film reviews

Movie Review: CRE-AZIONI, 5min, USA, Drama/Experimental (2016)

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MOVIE POSTERCRE-AZIONI, 5min, USA, Drama/Experimental
Directed by Elena Vannoni

A film about women and time.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

In many ways, theatre gave birth to Cinema. The two share many elements of spectacle and form, although their medium is substantially different. What happens then, when the two mediums converge? Cre-Azioni written and directed by Elena Vannoni is one such product. Avant Garde, theatrical and wholly unconventional for a short film (if there is such a thing) is an artistic interpretation of women in the confines of society.

The film is simply shot, with one shot and set up panning into a woman looking out of a window. The background is stark- black and white. All that seems to exist in this world is the woman, the window and the world beyond it we can hear, but not see. As she stares out, presumably at children laughing and playing, the woman closes the window and begins to touch her face. The music of the piece becomes frantic and panicky, and our heroine is swept up into a corset, a wig put on her and large fake lips placed in her mouth. Hands appear out of nowhere with syringes and appear to inject her body. The woman grapples with her corset, frees herself from her confines, her wig and her accessories. She begins to dance in the apparent void of space behind her window, until she goes to the now open window- this time with ample light hitting her face.

The piece is unapologetically clear about its intent- the constraints of women in society to look a certain way, and they suppression and oppression that occurs within those confines. The way the message is framed, however, is what makes this film really interesting. It is a very theatrical piece, in the sense that the exact same actions could be played out on a stage to a live audience with as equally strong effect. Perhaps the medium of film allows a wider reach to audience, perhaps it translates a different type of solitude for our heroine, as she is not behind simply one pane of glass (the window) we see but also the camera lenses, which we don’t.
The audience can interpret the works’ medium from many angles, but the message, no matter how avant garde, is a good one- happiness is dancing unencumbered. Whether is it on stage or screen, the spectacle of Cre-Azioni is emotional, strong and mindful with clear intent.

Watch the Audience FEEDBACK Video of the short film:

Movie Review: SILENCE, 5min, UK, Romance (2016)

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MOVIE POSTERSILENCE, 5min, UK, Romance
Directed by Elena Brodach

The story of love that everyone dreams.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Music may well be the language of love. Perhaps that is the thesis of the charming, poignant piece short Silence by director Elena Brodach. Shot in one frame, with no cuts, no dialogue and only two characters, Brodach proves that less really is more. The emotional mastery of the piece is that it is able to produce such strong feelings with seemingly such little effort.

For a film with little in the way of story set-up, the story is very clear. An elderly couple sit in a completely empty theater, watching some sort of performance the viewer cannot see. They can however hear the beautiful orchestra music playing, interrupted only by the occasional squeal of one of the couple’s’ hearing aids going out. After a few moments of uncomfortable adjusting, the two simply lean their heads together and hear the music equally well out of a shared aid. Together, the music swells.

A film that encapsulates one beautiful moment shared between two people who love each other. The wonderment in this short film is that it strips away the youth from beauty. So often our society shows love in the hands of the young, the innocent, the beautiful. Yet Silence reminds us that love is not often falling to our knees in front of the object of our affection, grand romantic gestures or bouquets of flowers. Love is a series of simple gestures that translate to “you matter, I care, these moments are shared.” And Silence pays tribute to love after 30, after 40, after 80.

Silence is colorfully shot, the sound is gorgeously designed and the moment is simple and sweet. It may not win and Oscar, but it can win your heart.

Watch the Audience FEEDBACK Video of the short film:

Movie Review: PEOPLE OF NOWHERE (2016)

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MOVIE POSTERPEOPLE OF NOWHERE, 2min, Israel, Documentary/Music Video
Directed by Lior Sperando

Music Video about the wave of Syrian refugees who try to make their way into Europe.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Gripping, vivid and gut-punchingly real People Of Nowhere, directed by Lior Sperandeo (with huge credits to the Drone Operator Joel Davis and Music Design by Ravid Kahalani) is a sharp, powerful look at the Syrian refugee crisis. Coming in at just under two minutes, it is a testament to the skill of the filmmaker that such incredible emotion can be rendered by such a short piece. Shot with no dialogue but with exceptional sound design, the piece People Of Nowhere  showcases the seemingly endless masses of human life that arrives on coastlines when fleeing Syria.

