Film Review: LUCKY (USA 2017) ***1/2

Lucky Poster
Trailer

Director:

John Carroll Lynch

Writers:

Logan Sparks (screenplay), Drago Sumonja (screenplay)

Stars:

Harry Dean Stanton, David Lynch, Ron Livingston

Harry Dean Stanton plays the character of LUCKY of the film title in a film that audiences recognize could be the real Harry Dean Stanton.  LUCKY is the nickname the ex-navy man earned after being designated the cook in the Navy while others were sent to fight and die during the War.  Lucky is 90, bitter, alone (but not lonely as he has a routine of chores to do each day), cynical, sickness free, and smokes a lot.

The audience sees Lucky doing the same things daily – visiting the grocery store with the Mexican cashier to get his cigarettes; having some drinks at the bar; having coffee at his dual diner; and watching his favourite quiz show – but with different reactions.  The soundtrack replays the tune of “Old River Valley’ on a harmonica.

The film contains a lot of musings like what realism (as explained by Lucky as real for one person but not necessarily in another occurs to another) is or even the friendship between man an animal as the latter discussion (it is apparently essential to the soul) starts.  Lucky’s friend, Howard (David Lynch) at the bar walk in to sadly announce the loss of President Roosevelt, his pet tortoise. (Lucky does not believe this….. not the statement but the existence of a soul.)  Though the latter statement seems inconsequential dialogue in the script, it is important in the way Lucky looks at life if he does not believe in the existence of a soul.

The film is directed by actor John Carroll base on the script by Logan Sparks and Drago Sumonja.  The film pays more attention to the character than to plotting.  The film is also wonderfully acted by Stanton.  Director David Lynch delivers a surprisingly moving speech defending his case of leaving his inheritance to his tortoise that has apparently escaped as does James Darren how a nothing person like him transformed to one who now has everything.

LUCKY the film can be best described as a cynical coming-of age movie of a 90-year old man who has almost given up on life.  It is quite an idea for a film which is likely the story got made.  It is a film about an old fart that is not the typical Hollywood old fart film like the fantasies of old people reminiscing on their youth or having sex one more time.  Lucky confesses in one scene that he can hardly get it up any more.  Here, Lucky says in the film’s most intimate scene where he reveals his deep secret to his friend, Loretta (Yvonne Huff): “I’m scared.”  It all happens when he falls down out of feeling faint, though doctor (Ed Begley Jr.) tells him that nothing major is wrong with him.

Harry Dean Stanton passed away this year (2017).  LUCKY is a worthy swan song of an actor that has surprised audiences many a time with his wide range of performances.

Trailer: https://www.youtube.com/watch?v=YurR6xZeBCk

lucky

HIGHLIGHTS & VIDEOS: September 2017 ANIMATION FEEDBACK Film Festival

feedbackanimationfestival's avatarFEEDBACK Animation Film & Screenplay Festival

AUDIENCE FESTIVAL AWARDS

Best Film: FRUIT

Best Animation: ONE PER PERSON

Best Characters: Pushing

Best Music: PERFECT TOWN

festival posterestival posterPEPITA & MAX, 6min, Family/Animation 
WATCH Audience FEEDBACK
festival posterUKA, 3min, Spain, Animation/Family
WATCH Audience FEEDBACK
festival posterKARMA, 4min., USA, Animation/Family
WATCH Audience FEEDBACK
festival posterPERFECT TOWN, 4min., Switzerland, Animation/Fantastic
WATCH Audience FEEDBACK
festival posterONE PER PERSON, 10min., Canada, Animation/Comedy
WATCH Audience FEEDBACK
festival posterFRUIT, 7min., Germany, Animation/Experimental
WATCH Audience FEEDBACK
festival posterOUR CRAPPY TOWN, 8min, USA, Animation/Comedy
WATCH Audience FEEDBACK

The FAMILY SEPTEMBER 2017 FEEDBACK Film Festival was truly a great success.

