FEEDBACK FILM FESTIVAL Thursday – February 1, 2018. 7pm.

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The FEEDBACK Monthly Film Festival coming to Los Angeles.. Our LA home is Regal L.A. LIVE Cinemas, located in the heart of downtown Los Angeles (beside the Staples Center) at 1000 W Olympic Blvd.. The event runs from 7pm to 9:10pm.Showcasing the best of short films from around the world, while maintaining our audience feedback format moderated by Shesput Wilson.

Tickets for are FREE or PAY WHAT YOU LIKE. Reserve your tickets online.

If you like to obtain seats in advance and pick them up on the day of the event (come for FREE, or make a donation), please email us at latickets@wildsoundfestival.com  and we’ll reserve seats for you.

1st ACT PROGRAM – Best of FEMALE DIRECTORS


FORGOTTEN FLORA, 5min., USA, Animation/Drama 
Directed by Reanna Miller

A short, 2D animated film about a successful businesswoman named Megan living in the big city. With…

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FEEDBACK FILM FESTIVAL Thursday – January 11, 2018. 7pm.

lafeedbackfilmfestival's avatarLos Angeles feedback film festival

The FEEDBACK Monthly Film Festival coming to Los Angeles.. Our LA home is Regal L.A. LIVE Cinemas, located in the heart of downtown Los Angeles (beside the Staples Center) at 1000 W Olympic Blvd.. The event runs from 7pm to 9:10pm.

Showcasing the best of short films from around the world, while maintaining our audience feedback format moderated by Shesput Wilson.

Tickets for are FREE or PAY WHAT YOU LIKE. Reserve your tickets online.

If you like to obtain seats in advance and pick them up on the day of the event (come for FREE, or make a donation), please email us atlatickets@wildsoundfestival.com and we’ll reserve seats for you.

1st ACT PROGRAM – Best CRIME/MYSTERY


STORY TO TELL, 15min., Japan, Crime/Drama 
Directed by Sayaka Nakane
A crime Japanese yakuza story.

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

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1pg SHORT Screenplay – FALLING, by Bernhard Riedhammer

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Genre: Romance, Drama

When you fall, it’s always good to have a family to pick you up.

CAST LIST:

Narrator: Jane Hailes
Matt: Nick Wicht
Heather: Kelci Stephenson

Get to know the writer:

What is your screenplay about?

It’s about losing, coping, and hoping… and finally stop falling.

What genres does your screenplay fall under?

Drama

Why should this screenplay be made into a movie?

The tragedy of losing loved ones is something everybody can relate to, but instead of solely driving home a dramatic message, the story is interwoven with romantic and humorous moments, which provides a heart-warming touch.

How would you describe this script in two words?

Sad & Hopeful

What movie have you seen the most times in your life?

Eternal Sunshine of the Spotless Mind

How long have you been working on this screenplay?

4 Days

How many stories have you written?

About 30

What is…

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Winning 1st Scene Screenplay of LURE, by Clark Moriarty

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Genre: Horror, Thriller

When a group of Instasnap addicted Crazy Rich Kids ignore warnings not to go to the haunted Gomen island, fun soon turns to horror when an deadly augmented reality game forces them to #PlayOrDie. We like to think of it as Super Rich Kids of Instagram meets The Hunger Games.

CAST LIST:

Narration: Xavier de Guzman
Sofia: Carina Cojeen
Lily: Angelica Alejandro
Archie: Anthony Yu
Slick: Fabio Abreu

Get to know the writer:
 
What is your screenplay about?

When a group of InstaSnap addicted Crazy Rich Kids ignore warnings not to go to the haunted Gomen Island, fun soon turns to horror when an activated augmented reality game forces them to #PlayOrDie

What genres does your screenplay fall under?

Horror

Why should this screenplay be made into a movie?

I think an audience would find it thrilling, scary and an entertaining night out/in, plus with all…

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FILM REVIEW: ALL THE MONEY IN THE WORLD (US 2017) ****

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All the Money in the World Poster
Trailer

The story of the kidnapping of 16-year-old John Paul Getty III and the desperate attempt by his devoted mother to convince his billionaire grandfather Jean Paul Getty to pay the ransom.

Director:

Ridley Scott

Writers:

David ScarpaJohn Pearson (based on the book by)

 

The big question everyone will be asking about ALL THE MONEY IN THE WORLD is how effective the replacement of Christopher Plummer in the titular role of Paul Getty.  After the sexual harassment allegations surfaced on Kevin Spacey, director Ridley Scott (BLADE RUNNER) quickly replaced him with Plummer, doing the required re-shoots.  After viewing ALL THE MONEY IN THE WORLD, all traces of Spacey have been removed and it is nothing short of remarkable that Ridley has done such a great job.  And Oscar Winner Plummer is great.  Spacey would ave added a sly, comedic sarcastic element to his portrayal – his trait, but Plummer plays him straight, funny or serious depending on the situation.  The world needs not need to see a more sarcastic Getty.