Many times with clearly nothing but the clothing they are wearing, families clammer of their boats to safety. The viewers do not know their names, their stories, or from what specific hell they are fleeing from. We do not know what languages they speak, what their education level is, or if they know where they are going. We we can see is a rapid series of terrifying moments. Men pulling women (their wives?) off of beached rafts to safety, women reaching for and clutching children, babies screaming and being wrapped in thermal blankets, people of all ages being treated for shock, covered in scrapes and bruises, collapsing from exhausting, clinging to each other.

With the rapid-fire editing style and the quick succession of cuts, followed by the powerfully moving sound design, what stands out about Vito’s piece is the raw humanity of it. The viewer knows nothing about the people they are seeing, yet they are seeing everything about these people- their desperation, their motivation and their pain. The need for sheer, basic survival and the willingness to live and the lengths we are all able to go to in order to ensure the safety of ourselves and those we love.

Vividly colorful, powerfully edited and heartbreakingly beautiful, People Of Nowhere is a profound statement. One which ultimately begs us to remember that despite the chaos of our politics, we are all part of the same humanity.

Watch the Audience FEEDBACK Video of the short film:

Movie Review: HOWELL, 4min, UK, Horror/Comedy (2016)

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MOVIE POSTERHOWELL, 4min, UK, Horror/Comedy
Directed by Leon Williams

Howell is attending a supporters group meeting, along with others that share his condition. He has many issues…but he is trying his best to find himself.

Seen at the July 2016 Under 5min. FEEDBACK Film Festival in Toronto.

Movie Review by Kierston Drier

Howl directed by Leon David Williams and starring Leo Bane, is a curious film that straddles the lines of satire and dry comedy. It seems to focus on what appears to be a support group for an unknown affliction. With emphasis on assimilating into normal life leads the viewer to believe that the protagonist is returning from a seedy previous life. The comedy arises in the escalation of strange things our hero fixates on to identify with his new normalcy- such as playing frisbee with his best friend, and culminating in a hilarious scene where he has dinner with his girlfriend and Ex at the same time- and the Ex appears to be a small domesticated dog.

The answer, of course, is that our Hero is a reformed Warewolf. A viewer may be able to grab that reveal from a curious flashback that occurs early in the film. However our hero’s visits to group and his montage of activities showcase his success with integrating his dog-human dichotomy.  If the viewer grabs onto this knowledge early on the end could be lack luster. Yet the humor is palpable, although possibly less apparent to a North American audience acclimatized to a less dry style of humor.  While this reviewer picked up early the secret of our half-Canine hero, it is certainly not a mark against the filmmaker. It could very well be the intent of Williams to have this secret become clear to the audience, so that they can better enjoy the schict of the piece.

Howl, because of its stylistic choices, may not be a film that will have everyone in the audience laughing. But if you appreciate this type of humor, it’s an enjoyable film. It offers laughs, comic spectacle and the ever-important howl at the full moon.

Watch the Audience FEEDBACK Video of the short film:

Interview with Festival Director Moosa Saleem (Access Code Short Film Festival)

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access-code.jpgAfter amazing 8 editions, we are here again. It’s a festival where 200 movies are played, more than any of the festival in the world. Almost every film that enters the festival will be screened at the festival, no matter how many days the festival runs.

Interview with Festival Director Moosa Saleem:

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Moosa Saleem: Access Code Short Film Festival has been very supportive to student and young filmmakers across the world.

MT: What would you expect to experience if you attend the festival this year (2016)?

MS: Very high quality shorts and indies. We also selected a lot of music videos by unknown bands.