The theme of the festival was “CYCLE OF LIFE”.

Every film showcased was about the process of life. We are born. We live. We pass on.

NOTE: This was a showcase of the best FAMILY films from around the world.

This was a two part night. The first half was the best of live action shorts. And the 2nd half was the best…

View original post 166 more words

HIGHLIGHTS & VIDEOS: September 2017 FAMILY FEEDBACK Film Festival

HIGHLIGHTS & VIDEOS: September 2017 Comedy Short Film Festival

comedyfestival's avatarComedy FESTIVAL

AUDIENCE FESTIVAL AWARDS

Best Film: UNICORNLAND

Best Performances: SUITCASE

Best Cinematography: INGENUE-ISH

Best Music: BAGGAGE

WATCH AUDIENCE FEEDBACK VIDEOS: 

INGENUE-ISH, 10min, USA, Comedy
WATCH Audience FEEDBACK
festival posterSUITCASE, 13min, France, Comedy
WATCH Audience FEEDBACK
MANEKI-NEKO, 12min, USA, Romance/Comedy
WATCH Audience FEEDBACK
festival posterLAST NIGHT WAS A MISTAKE, 15min, USA, Romance/Comedy
WATCH Audience FEEDBACK
festival posterBAGGAGE, 17min, USA, Comedy
WATCH Audience FEEDBACK
festival posterUNICORNLAND, 7min, USA, Comedy/Webseries
WATCH Audience 

The COMEDY LOS ANGELES SEPTEMBER 2017 FEEDBACK Film Festival gave our audiences the best of comedic short movies from around the world.

The theme of the festival was “RESET”.

Every film showcased was about a situation that was about a character(s) needing to start over again.

The first half of the SEPTEMBER 2017 FEEDBACK Los Angeles Film Festival featured a showcase of the best COMEDY short films from around the world.

The crowd was very active for our 4th venture to Los Angeles in the FEEDBACK…

View original post 129 more words

1997 Movie Review: FACE/OFF, 1997

FACE/OFF, 1997
Movie Reviews

Director: John Woo

Stars: John Travolta, Nicolas Cage, Joan Allen, Alessandro Nivola, Gina Gershon, Dominique Swain, Nick Cassavetes, Colm Feore, Colm Feore, John Carroll Lynch

Review by Matthew Toffolo

SYNOPSIS:

A revolutionary medical technique allows an undercover agent to take the physical appearance of a major criminal and infiltrate his organization.

REVIEW:

There is a creepy feeling when watching Face/Off. The main theme of this action packed drama is about dealing with loss and death as Travolta’s character is having an extremely difficult time getting over the murder of his son. Of course fiction became truth later on as Travolta lost a son in real life. So when you’re watching these scenes you can’t help but feel for the real life actor who is crying on screen for his son’s loss, even though it hadn’t happened yet.

I remember when this film came out in 1997 and how much I enjoyed it as a 20 year old kid. My friend Wes Berger and I were what you call teenage idealistic film buffs as we used to go to the movies weekly and see as many foreign and independent movies as we could living in the Niagara Region. To some we were also film snobs, looking down on all of the shoot em up blockbusters that were beginning to hit its peak. But we weren’t ashamed to admit that we both liked Face/Off enormously because it seemed to have a nice psychological edge to it while filled with incredibly unrealistic but exciting action moments.

This was also the time when both Travolta and Cage were at their peaks professionally. Cage in particular was coming off his Oscar win for Leaving Las Vegas as was considered one of the best actors on the planet. That comment seems kind of silly in present day, as Cage is considered kind of a hack, as he continues to do about 3-4 poor films a year. In 1997 Cage had his whole career ahead of him and was in considerable demand in Hollywood. So having Travolta and Cage in this action romp in 1997 caused a lot of attention for me and my friendly film snobs. Perhaps John Woo’s film was more than just blow em up!

