (though none are on display on screen).

The story takes its time to unfold – the film more devoted to character development than plot revelation. The film is not without humour despite its serious theme, quite a it of it deriving from Cranston’s character.

The film’s tagline is: Their last mission was not on the battlefield. The film’s story is a bit dated, and the film would definitely be a hard sell since it is about ex-marines during the Vietnam War with a bit on the Iraqi War that Americans are also trying to forget. Would one want to spend two hours in a theatre watching ex-marines mopping on their past?

The film contains solid performances by Steve Carell (almost unrecognizable with moustache) in more serious form as well as Bryan Cranston and Laurence Fishburne, in contrast in lighter mode. Oscar nominated Actress Cicely Tyson (SOUNDER) does a nice turn in a cameo role. The film definitely benefits from its 3 relatively big stars playing ex-Vietnam Marines.

LAST FLAG FLYING is the unofficial sequel to the 1973 film directed by Hal Ashby which also starred Jack Nicholson. Though LAST FLAG FLYING is not bad, it comes no where close to the biting humour and satirical approach of THE LAST DETAIL.

Trailer: https://www.youtube.com/watch?v=VmS4lTZ34uk

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Films Reviews: Films of Andrei Tarkovsky – SOLARIS/STALKER

November 7, 2017 festreviews 2017 movies, movie, Movie Review, Uncategorized 2017 movies, film reviews, Films of Andrei Tarkovsky - SOLARIS/STALKER, gilbert seah

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TIFF Cinematheque Presents – The Films of Andrei Tarkovsky

Andrei Arsenyevich Tarkovsky (4 April 1932 – 29 December 1986) was a Soviet filmmaker, writer, film editor, film theorist, theatre and opera director. He is considered to be one of the greatest filmmakers of all time and much respected by other respected filmmakers notably Ingmar Bergman.

Tarkovsky’s films include Ivan’s Childhood (1962), Andrei Rublev (1966), Solaris (1972), Mirror (1975), and Stalker (1979). He directed the first five of his seven feature films in the Soviet Union; his last two films, Nostalghia (1983) and The Sacrifice (1986), were produced in Italy and Sweden, respectively. His work is characterized by long takes, unconventional dramatic structure, distinctly authored use of cinematography, and spiritual and metaphysical themes.

TIFF Cinematheque presents for the first time a good retrospective of Tarkovsky films with weeklong engagement of both STALKER and SOLARIS (both films capsule reviewed below).

My favourite Tarkovsky film is SACRIFICE (OFRET) with the single long tie at the film’s end of a burning house with its inhabitants running around outside it.

Full fill program and schedule of screenings, please check the Cinematheque website at:

tiff.net

CAPSULE REVIEWS OF Selected Tarkovsky Films:

SOLARIS (USSR 1972) ****

Directed bh Andrei Tarkovsky

SOLARIS is Soviet science fiction art film adaptation of Polish author Stanisław Lem’s novel Solaris (1961). Co-written and directed by Andrei Tarkovsky, SOLARIS moves at the low moving pace one has associated Tarkovsky’s films with. This one runs 2 hours and 42 minutes, so be prepared for a long haul. A meditative psychological drama occurring mostly aboard a space station orbiting the fictional planet Solaris, the story involves a stalled scientific mission because the skeleton crew of three scientists have fallen into separate emotional crises. The terror in space is not physical but mental and emotional. Psychologist Kris Kelvin (Donata VBanionis) travels to the Solaris space station to evaluate the situation only to encounter the same mysterious phenomena as the others. He meets who could be or could not be his wife, Hari (Natalya Bondarchuk) as she had previously died 10 years back. He sends her off in a rocket getting himself burnt, but she re-appears. Great ideas but the please in this film has to be earned. SOLARIS won the Grand Prix Spécial du Jury, the FIPRESCI prize and was nominated for the Palme d’Or and was remade by Steven Soderbergh in a film with the same title.