The film is narrated from the grandson, Paulo (Charlie Plummer, no relation to Christopher Plummer), giving the film his perspective on his grandfather.  “He is not only the richest man in the world, but the richest man who ever lived!”  Plummer as Getty shows the stingy side of a millionaire, how he trusts artifacts and objects instead of people, as these show themselves as they are, with nothing hidden. But just as his colleagues and friend betray him, he does the same with his grandson’s artifact.

The film contains a few ineffective segments.  One odd one that stands out is a short segment set in 1838 in Saudi Arabia where Getty (in younger mode and Plummer decked in make up and dyed black hair to look younger) discusses oil.  That scene is total unnecessary and could have been done away with to save money and Plummer looking a bit ridiculous.  One cliched segment has the grandson walking the streets of Rome in the middle of the night accosting the prostitutes.  When he remarks to one of them: “I can take care of myself,” one can guess that he is just about to be kidnapped.  The next scene has him pushed into a car by the kidnappers.

But there are a few impressive scenes like the beginning black and white shot of a city with vintage cars.  The scene evolves into colour and the famous Trini fountain is revealed while Italian dialogue heard in the background.  It could be a scene right out of Fellini’s LA DOLCE VITA.

All the performances are outstanding from Michelle Williams as the angry mother slowly developing more tolerance towards the hired Chase to Plummer to Wahlberg.  The best  performance, however belongs to French actor Roman Duris (THE BEAT MY HEART SKIPPED, THE NEW GIRLDFRIEND) as the Getty’s grandson’s kidnapper.

Scott’s film is strong on emotions.    Getty’s daughter-in-law played by Williams undergoes the entire spectrum of emotions and character including, anger, strength, vulnerability, love, sensitivity, tolerance and annoyance.  All kidnapping films have the element of the Stockholm Syndrome.  As the kidnapper and kidnapped are both male, the bonding is one of trust and respect, which makes for the film greatest surprises.

The film plays more of a suspense thriller than a biopic on the millionaire Getty.  Still, there are enough screen time given to Getty to  show him the man he could be.  The words on the screen at the closing credits makes it clear that though the film is based on true events, dialogue and some events have been fictionalized.  It would be interesting to know which parts of the film are fictionalized.  The whole story, at the very end, seems like the perfect kidnapping caper, perfect for a good suspense film.

The film also contains a message. Watching Christopher Plummer as Getty teaches me,  wealthy Scrooge, a few things while opening my eyes.

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

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Film Review: DOWNSIZING (USA 2017) Top 10 *****

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Downsizing Poster
Trailer

A social satire in which a guy realizes he would have a better life if he were to shrink himself.

Director:

Alexander Payne

 

DOWNSIZING marks filmmaker Alexander Payne’s departure from real life and real life drama as witnessed in films like NEBRASKA, THE DESCENDANTS and ELECTION.  DOWNSIZING is Payne at his most playful, a sci-fi adult fairy tale of sorts, but one in which real life drama still exists.  The film stars Matt Damon who like the role in his last film George Clooney/Coen Brothers’ SURBUBICON is about a man who strives for a better life but things end getting more f***ed up.  What a man will do to correct the situation is what SUBIRBICON and DOWNSIZING are about.  It is interesting to see how two different filmmakers deal with a similar premise.

DOWNSIZING, a film combining several genres offers the solution to the world’s problem of overpopulation.  If people can be reduced in size to a thousandth of their original, many of the world problems could be solved.  People will only eat, use and dispose much, much less product.  When science finally achieved the success of downsizing, many colonies were begun.  So, Matt Damon and wife opt to be reduced and live in their new reduced size colony for monetary benefit.  Things never go as expected.

The film centres on Paul Safranek (Matt Damon) who is married to Audrey (Kristen Wiig) and who has spent most of his life working  hard but still raying int he same old house.  He figures that downsizing will allow him and his wife to afford the luxuries they would otherwise never achieve.  But unknown to Paul, the problems he faces do not shrink like their bodies.  After his is shrunk, Paul finds to his horror that Audrey has chickened out the procedure.  Paul is left divorced in miniature Leisureland.