There are some interesting moments in Face/Off as Woo sure is a fine director who makes a lot of unique choices to heighten the excitement and emotions in the film. The only thing I remember talking about with people afterwards was the key question – Was Cage better at playing Travolta? Or was Travolta better at playing Cage?

Questions like this is what 20 year olds growing up in the Tarantino generation discuss. Even though in hindsight these are wasted conversations, at the time I do remember having fun with it. My friend Wes was on team Cage as I was on team Travolta. And the circle talk of meaninglessness began for hours on end. Both actors really chew up the scene as they seem to be acting in a strange land of over-the-top-ness while the other actors around them are grounded in reality. The performance of Travolta’s wife (who became Cage’s wife but was actually Travolta – it was confusing!) in particular stands out. Joan Allen pulls off a fantastic performance in the film without anyone really realising it. I remember even at age 20 how pulled in I was by her character. Perhaps today that role would of went to some 30s supermodel who would only be capable of just playing the beats in the script and nothing more.

Face/Off is a fun film even today as I really was impressed how much it stands up. That same year Cage acted in another action film, Con Air, that really doesn’t stand up at all and is almost laughable in its action executions to today’s 21st century world.That says a lot about John Woo. In Face/Off, Woo directs all of the action sequences with the emotions of the character’s angst and inner conflicts. So when Travolta for example is involved in a boat chase with Cage, we as the audience are hooked in because we just previously saw a scene of his struggles to survive the pains of his son’s death. So there is context in the action without just having the action. So his films hold up generation after generation because we feel while the guns are a blazing across the screen.
face off

1997 Movie Review: THE DEVIL’S ADVOCATE, 1997

THE DEVIL’S ADVOCATE, 1997
Movie Reviews

Directed by Taylor Hackford

Cast: Al Pacino, Keanu Reeves, Charlize Theron, Connie Nielson, Jeffrey Jones, Craig T. Nelson,
Review by Surinder Singh

SYNOPSIS:

Hotshot lawyer Kevin Lomax (Keanu Reeves) accepts an invitation to join a prestigious New York law firm notorious for it’s track record of getting its guilty clients cleared of all charges. Lomax is drawn in by the money and power that comes with the job; a seduction cleverly orchestrated by the firm’s boss John Milton (Al Pacino). But as Lomax delves deeper into the firm’s legal dealings he discovers there’s more to Mr. Milton’s success than meets the eye…

REVIEW:

It’s fair to say that Pacino did his share of mentoring during the nineties. As well as winning his Oscar and churning out some great central performances, he also played a number of supporting roles aside the new generation of leading men. In Donnie Brasco (1997) he supported Johnny Depp and with Any Given Sunday (1999) he did the same for Jamie Foxx. It’s always important for a screen-acting veteran to take stock in the new generation because it gives them the chance to see how good they really are! Perhaps one of the greatest tests for any upcoming actor is: “can I hold my own against Al Pacino on screen?”

As Kevin Lomax, Keanu Reeves was offered the challenge! Reeves arrives on screen looking suitably sharp and suave, he oozes confidence as soon as he enters the courtroom. We are shown someone so ambitious that he’ll happily tear up a poor young girl on the witness stand to win his case. It’s not long until he attracts interest from like-minded people in his field. As the film’s title suggests we’re witnessing someone on a moral journey in a job that continuously puts morality up for question. Reeves plays Lomax brilliantly as a man who is quite comfortable with drawing a line of professionalism between himself and the case. At this point in his journey it’s not important whether his client is guilty or not, only that he wins!

The film really gets going once Lomax is in New York and poised to begin his case with the new law firm. Enter Al Pacino: in a wonderful scene on top of the huge sky-rise looking down at the world below, Milton acquaints himself with his new employee Lomax. Director Taylor Hackford does a great job of balancing a realistic drama set against a modern day New York with the supernatural and mythic elements at play. The scene is totally plausible but at the same time positions Pacino’s Milton as the Master of the Universe. He’s more than just a successful man; his power clearly reaches further than Lomax is presently aware of.

