The detective genre is turned on its head in this hip, independent feature from mumblecore veteran Aaron Katz, in this his third feature.
Doug (Cris Lankenau) has returned to his hometown of Portland, Oregon after dropping out of his forensics degree in Chicago and moved back in with his sister Gail (Trieste Kelly Dunn), having split with his girlfriend Rachel (Robyn Rikoon).
After meandering around town and attempting to connect with his sister, Doug takes on a job in an ice factory - moving bags of ice from one side of the room to another seemingly. At work he befriends Carlos (Raul Castillo), a part-time DJ, and they share some good times together along with Gail. Then Rachel turns up unexpectedly with some business to attend to. Carlos and Rachel then go out together until one night they are meant to meet, and she does not turn up...
Like any American independent feature, there has to be a gimmick or a hook and for the first half of this film you do wonder in which direction this film is going. It follows four twenty-somethings going about their mundane lives, hanging out, sharing stories, liking or disliking Star Trek and then the possibility of a romantic arrangement (to the shagrin of the male lead) throws this narrative off course and offers something different.
Rachel's no show for a date with Carlos leads him to believe that she might have been kidnapped, and so it makes sense as to why Doug and Carlos have been spending a lot of time talking about Sherlock Holmes; the two amateur sleuths are living vicariously through the words and influence of Arthur Conan Doyle.
All of a sudden the missing girl is not the macguffin, but the suitcase that has inside of it some explicit photographs that the Cowboy (named because of his choice of hat attire) has to blackmail her. The two men are helped by Gail in their sleuthing. This leads to some funny scenes especially when they check into a hotel room, and then check out again, the audience know that the motel clerk (played by producer Ben Stambler) is thinking Doug and Carlos are gay, and Doug does not help when he says, 'I like Room 34, i had a good experience in it once'.
The laidback nature of Lankenau's performance may become frustrating and his reluctance to help Carlos in his detective work does make you wonder why does he want to be a detective if he does not want to do the legwork. But once they get a clue regarding baseball statistics, the ball is rolling and they are on the scent.
Whilst these detectives may be far removed from the kinetic madness of Benedict Cumberbatch's current Sherlock portrayal, the cleverness and delight of the film is that the detective plotline is itself nothing but a macguffin.
Katz depicts with the rebirth - not of a new career - but of a sibling relationship as Doug and Gail grow closer and stronger together working out the clues that lie within the mystery.
The title of Cold Weather can refer to the climate of Oregon itself and Doug's new job at the ice factory, but perhaps it refers to a climate of familial relationships and how given factors of distance and lack of time together siblings can lose contact and grow cold to one another.
The ending which finds brother and sister working in perfect harmony is very much intimate and exuding warmth - this is thanks to the direction of Katz who gives us glimpses of clues, mentions of a brighter youth in dialogue ('they are all mixtapes you made for me'), discreet body movements and glances all part of a bigger mystery, but with a naturalism indicative of the great ensemble.
Katz, who also wrote the screenplay and edited the film, has a bright future should this cult hit in America find the audience on this side of the pond. Here is hoping he can rise up to the next level in terms of budget and scale; it certainly seems like he has the integrity and ability to do so.
Cold Weather is released on 23rd May by Axiom Films is certified 15 and £15.99(RRP). The bonus features include an audio commentary by Aaron Katz along with producers Brendan McFadden and Stambler; an alternate ending (which was rightly culled) and a brilliant live performance of the end credits score by compose Keegan Dewitt, a life long friend of Katz - a score that is both eccentric, eclectic and thrilling.
Showing posts with label USA. Show all posts
Showing posts with label USA. Show all posts
Monday, 23 May 2011
Friday, 20 May 2011
Junebug - DVD review
I first saw Phil Morrison's debut feature at the Edinburgh Film Festival in 2005 and I am pleased to see it returning to our screens in a brand new DVD release. That year it was the standout feature I saw over those two weeks.
The film is an insightful look at the culture clash that takes place when a young brother from the south brings his new fiancée (a Yankee) home for the first time to meet the family.
It begins with men hollering, a former communication tool in North Carolina were the film is set and it focuses on the role communication – verbal and non-verbal – has on a family as the eldest son, George (Nivola), returns home for a few days with his new wife, Madeline (Davidtz), of six months. At his family home we have Eugene and Peg, his parents whose conversations are led by Peg and leave Eugene restricted to monosyllabic answers. Johnny (McKenzie), the youngest son, is a rebellious sort who hates being spoken to or down to and prefers actions (later he throws a wrench at George) and Ashley (Adams), Johnny’s wife, who it heavily pregnant, talkative and inquisitive.
What follows is a view of what priorities you are meant to have; when Ashley does go into labour Madeline (an art gallery owner) decides to pursue a client while George thinks that family should come first, he tells her this and ultimately this puts a wedge in the relationship.
George (Alessandro Nivola) and Madeline (Embeth Davidtz) head for home while she recruits a new artist for the New York gallery she works for. While the couple are happy together, the household they start to frequent is one of quietness that this new life opens up new doors. George's parents - Eugene and Peg - are simple folk; their conversations are led by Peg with Eugene's replies limited to monosyllabic answers. Johnny (Ben McKenzie) is the rebel of the family who would like to be as smart as George but suffers from being the youngest of the family and living in George's perpetual shadow and has the added weight of living with his pregnant wife, Ashley (Amy Adams) who is immediately uplifted by Madeline's arrival as she offers her a view of the world up north, a world of glamour and culture. Ashley is awestruck but in a big sister sort of way.