Paul finds truth though the Vietnamese cleaning lady Ngoc (Hong Chau) after partying at his neighbour, Dusan’s (Christoph Waltz).  He slowly but surely redeems his life in a story unfolded in Payne and Jim Taylor’s script that is both dramatic and hilarious.  There is a very funny segment where Paul gets high at Dusan’s glitzy party.  He walks around with a ridiculous wide smile on his face, remarking at one point: “I am going to take off my shoes.”

There are many good examples why this script should win the Oscar for Best Original Screenplay.  This might be Payne’s second after winning Best Adapted Screenplay for THE DESCENDANTS.  One are the words Ngoc replies to Paul after giving him a farewell gift of a Bible in Vietnamese:”Words don’t matter.  Just remember me!”  Or the dialogue when Paul asks her “Who am I?”  She replies, pronouncing his name correctly the first time Paul has heard it pronounced correctly.  “You are Paul Safrenek!”   Or the classification of fucks into 8 categories, with Ngoc asking Paul: “What kind of fuck did you give me?”

DOWNSIZING’s script is brilliant with lots of attention to details.  The film does not go into thriller territory but attempts more ambitious aims.  Payne’s social satire is the most ambitious of all his films but it largely works thanks to the script.  Damon’s performance is fantastic (even the glimmer fem his eyes) with help from a host of impressive stars (Kristen Wiig, Christoph Waltz, Hong Chau, Laura Dern, Jason Sudeikis and Neil Patrick Harris).   The prize performance comes from Hong Chau, as observable in the scene where she convinces with happy tears,  Paul and company the reason she has to visit Norway.

Shot in Toronto and around the fiords of Norway.

Trailer: https://www.youtube.com/watch?v=QKEPCcPVrx0

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Film Review: JUMANJI: WELCOME TO THE JUNGLE

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Jumanji: Welcome to the Jungle Poster
Four teenagers discover an old video game console and are literally drawn into the game’s jungle setting becoming the adult avatars they chose.

Director:

Jake Kasdan

Writers:

Chris McKenna (screenplay by), Erik Sommers(screenplay by) | 4 more credits »

 

Jake Kasdan (son of Lawrence Kasdan) takes over the director reins from Joe Johnston who made the original JUMANJI movie where back when with the late Robin Williams.  JUMANJI WELCOME TOTHE JUNGLE is a stand-alone sequel paying tribute to Williams.

Kasdan’s lazy script is cliche ridden with the typical fairy tale adventure aimed at pre-teens.  The story is nothing remarkable.  It all begins when a father discovers a hidden boardgame covered in the sand while jogging on the beach.  He gives it to his son, Alex who is more interested in video games (the year is 1996).  Overnight, the game changes so that the box’s contents are now a video game cartridge, but when Alex puts it in his console and turns it on, he vanishes.

20 years later, a high school detention group finds the video game in the detention room .  They decide to play the game, each player taking on a game character.  They get sucked into the game each transforming into the game character they picked,  The premise is that they have to  win the game in order to get back out of the game to their normal lives.  

The four game players are Spencer Gilpin (transformed into Dwayne Johnson), his former best friend, Anthony “Fridge” Johnson (Kevin Hart), who he helped with his homework by writing Fridge’s essays for him.  The other two are Bethany Walker (yes, Jack Black), a beautiful girl who was caught talking on her phone during a quiz and Martha Kaply (Karen Gillian), a socially awkward girl who objected to being made to participate in gym class. 

They find themselves in a jungle, all four are shaken to realize that they have become the avatars they chose for the game, with the result that Fridge is now a short zoologist, Bethany is now an overweight middle-aged man, Martha is a beautiful athletic woman, and Spencer is a muscular, tough man.  The group encounter Nigel, who lays claim to the legendary gem, the “Jaguar’s Eye”.  The removal of the gem from the large jaguar statue will grant the villain Van Pelt (Bobby Cannavale) control over the animals of Jumanji.  In order to complete the game, the players must return the gem to the jaguar statue and call out “Jumanji”.

As a game movie, the under-exciting Jumanji game is overlooked for the villain Van Pelt and his motorcycle gang.  The game contains several levels that the players must complete, a missing piece in the form of Alex (Nick Jonas) and a few other uninteresting bits.  But the motorcycle chases are not much more exciting either.

The cliched story involves each high school charter learning to be better people while transformed into their avatars.  Fridge and Spencer learn the meaning of true friendship, Bethany learns that there is a world outside herself and her cell phone while Martha develops social skills.

The film takes a while to secure a footing.  What makes the film work is the great ensemble acting from all the main stars.  Black turns out to be the funniest as the transformed Bethany still possessing her girly mannerisms.  The funniest segment is Black teaching Gillian how to be sexy and seduce the transport guards and her after performing what she had learnt.