MT: What are the qualifications for the selected films?

MS: We always prefer sound over images. An indie filmmaker spends a lot on camera, costumes and other props and hardly gives sound any importance. They forget that a film is 50% sound. A bad quality sound can ruin the whole film even if the visuals are amazing, but even if the video is bad or shaky, a good quality sound can cover up for it.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

MS: I explained it in the above question. A lot of indie filmmakers neglect a good quality sound setup. It’s not that expensive, to be honest. Most films get rejected by a lot of film festivals because of bad sound. Also, it’s impossible to screen every film out of the amount of entries we get after each passing edition.

MT: What motivates you and your team to do this festival?

MS: We love films, be it narrative, documentary, animation. It saddens me to see some amazing filmmakers going unnoticed in this competitive world. We are creating a platform for filmmakers who stayed restricted to YouTube and Vimeo to showcase their talent to the world. We even try to get them a TV distribution deal

MT: How has the festival changed since its inception?

MS: We started as a film festival for animation shorts and music videos. Now, we have amazing submissions from documentaries to webisodes.

MT: Where do you see the festival by 2020?

MS: We are planning to take this festival to other parts of the country by 2020.

MT: What film have you seen the most times in your life?

MS: The Intouchables from France and 3 Idiots from India.

MT: In one sentence, what makes a great film?

MS: A good screenplay, with some good acting talent.

MT: How is the film scene in your city?

MS: I am originally from Jammu and Kashmir and it’s a conflict zone and there is no such thing as film scene here but a lot of Bollywood films are shot here every year, including some of the Hollywood movies like The Fall and Hector And The Search Of Happiness, to name among the few. Three amazing movies came out of Kashmir few years back, Valley of Saints (it won the Sundance in 2012), Haider and Harud. ;

****

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Anamika Raj (GardenCity Film Festival)

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Garden_City_Logo-01.jpgI am Anamika Raj and I am a graphic designer by profession and have produced 2 feature indies. GardenCity Film Festival is one of the most appreciated in the country by several critics. It’s main focus is student and female filmmakers from around the world. We are happy to introduce the local audience to a range of most recent, cinematically daring and powerful filmmaking from around the globe. We want to be a festival that touches and teaches the audience, a festival that will drive creators to produce meaningful films, a festival that drives audiences from all walks of life and makes the week-end a deep experience that becomes a long lasting tradition.

Interview with Festival Director Anamika Raj

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Anamika Raj: The best feeling for a budding filmmaker is not to earn loads of money, but to showcase his film in front of an audience, sharing the thoughts, and if the film is appreciated by the audience that is the biggest reward for every filmmaker all around the world. Film festivals are the stage to showcase great talents of the independent filmmakers. We at GardenCity give the same oppurtunity. There are so many film festivals all around the globe, and we don’t say we are the best, but as far as we can help filmmakers, we think we are doing our part.

MT: What would you expect to experience if you attend the festival this year (2016)?

AR: A lot of amazing documentaries made by young girls and there’s a section of LGBT films.

MT: What are the qualifications for the selected films?

AR: The qualification on the film depends on how the filmakers has tried to reach out to the audience. Your effort shows on the output of the film. We prefer films that are hard-hitting and are there to make an impact and should connect to the audience.

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

AR: It’s absolutely impossible to select every film witht he time duration we have and the amount of entries we get. Filmmakers need to understand that and maybe up their game. Every filmmaker is working very hard to bring out a good film, but they need to understand that if their film is not selected, maybe the other filmmakers have put a bit more effort than them in their pictures.

MT: What motivates you and your team to do this festival?

AR: Let me tell you a true story, I am a filmaker myself and people in my team are very passionate about films. So, we were doing this one project and we were working day and night on it, with just 4 hours break in a day. The project was completed and then we started sending it to film festivals. The feeling that you get when you receive a mail from the authorities saying that your film has been selected is amazing. I mean, you are actually being praised for your hard work. And that’s when my team and I decided to start something like this. If we can be a part of motivating talent, then, why not! See it’s simple, you are good at something and if you don’t get any good comments about that work, you will start working hard on your films, but if you get praised for doing that same work, next time you will try to give a better film to the audience.