Trailer: https://www.youtube.com/watch?v=1Tob56MebI8

STALKER (USSR 1979) ****

Directed by Andrei Tarkovsky

STALKER refers to the guide to a special place called The Zone in Tarkovski’s boring mini-masterpiece of the same title. In it three men, THE STALKER, the guide, and two others referred to as the professor and the writer (it be best to remember who is who) enter a place called The Zone. The Zone is apparently inhabited by aliens and contains the Room, where in it is believed wishes are granted. The government has declared The Zone a no-go area and have sealed off the area with barbed wire and border guards. However, this has not stopped people from attempting to enter the Zone. The writer wants to use the experience as inspiration for his writing and the professor, who wants to research the Zone for scientific purposes. Things do not turn out as expected. Neither does this sci-fi film, so beware! One scene has the trio roaming in a long pipe (tunnel) before one says: “There is a door.” They argue not only who should go in first but why bring and point a gun through the door. “No one waits at the door,” one answer when questioned whether to enter. This scene is typical of what happens throughout their trip into The Zone. Nothing happens but a lot of arguments. The sets like the tunnel dripping with water from the ceiling are stunningly bleak and typical of a dystopian society. Running at over two and a half hours with nothing much happening for a sci-fi film, STALKER is undeniably boring. Very, very boring! But crazy as it might sound, it is still a captivating film that should be seen by all cinephiles.

Trailer: https://www.youtube.com/watch?v=xB7jVTut3-g

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Film Review: PEARL, 2017, USA, Fantasy/Drama

November 5, 2017 festreviews 2017 movies, movie, Movie Review, Short Film Movie Review, Uncategorized 2017, Fantasy/Drama, film, Kierston Drier, PEARL, USA, wildsound feedback film festival

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SHORT FILM played at the October 2017 STUDENT FEEDBACK Film Festival.

Review by Kierston Drier

Fantastical and filled with whimsy, PEARL is an anachronistic tale with the sweet, sorrowful touching effect of a well-told fairy tale. Director Assia Quinhang Shoa brings this USA film to life with care and detail. Our story follows an aging and lonely puppeteer Sam who finds and rescues a young mermaid. Unable to speak English, Sam names her Pearl and believes at long last he has found a friend. But Pearl belongs in the ocean and no amount of devotion Sam has for her can change that truth.

Told with innocence and delight, this simple story warms the heart. It has boasts beautiful and detailed production design and excellent performances by the main characters. It resonates with a meaningful message- young or old, we all want to belong.

Sam must make a difficult choice in what is best for Pearl, but that doesn’t mean his impact on her hasn’t been profound. A sweet story with the comfort of a favorite lullaby, PEARL is an excellent short to warm the heart of anyone. A satisfying and compelling piece that is sure to be a delight to all.

Watch the Audience FEEDBACK Video of the Short Film:

PEARL, 15min, USA, Fantasy/Drama
Directed by Assia Qianhang ShaoIt is a fairy tale about an old lonely puppeteer, Sam, saves a 9-year- old wounded mermaid and helps care for her and love her as a father. However, when her wounds heal he struggles with letting her go back to the ocean.

CLICK HERE – and see full info and more pics of the film!

Film Review: D’ARLINE, 2017, USA, Drama/Biography

November 5, 2017 festreviews 2017 movies, movie, Movie Review, Short Film Movie Review 2017, D’ARLINE, Drama/Biography, film reviews, Kierston Drier, USA, wildsound feedback film festival

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SHORT FILM played at the October 2017 STUDENT FEEDBACK Film Festival.

Review by Kierston Drier

Dive into A’DARLENE and you will relive the brilliant true story of physicist and professor Richard Fenyman and learn about his impact on mathematics and modern history. D’ARLENE is a short drama, coming from the USA and directed by Christina Jobe. D’ARLENE follows the real-life genius through his time at the Manhattan project, working as a physics professor and his research into the Atomic bomb- but intercuts his present with his recent past- the relationship he has with his first wife Arlene, including her tragic and untimely death.

D’ARLENE feels like a feature in the way it boasts complex characters, deep relationships, moving storylines and a brilliant rise-and-fall of plot and resolution. Yet this dense story fits neatly and cleanly into twenty-two minutes. Without a single detailed left unattended, the world Jobe creates is tangible, visual and highly emotional. The film is balanced without a single superfluous scene, shot or frame.

The production value is excellent and the mise-en-scene thought out and lush to watch. All artistic details are attended to with the precision of skilled professionals. Beyond the story and composition of the work, the performances by the cast are second-to-none. The climax of the piece, a letter written by the actual Richard Fenyman and delivered by the actor, leaves a powerful resounding effect on the viewer.