The film is more suited to a younger crowd, who appear to be cheering and laughing thigh the promo screening.  For adults, the film should also be enjoyable enough.

Trailer: https://www.youtube.com/watch?v=2QKg5SZ_35I

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Film Review: Molly’s Game

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Molly's Game Poster
Trailer

2:07 | Trailer
The true story of Molly Bloom, an Olympic-class skier who ran the world’s most exclusive high-stakes poker game and became an FBI target.

Director:

Aaron Sorkin

Writers:

Molly Bloom (book), Aaron Sorkin (screenplay)

 

MOLLY’S GAME is writer Aaron Sorkin’s directorial debut.  Sorkin also adapted the script from the memoir Molly’s Game: From Hollywood’s Elite to Wall Street’s Billionaire Boys Club, My High-Stakes Adventure in the World of Underground Poker by Molly Bloom.  Anyone familiar with Sorkin’s work, the most notable being the script for THE SOCIAL NETWORK will surely know that a lot of dialogue is expected and the actors in the film have to be motor-mouthed to be able to speak Sorkin’s dialogue at hundreds of miles per hour.  Lead actors Jessica Chastain and Idris Elba do just that and supporting actor Michael Cera known for his fast speaking does the same.

MOLLY’S GAME is stud poker.  It would be beneficial if one knows the rules of the game in order to appreciate the film.  There are suspense scenes involving being dealt the winning card and if one is unsure whether a full house or a royal flush wins, then one might do better to learn the rules of poker before venturing into a poker film.  Besides the fact, Sorkin has done his homework on high poker stake games around the world and what transpires on screen in extremely credible.  No doubt the memoirs must have have been quite detailed.

There will undoubtedly be those who will complain about the film being too talky.  But this is the niche of watching an Aaron Sorkin film – script or direction.  Sorkin has the gift of words and though the film is talky, he is to be given credit for a fast moving 140 lengthy film.  His attention to detail is an additional bonus.  

Sorkin’s both subtle and over-the-top humour is also present.  This can be observed in the detailed and lengthy 10 minute introduction to the film where the voiceover announces that the Molly’s skiing has nothing to do with her poker.  The film then establishes from scratch how Molly enters the game and finally how she becomes super good at ti before it all crumbles.  Then the biggest joke is that all this is revealed at the film’s end to be caused by skiing after all – to be due to that twig that trips Molly during her final ski jump.

In the story, the FBI presses Molly to reveal the high profile players so that they can be investigated leading to persecution.  Molly sticks to her principles against her lawyers advice.  Yes, this leads to more verbal debate!  Sorkin stays true not to reveal any big names in the film as well.

As in the other Sorkin scripted films, the dialogue goes on so fast that one can understand 20% of its if lucky.  But Sorkin has the gift of making the audience feel as if they have understood everything necessary for the film to go on.  Sokrin’s scripts and MOLLY’S GAME, his first film are strong on his style of writing.  To be fair to him, his story gets through and the film moves fast, at times as fast as the dialogue.  But if one wants to complain about this, stay away from this film.

MOLLY’S GAME premiered at the Toronto International Film Festival to mixed critical reviews.  Love it or hate it, but the Sorkin dialogue film has its pleasures.

Trailer: https://www.youtube.com/watch?v=n4CQDRyUL8I

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Film Review: THE GREATEST SHOWMAN (USA 2017) ****

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The Greatest Showman Poster
Trailer

Inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

Director:

Michael Gracey

Writers:

Jenny Bicks (screenplay by), Bill Condon (screenplay by) | 1 more credit »

 

Films about circuses have been popular having taken many different genres form blockbuster (Cecil. B. Demille’s THE GREATEST SHOW ON EARTH) to cheap 1966 horror (CIRCUS OF FEAR).  THE GREATEST SHOWMAN aims at being both a biopic and a musical.

Hugh Jackman is a shoo-in for the role of singing P.T. Barnum, obtaining a Golden Globe nomination for Best Actor in a musical or comedy in the process.  Heart-throb Zac Ephron also eases into musical mode as smooth as in three HIGH SCHOOL MUSICAL films.  He plays Barnum’s friend and business partner..

THE GREATEST SHOWMAN is a true musical at heart.  Within the first 10 minutes, there are two songs performed already.  The film also boasts to be an original musical, not to be confused with “BARNUM” that played on Broadway decades back.  The songs are catchy with “This is Me”, largely performed by the bearded lady nominated for the Best Song Golden Globe.  But the other songs (by the guys who wrote LALA LAND) are just as catchy (there have been few musicals these days with all good songs) with others just as good, if not better than “This is Me”.  The choreography is also quite spectacular, and one cannot complain that there is not a full all out musical.  It is a feel-good movie, so those wanting hard drama and musical-haters, be advised to stay away.