MT: How has the festival changed since its inception?

AR: We got 20 films as entries in the first edition and in the last edition, we got 300+ films. So, we are getting there.

MT: Where do you see the festival by 2020?

AR: In 4 years, we surely see ourselves as a big competitor to Cannes and Berlinale. Haha! Just kidding. When we started GardenCity Film Festival, we had one point very clear, all the film festivals happening all around the corner are not competing against each other, they are just helping brilliant filmakers to showcase their work. So, in 4 years, we would see ourselves helping four times of people we are helping now to bring out their work. We keep giving heavy discounts to the filmmakers who are really short of funds, especially student filmmakers.

MT: What film have you seen the most times in your life?

AR: Rang De Basanti (from India) and every Woody Allen movie.

MT: In one sentence, what makes a great film?

AR: As I already mentioned that a great film is that which connects to the audience and which has an amazing thought process behind it. See, for independant filmakers, cost of the movie really matters. Sometimes a filmmaker can come out with mind blowing movie on a very small budget, and sometimes, movies with huge budgets are panned by critics and audiences. So, to make a great movie all that it takes is a great thought and knowledge of using the given resources rightly. Script is the king.

MT: How is the film scene in your city?

AR: In Bangalore, we have a film industry called Sandalwood. It’s growing and very good young filmmakers are coming out with their films. Sandalwood usually prefers action movies or thrillers. Some of them are Lucia, U-Turn and Cryptic Road.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

HELL OR HIGH WATER (USA 2016) ****

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hell_of_high_water.jpgHELL OR HIGH WATER (USA 2016) ****
Directed by David MacKenzie

Starring: Dale Dickey, Ben Foster, Chris Pine

Review by Gilbert Seah

The term HELL OR HIGH WATER is the phrase used in contracts that demand payment regardless. It is also the title of the new film directed by David MacKenzie (ASYLUM and his last excellent film STARRED UP) and brilliantly written by Taylor Sheridan (SICARIO), the script of which won the 2012 Black List of Screenplays.

The film begins with an exciting bank robbery. The bank is robbed by two brothers, Toby (Chris Pine) and the recently out-of-jail Tanner (Ben Foster). It is a case of Good Crook, Bad Crook variation of Good Cop, Bad Cop. Toby, the good crook needs the money for payments on the house his children has inherited from his recently deceased mother. Toby is separated from his wife and children. The payments must be made HELL OR HIGH WATER or Toby will lose much, much more as the property is spouting oil.

The film does not have one main protagonist but three. Toby appears to be the main one, but his volatile brother and the retiring sheriff after them are also given due attention. Sheriff Marcus (Jeff Bridges) is the most interesting of the three, a wise-cracking, gruff and smart veteran who constantly cracks racist jokes at his indian deputy Alberto (Gil Birmingham). The film could very well be another version of the Lone Ranger and Tonto.

The film is well performed by everyone especially Bridges who turns out an Oscar Winning performance. His mannerisms and drawl fit perfectly his character of an aging, fed-up law enforcer. Chris Pine proves he can do more than Captain Kirk in STAR TREK.

MacKenzie knows how to create excitement. The camera is placed, for example in the getaway car, all jittery but capturing the desperation of escaping the cops. The shootout scene at the end of the film is also meticulously staged. The film also contains a superb climax – a verbal showdown between Toby and Marcus. The music by Australian actor, singer song-writer Nick Cave is a pleasure, also adding atmosphere and mood to the film. The film is interspersed with his songs.