Many actors in the past have played the Prince of Darkness: Jack Nicholson in The Witches of Eastwick (1987), Robert De Niro in Angel Heart (1987) and of course Tim Curry in Legend (1985). By default, any actor who takes on such a notorious character will be compared to the previous incarnations. Pacino is charismatic and carries his character with a sense of cool that draws you in from the moment you meet him. Pacino may be a small guy but in The Devil’s Advocate he owns every space he walks into and everyone in it! Pacino’s Milton is by far the most contemporary and convincing incarnation of Satan for many years.

Like he did in Donnie Brasco, Pacino plays a mentor and takes Keanu Reeves’ Lomax under his wing. Milton explains his philosophy leaving his new apprentice in awe: “Look at me! Underestimated from day one. You’d never think I was a master of the universe, now would ya?” Rather than exert superhuman physical powers, Milton is the puppet master who prefers discretion: “I’m the hand up Mona Lisa’s skirt. I’m a surprise, Kevin. They don’t see me coming!” Lomax sees this simply as advice to help him progress as a lawyer. All the while his new mentor who is ten steps ahead is manipulating him!

The movie is full of devilishly splendid set pieces. Lomax is advised to seek out a man named Moyez (Delroy Lindo) a witchdoctor who’s on trial for the ritualistic butchering of animals. Moyez offers Lomax a helping hand (via a strange ritual with a decapitated tongue) and sure enough the prosecution cannot get a word out in the following trial. The scene gives supernatural depth to the power of Milton and his associates, showing the unsettled Lomax the extent to which his “unfaltering success” is being secured. Perhaps the greatest set piece is the killing of Eddie Barzoon (Jeffery Jones). As he jogs through Central Park we hear Pacino’s piercing voice off-screen, the feeling of an impending doom takes over until we see the poor Barzoon fall to his bloody fate.

Like most films about the Spirit of Evil (walking amongst us in modern times) The Devil’s Advocate is essentially a story about someone saving their soul from Evil. The idea that through all Evil’s temptations we eventually choose the path to light and salvation. On reflection this movie is unlike the others in the way it delivers the age-old story to you in a fresh, contemporary and engaging manner. The performances are strong and Pacino’s performance completely convinces you he’s the modern incarnation of the Prince of Darkness. Plus, on purely popcorn terms this movie is a solid thriller that doesn’t rest too heavily on religious fact and while the symbols of Christianity are ripe throughout they do not alienate the audience.

The Devil’s Advocate is a great movie to watch over and over. Not exactly ‘light-entertainment’ but a strong contemporary thriller that will satisfy. It also contains arguably the best portrayal of Satan on film…yet another testament to the awesome acting talent of Al Pacino!

 the devils advocate

Short Story Reading: Give Me Truth or Give Me Silence, by Melissa R Mendelson

wildsoundwritingfestival's avatarWILDsound Writing Festival

Performed by Laura Kyswaty

 Get to know the writer:

What is your short story about?

Give Me Truth or Give Me Silence is a Dystopian short story, where individuals are forced to speak the truth, but like with any other society, there are those that still lie. But it might be the last lie that they will ever speak.

What genres would you say this story is in?

Science-Fiction

How would you describe this story in two words?

Honesty Hurts

What movie have you seen the most in your life?

Since I was eight-years-old, I’ve seen a lot of movies and a lot of television shows, but one of my favorite movies is Suicide Kings, which is an intensely written Drama, where the truth is a cool hand played right up to the last bluff.