The story contains two romances, between P.T. Barnum and Charity (Michelle Williams) and the other between Phillip Carlyle (Ephron) and Anne Wheeler (Zendaya), the acrobat and trapeze artist.  The romantic chemistry is not all there, though Barnum’s and Charity’s is more believable.

Though the film traces how American showman P. T. Barnum became the founder of the circus that became the famous traveling Ringling Bros. and Barnum & Bailey Circus, there are also subplots like the romance as well as the diversion of the employment of famous Swedish singer Jenny Lind (Rebecca Ferguson) who almost destroys both his business and his marriage.  Her singing performance is astonishing though Loren Alfred provides Lind’s singing voice.  Ferguson lip syncs and fakes it quite well.

The film side steps certain points, like how Barnum suddenly obtained all the circus animals.  The business aspect of the circus is only briefly mentioned in passing.  It is quite hard to believe that the circus made it this big with so few acts and with no clowns at all in the film.

Director Gracey seems fond of emphasizing the fact of equality among performers.  The protests in each visiting town of the residents against the circus ‘freaks’ finally conclude with a huge fire that destroys the circus building.  In Demille’s THE GREATEST SHOW ON EARTH, it was a train crash that almost destroyed the circus, here compared to the big fire. 

The film should have more circus acts on screen time, so the audience can really feel the atmosphere of a circus.  What is clearly missing in this circus film is the excitement and danger of a circus.  Still, THE GREATEST SHOWMAN, though is not the greatest show in 2017 still makes appropriate Christmas entertainment.

Trailer: https://www.youtube.com/watch?v=AXCTMGYUg9A

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Film Review: HOSTILES (USA 2017) ***1/2

In 1892, a legendary Army captain reluctantly agrees to escort a Cheyenne chief and his family through dangerous territory.

Director:

Scott Cooper

Writers:

Scott Cooper (screenplay), Donald E. Stewart (manuscript)

HOSTILES opens with a statement by D.H. Lawrence on how hostile the west was – and how the heat of the west can never be melted.  Scott Cooper’s (BLACK MASS) film attempts to prove otherwise in his brooding western, interspersed with action sequences that are enough to jolt any audience from thought.

The setting is 1892.  The film opens with a tense and well executed sequence of the massacre of the Quaid family by Indians, the only survivor being the widow (Rosamund Pike).  Director Cooper makes sure the audience feels for her, and for her hatred towards the Indians.  

The film then introduces its main character, an embittered and battle-hardened US Cavalry officer, Joseph L. Blocker (Christian Bale) ordered to accompany a Cheyenne war chief and his family back to their tribal lands in Montana.  Captain Blocker (Christian Bale) has seen more than his fair share of violence and bloodletting on the frontier and will obviously see more by the end of the film, but this mission, which he is forced to accept, is a particularly bitter pill to swallow: Chief Yellow Hawk (Wes Studi) has been his mortal enemy for years due to a conflict that killed many of Blocker’s friends.  On the other hand, the Chief has also lost friends in the conflict.  To make matters worse, the widow, Rosalie Quaid joins in the journey.

Blocker is a racist, a man who harbours a deep hatred towards the former prisoners now placed in his care.  As the challenges mount, Blocker is forced to confront his own bigotry while carrying out his orders.  But there are no long monologues or cheap theatrics to get the message across.

But in the final scene, Blocker says goodbye to Rosalie at the train station, her hand holding the young orphaned  Cheyenne boy.  “You are a good man, Joe Blocker.”   These are Rosalie’s farewell words to Blocker.  These are unexpected words resulting in events that show that reconciliation is possible, despite how hopeless things appeared at the start.

Christian Bale is almost perfect in the title role of the racist with a conscience.  It is not a cardboard character but one that undergoes development.  Bale does a lot of brooding, but the changes in him come from the vents that flow his journey through the hostile land.  Pike is also good as the storm-willed suicidal widow.  Adam Beach (SUICIDE SQUAD) is surprisingly not given much to do while Wes Studi (DANCES WITH WOLVES, LAST OF THE MOHICANS) has a few lines that emphasize his strong character as the Indian chief.  Ben Foster is sufficiently menacing as an escorted criminal.

Coopers action scenes are well orchestrated and lift the otherwise slow moving film that at times almost sinks too low.  The film is quite lengthy, running at over the 2 hour mark.

HOSTILES is a quietly powerful film, difficult to watch but nevertheless gets its message across with the hopeful ending.

Trailer: https://www.youtube.com/watch?v=1M5cj4UmscE