The film was originally titled Comancheria. The reason can be seen in one of the film’s best written and key scene when Tanner confronts a comanche in a casino. Comanche means ‘enemy of everyone’, the comanche tells Tanner. “Then I am one,” he retorts. “An enemy?” asks the comanche angrily. “No, a comanche.” The description of Tanner’s character is spot on, Tanner being a volatile man who cannot get along with anyone, less his brother and has been in prison in and out a couple of times. Another scene, which is so funny that has to be seen to be believed is the age old waitress who serves the sheriff and his deputy in a restaurant asking, “What can’t I get you?” The film and script is full of inventive surprises and smart humour, which adds on to the plot.

The story also bears a truth about human beings. If you ask most people what the main goal or aim in life of a man is, the ultimate answer is to see their children do at least as well or better than them. For Toby, whose only expert advice he can give his son is: “Do not be like me,” the one way he can be a good father and satisfy his goal in life is to provide for his two sons by making final payment on the house before disclosure by the bank.

Director MacKenzie has made an excellent film on a well written script with prized dialogue. It is good to see that he could do the same for a script without dialogue as in the case of his last film, STARRED UP, where the dialogue in heavy accent need not be understood for the film to be appreciated.

HELL OR HIGH WATER premiered at Cannes at Un Certain Regard. It is an excellent entertaining and rewarding film hat comes highly recommended. And the film gets my vote for Best Original Script this year.

Interview with Festival Director Craig Higgins (Norwich Film Festival)

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norwich_1.jpgThe Norwich Film Festival is now preparing for it’s sixth year (2016). They have an amazing array of celebrity patrons and judges (including Bernard Hill, Tim McInnerny, Olivia Colman and Martin Walsh) who are all eager to watch your films and read your screenplays. The people of Norwich are also committed to supporting artists of all media and have been wonderful throughout our four previous years, turning up in their droves to see the best the festival has to offer.

www.norwichfilmfestival.co.uk

Interview with Festival Director Craig Higgins:

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Craig Higgins: The Norwich Film Festival is passionate about screening filmmaker’s work from not just Norwich but from all over the world. We love that we get the opportunity to help the audience see something they generally wouldn’t see, and I feel this helps to give filmmaker’s a voice and the recognition they deserve. We have also just started to screen local feature films made in Norfolk throughout the year which we screen free of charge to help raise the profile of filmmakers. There really is an incredible amount of talent out there and we are just doing our little bit to help the world see it.

MT: What would you expect to experience if you attend the festival this year (2016)?

CH: Fantastic short films made by the some of the most talented filmmakers you will ever see.

We have not yet released the programme, so here is a little bit of a spoiler. The festival will be looking to screen 50 short films, 2 feature films (both are premiers for Norwich), an industry panel of getting your film made, a talk from one of the best Editor’s in the world, BAFTA regional shorts tour, along with lots of a Q&A’s from filmmakers. We are also going to ensure that we offer lots of networking too!

MT: What are the qualifications for the selected films?

CH: We have 5 competitive prizes this year including best short, best animation, best student, best documentary and best script. The standard of submissions this year as been incredibly high, so short listing is going to be tricky! Luckily enough we have a fantastic team who have helped to judge and score your film. What is also exciting, the best of the best films are sent to industry judges who will watch them and decide who should win our competition. Some of our judges this year include Damian Jones (Producer – The Iron Lady, Lady in the Van, Dad’s Army), Nick Moore (Editor – Love Actually, Notting Hill), William Osborne (Scriptwriter – Twins, Scorpian King), Julian Jarrold (Director – Kinky Boots, A Royal Night Out), Steven Hall (DOP & Camera Operative), Jane Gull (Director – Sunny Boy, My Feral Heart) & Hugh Fraser (Actor)

MT: Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

CH: That’s a good question. It’s difficult, because festival’s only have so much allocated time to screen films and usually the best of the bunch are the one’s which are screened. However, you sometimes have that middle pile of films which are good, but don’t always make it through due to another film being submitted with maybe a similar theme but can be slightly stronger in terms of its narrative. What, I would say is even if your film doesn’t get through to one festival don’t stop trying! If you believe in your work, get it out there to festivals, screen it in local bars etc….