What is your favorite song? (Or, what song have you listened to the most…

View original post 360 more words

TV PILOT 1st Scene of KODAK MOMENT, by John Cruz Alarid

WILDsound Festival's avatarWILDsound Festival

When a vintage camera is accidentally found at a flea market, long buried secrets about the JFK assassination stand to be reborn. Paranoid camera buff JIM turns to his film developer grandfather GRAMPS and Chinese reporter girlfriend NATALIE race the clock to bring the ultimate truth to light, even as forces of the Illuminati hunt both of them down.

Genre: Drama, Political, Crime, Thriller

CAST LIST:

Narrator: Laura Kyswaty
Jim: James Boutcher
Ester: Julie McCarthy
Natalie: Lindsay Rolland Mills
Pilot: Luke Robinson
Gramps: Brandon Knox

 Get to know the writer:

What is your screenplay about?

Kodak Moment is a chilling thriller TV pilot spec script about the ILLUMINATI, a secret Dark Organization that conspires to control world affairs by masterminding events, governments and corporations.

What genres does your screenplay fall under?

When a vintage camera is accidentally found at a garage sale and the film developed, long buried secrets…

View original post 848 more words

Full Review: DON’T TALK TO IRENE (Canada 2017) ***

Don't Talk to Irene Poster
When Irene – the fattest girl in high school – gets suspended, she must endure two weeks of community service at a retirement home. Following her passion for cheerleading, she secretly …See full summary »

Director:

Pat Mills

Writers:

Pat Mills, Pat Mills

DON’T TALK TO IRENE takes its cue from Woody Allen’s PLAY IT AGAIN SAM the Herbert Ross film where the Allen character takes advice from Humphrey Bogart with regards to getting a girl.  In DON’T TALK TO IRENE, the protagonist, an overweight teenage girl takes advice from Geena Davis as she follows a different goal, in this case of pursuing her passion for cheerleading.  She signs up for a talent-search reality show in order to prove that “physical perfection” isn’t everything.

Irene Willis (Michelle McLeod) lives in a town of a small fictional town of Parc supposed to be just north of Toronto.  The film was shot in Hamilton, Ontario.  It is described in the film as the worst of small towns, where Irene goes to the worst of high schools.  Her cycle of life is predictable and bland.  Fuelled by the dream of becoming a cheerleader, but constantly told by both her overprotective mother (Anastasia Philips) and classmates that she does not fit the mild of a cheerleader.  But Geena Davis, speaking to Irene via the A League of Their Own poster on her bedroom wall tells her “Never quit!”

When Irene gets suspended and is forced to do community service at a retirement home — run by Barrett (Kids in the Hall’s Scott Thompson) — alongside her bullies and her new friend, Tesh (a gender non-conforming, glitzy dreamer), an opportunity arises.  She rounds up her new-found circle of elderly friends into an unlikely dance troupe.

The film has the story of a socially unaccepted underdog doing it successfully at the end.  It is an age old story which audiences have seen time and again.  In fact this is not the first film in which seniors enter a dance competition.

But it is often the story that does not make a good film.  Despite the story’s limitations, the film benefits for the sly humour of its writer/director Pat Mills.  Mills gives himself a cameo as a drunken teacher in a few segments in the movie.  Mills, in his 2014 film, GUIDANCE, made an imprint with his dark and really funny comedy.  DON’T TALK TO IRENE is not as good as GUIDANCE but it has its moments.

The character of transgendered, smart-talking Tesh is not that funny and appears in the film to set a politically correct statement.  The mother and daughter relationship is also nothing new and the mother’s final acceptance of her daughter’s goals is predictable, if not tiresome.  The film also aims to be too smug with strong language added to create a more edgy film.  The seniors, again all try their best to show that they still have it, in terms of ingenuity, sex drive or dance skills.

McLeod is a rare find and is able to carry the film well.  The film contains a nice surprise with the actual appearance of Geena Davis.

Still everyone loves a feel-good movie.  Undemanding viewers should lap this tale up, with no problem at all.  Critics can only wince at the goings-on of this girl that finally makes good.

Trailer: https://youtu.be/56xfd8POz4c