As a story, as a piece of cinema, as a work of art, D’ARLENE has much to be proud of. Bravo Christina Jobe. Bravo.

Watch the Audience FEEDBACK Video of the Short Film:

D’ARLINE, 22min, USA, Drama/Biography
Directed by Christina JobePhysicist Richard Feynman struggles to make a scientific break through after experiencing personal trauma and while fighting guilt over his work on the atomic bomb. Based on a true story.

CLICK HERE – and see full info and more pics of the film!

Film Review: TWO, 2017, USA, Fashion/Experimental

November 5, 2017November 5, 2017 festreviews 2017 movies, movie, Movie Review, Short Film Movie Review, Uncategorized 2017, Fashion/Experimental, Kierston Drier, TWO, USA, wildsound feedback film festival

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SHORT FILM played at the October 2017 STUDENT FEEDBACK Film Festival.

Review by Kierston Drier

Bright, stunning and boasting exceptional editing, TWO is 60-seconds of a non-stop visual art. Directed by Tamara Hansen out of the USA, TWO depicts the relationship between two women, in an avant-garde cinematic display. Opulent and decadent and seamlessly attentive to detail, this is a film that leaves not a single frame wasted.

From the very first second of TWO, the audience is hit with an onslaught of rapid-fire images, each equally riveting, visually interesting and lush. Highly interpretive, this one-minute piece is open to discussion regarding its larger themes. Yet there is no doubt that it has much to say. A shimmering example of exceptional visual work and guided with an excellent editorial hand, TWO is a fantastic vibrant short.

Watch the Audience FEEDBACK Video of the Short Film:

TWO, 1min, USA, Fashion/Experimental
Directed by Tamara HansenThis short film is about the relationship of two girls, shown in an artsy way.

CLICK HERE – and see full info and more pics of the film!

Film Review: THE SCULPTOR, 2017, USA, Documentary

November 5, 2017November 5, 2017 festreviews 2017 movies, movie, Movie Review, Short Film Movie Review, Uncategorized 2017, documentary, film reviews, Kierston Drier, THE SCULPTOR, USA

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SHORT FILM played at the October 2017 STUDENT FEEDBACK Film Festival.

Review by Kierston Drier

This short and timely four-minute documentary coming from the US, directed by Ben Ginsburg, is a fascinating story following a young artist. Creator Malcolm Macdougall is an up-and-coming artistic sculptor that works in metals- crafting sheet metal and scrap metal into huge and masterful artistic works. Often finding inspiration from the natural world, these gentle giants of artistry are remarkable and breathtaking. Yet Malcolm must like the art he creates, is calm, relaxed and thought-provoking. He speaks of his medium as a form of self-expression without any pretensions.

His art is simply his hobby, but a powerful and meaningful hobby. Yet this hobby has him working in a huge warehouse, welding and dealing with a medium that requires exceptional skill, labour and patience. A strong and powerful cinematic piece with fascinating works of art to be shown, this short documentary is well worth the watch.

Watch the Audience FEEDBACK Video of the Short Film:

THE SCULPTOR, 4min, USA, Documentary
Directed by Ben Ginsburg This short documentary examines the work, process, and philosophy of Malcolm Macdougall, an up-and-coming sculptor in the Hudson Valley.

CLICK HERE – and see full info and more pics of the film!

Festival Reviews

Showcasing the best of movies, and film festivals from around the world.

2017 movies

INFINITY BABY (USA 2017)

Director:

Writer:

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DADDY’S HOME 2 (USA 2017)

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Writers:

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MURDER ON THE ORIENT EXPRESS (USA 2017)

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Writers:

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Film Review: DARKEST HOUR (UK 2017) ***1/2

Director:

Writer:

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Film Review: LAST FLAG FLYING (USA 2017) ***

Director:

Writers:

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Films Reviews: Films of Andrei Tarkovsky – SOLARIS/STALKER

Film Review: PEARL, 2017, USA, Fantasy/Drama

Film Review: D’ARLINE, 2017, USA, Drama/Biography

Film Review: TWO, 2017, USA, Fashion/Experimental

Film Review: THE SCULPTOR, 2017, USA, Documentary