MT: What motivates you and your team to do this festival?

CH: Easy – we love films! We also enjoy that we are the first people who get the opportunity to watch some of the most exciting, engaging and inspiring films out there and we get to screen them! How brilliant is that? We also love meeting and hearing from filmmakers and anything which can help showcase and bring people together is fabulous.

MT: How has the festival changed since its inception?

CH: Well this year as been a huge development shift in the festival, keeping in mind that everyone involved with the Norwich Film Festival are volunteers. We are now running as a small charity (but are due to apply shortly to become a Charitable Incorporated Organisation in the next few weeks), we have increased our web content for filmmakers, increased our social media fan base, built up an impressive list of judges & patrons (Brian Cox, Olivia Colman, John Collee & Tim McInnerny), offered monthly screenings and an increased networking opportunities for filmmakers. We have worked really hard this year and we are planning bigger and better things for 2017 already!

MT: Where do you see the festival by 2020?

CH: I would love to see the festival become BAFTA accredited. That is my dream! It would be great if we could also continue to build the level of submissions we receive each year and offer the audience even more than we are providing now.

MT: What film have you seen the most times in your life?

CH: Jaws….. I love this film!

MT: In one sentence, what makes a great film?

CH: Great story, originality, creativity & something that stay’s with you even when the film ends.

MT: How is the film scene in your city?

CH: Norwich is such a creative city, we have a host of incredibly talented filmmakers, a brilliant picturehouse cinema, 2 Universities which offer film related courses and a lot of love from the people of the city who welcome all creative types. Norwich as also played host as a location setting for big budget films such as Averngers: age of ultron, Tulip Fever, Stardust, James the Giant Killer and so on. I would love filmmakers to come to Norwich to continue filming as it offers so much diversity.

Don’t forget the Norwich Film Festival will holding it’s annual festival from the 10 – 13th November. It’s gonna be fun! Come along and enjoy something different.

norwich_2.jpg

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

Film Review: PETE’S DRAGON (USA 2016)

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

petes_dragon.jpgPETE’S DRAGON (USA 2016) **
Directed by David Lowery

Starring: Bryce Dallas Howard, Robert Redford, Oakes Fegley

Review by Gilbert Seah

Like Disney’s last flop THE BFG directed by Steven Spielberg, this reboot of the live action Helen Reddy PETE’S DRAGON is a strong on special effects blockbuster fantasy lost in its special effects.
From the very start of the film, the audience sees young Pete (Oakes Fegley) in a car with his parents on his first camping adventure. “What does ‘adventure’ mean”? Pete questions innocently – the perfect question in a family film. Then, there is the overdone dialogue like the boy being told that he is he bravest person his mother knows. Pete is an orphan who meets his protective dragon. Disney’s version of death is a hazy slow-motion flying of things in the car as it crashes and kills Pete’s parents.

Pete lives 6 years in the woods with Elliot the dragon till he is discovered by ranger Grace Meecham (Bryce Dallas Howard). Robert Redford plays Grace’s father who claims he has seen a dragon in the woods when he was young. The film is set in the 80’s for no reason except that the original film was made in 1977.

The 1977 version and this version is largely different. The fishing community that adopts Pete is replaced by a hostile timber community. While the original was playful with songs and oddities which is a good sign for Disney’s formulaic label, this reboot is sentimental brown stuff.

More unbearable cutesy bits follow. If the dragon doesn’t fall from the sky to make funny faces, Elliot the dragon has this amazing cute look upon seeing a butterfly for the first time. Actors Robert Redford and Bryce Dallas Howard have to constantly don astonished looks on their faces.

PETE’S DRAGON is fantasy given a realistic treatment. But the story is unimaginatively predictable and formulaic. From the very point Elliot, the dragon is captured, the audience can tell what is to happen next. Add in silly songs at all the inappropriate moments, unbearable cute bits and you have the perfect formulaic Disney movie – the sentimental feel-good film I always try to avoid.

PETE’S DARGON is director’s Lowery’s first big budget movie. Disney is good for recruiting talents like Lowery who will deliver their big beget formulaic and unimaginative films. Another example is Asian American Justin Lin who broke into the film scene with his breakthrough BETTER LUCK TOMORROW. Disney got him to make his biggest dud, ANNAPOLIS followed by the unimaginative FAST AND FURIOUS franchise.

But PETE’S DRAGON has its charm. That is if you are around the age of 6, the age of the kid and enamoured by fairy tales like befriending a giant dragon. Like the BFG where the girl has a big giant as her friend, the stories lead nowhere except to predictability land. At best, PETE’S DRAGON looks like a poor man’s version of E.T. At other times, it is cutesy Disney material aimed at the family and kids and ends up nothing more than a bore. There was a screening clash with this film. I should have gone to see SAUSAGE PARTY. At least that lewd film would have had more imagination.

 

 

 

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

FLORENCE FOSTER JENKINS (UK 2016) ***

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

florence_foster_jenkins.jpgFLORENCE FOSTER JENKINS (UK 2016) ***
Directed by Stephen Frears

Starring: Meryl Streep, Hugh Grant, Simon Helberg

Review by Gilbert Seah

As one magazine writer aptly put: Meryl Streep has added one more talent to her curriculum vitae – the ability to sing flat.

Based on true events, the film is based on the character Florence Foster Jenkins (Meryl Streep), an heiress and socialite in New York who owns a music club, the Verdi. She, though ill in health, lives for music, aspiring to become an opera singer with the help of her husband St. Clair Bayfield (Hugh Grant) and her pianist Cosmé McMoon (Simon Helberg). Florence’s first words in the film: “Music is my life!” But the truth is that unknown to her, she has generally poor singing ability.

It is no doubt that a large part of the film’s humour is derived from Florence’ awful singing and the observation of the reactions of those listening to her. Frears’ camera relies too heavily on both. The camera lingers on McMoon, Florence’s pianist as well as Bayfield’s facial mannerisms too much for comfort.

As far as performances go, Hugh Grant stands out extremely well as the loving long-suffering yet cheating husband. Streep delivers another unforgettable performance, maybe even another Oscar nominated one. Simon Helberg (from TV’s THE BIG BANG THEORY) is amusing to watch and shines in one key scene. But it is relative newcomer Nina Arianda as the trampy admirer Agnes Stark who steals the show and every scene she is in.

The story has the audience believe that Bayfield is married to Florence but has not consummated their marriage. The marriage bond is still a loving one – aided no doubt by the fact that Bayfield has full access to her wealth. Bayfield has a mistress Kathleen (Rebecca Ferguson) living in Bayfield’s apartment that Florence has paid for. When Florence shows up one morning unannounced, the film turns into a bedroom farce, something the British are always good at.

The overlong film has two big climatic plot points. One is Florence’s grand performance at Carnegie Hall. Will she be able to perform to the satisfaction of everyone and not be ridiculed? The second is whether Florence will find out the truth about the secret that Bayfield has been keeping from her – that she cannot sing. Director Fears plays the first one out in grandeur and the second using Grant’s full acting capabilities.
The film looks and feels like New York City 1944. The vintage cars (used rather sparingly), props, wardrobe and hair help create the atmosphere. Music by Alexandre Desplat is always a pleasure to the ears though his music is clouded by the songs Streep sings.

Despite being a one-joke film with the one joke (Florence’s flat singing) stretched out too long, Frears’ film is still enjoyable, with sufficient comical distractions.

FLORENCE FOSTER JENKINS is as the ad says, a film that will be enjoyed more for the power of music and the power for one to accomplish more beyond ones means. Those in the theatre and music business will certainly find this film more amusing, being able to recognize all the famous classical operatic songs as well as the travails stars have to go through. FLORENCE FOSTER JENKINS is a feel-good audience film that should delight Streep fans.

 

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