It is important to note the role of communication in this film, the different sorts it employs and what sort of emotions it conveys. This is set around two set pieces - the church social and the baby shower. At the church social, the larger community get to see the returning George and have Madeline shown off. It also provides Madeline the opportunity to see a different side of George she has not yet seen, when he sings a solo of a hymn. The camera scans the room, the church taking in the solo humbly and then the camera holds on Madeline, who herself is now awestruck at this secret. It is a softer side of George absent from the instant attractiveness we see at the film's beginning. At the baby shower, the feelings of disdain Johnny has been building up surface which itself leads to Ashley's premature pregnancy.
The film does not overreach for sentimentality and does not portray the South in stereotypical terms which is a credit to Morrison and this fine group of actors he has employed. Nivola has never gone to these lengths before and it suits him, he broods at time and has a real presence. Davidtz plays the cultural outsider very well and rather than making her the intellectual, at times her intelligence can be rude in comparison to the simpler south (which itself might sound racist).
However, the film belongs to Amy Adams, who was rightly Oscar nominated for her role. Her bright-eyed and talkative role in another film might have been annoying, but in fact is endearing as she plays Ashley as the heartbroken sole who is forced to be with her childhood sweetheart, but like all the other characters yearns to escape at times but is forced to stay. In other years, Adams might have won the Oscar (like Marcia Gay Harden or Mercedes Rheul) but instead let us be grateful that such a performance was captured by such an unknown with a great future.
At the end for the first time we are left with ambiguity which is odd for the films conclusion, but appropriately it leaves a couple in silence with one having asked a question still awaiting a response, as they 'escape' but do they really want to. A well written screenplay that is a joy when you think of it in hindsight and is recommended to all.
Throughout the film we have all types of communication and the effect it has on relationships and community; communication through faith, prayer, food – especially food as it governs when family spend time together (‘What time is dinner?’).
In terms of communication, Ashley is the most appealing character which is odd considering if she was in another film she would be laughed at and not with, but because she is the only character who speaks openly to all we find her endearing as well as innocence. When she is in hospital after surgery, George comforts her and usually the person who has suffered would remain quiet while George would console her with positive thoughts. But Ashley remains the constant talker while George listens and just being the receiver and someone to listen is what Ashley wants, unlike Johnny who married Ashley because she got pregnant (it appears, but then we are not told that). Nivola in this scene is brilliant he just listens and broods on the screen, giving great strength to a scene that easily could have subsided into hysterics but it helps if only one person asks and answers. Nivola hugs her, kisses her on the forehead and leaves Ashley happy. As he returns home he confronts Johnny, again he does not speak and Johnny’s violent jealousy of George erupts in the wrench being thrown, it is the only violent act of the film but speaks loudest.
It uses a melodic soundtrack that does not have non-diegetic music to fill out scenes and this renders the film a sort of natural space unlike other American independent films, but then again most American films do not have the type of outstanding performance we receive from Amy Adams.
Junebug is out now on DVD and Blu-Ray (£13.27RRP) by Eureka! Films, the special features contain a full length audio commentary from the stars Amy Adams and Embeth Davidtz; Amy Adams interview and Q&A session in London from March 2006; ten deleted scenes; behind the scenes documentaries.
The film is an insightful look at the culture clash that takes place when a young brother from the south brings his new fiancée (a Yankee) home for the first time to meet the family.
It begins with men hollering, a former communication tool in North Carolina were the film is set and it focuses on the role communication – verbal and non-verbal – has on a family as the eldest son, George (Nivola), returns home for a few days with his new wife, Madeline (Davidtz), of six months. At his family home we have Eugene and Peg, his parents whose conversations are led by Peg and leave Eugene restricted to monosyllabic answers. Johnny (McKenzie), the youngest son, is a rebellious sort who hates being spoken to or down to and prefers actions (later he throws a wrench at George) and Ashley (Adams), Johnny’s wife, who it heavily pregnant, talkative and inquisitive.
What follows is a view of what priorities you are meant to have; when Ashley does go into labour Madeline (an art gallery owner) decides to pursue a client while George thinks that family should come first, he tells her this and ultimately this puts a wedge in the relationship.
George (Alessandro Nivola) and Madeline (Embeth Davidtz) head for home while she recruits a new artist for the New York gallery she works for. While the couple are happy together, the household they start to frequent is one of quietness that this new life opens up new doors. George's parents - Eugene and Peg - are simple folk; their conversations are led by Peg with Eugene's replies limited to monosyllabic answers. Johnny (Ben McKenzie) is the rebel of the family who would like to be as smart as George but suffers from being the youngest of the family and living in George's perpetual shadow and has the added weight of living with his pregnant wife, Ashley (Amy Adams) who is immediately uplifted by Madeline's arrival as she offers her a view of the world up north, a world of glamour and culture. Ashley is awestruck but in a big sister sort of way.
It is important to note the role of communication in this film, the different sorts it employs and what sort of emotions it conveys. This is set around two set pieces - the church social and the baby shower. At the church social, the larger community get to see the returning George and have Madeline shown off. It also provides Madeline the opportunity to see a different side of George she has not yet seen, when he sings a solo of a hymn. The camera scans the room, the church taking in the solo humbly and then the camera holds on Madeline, who herself is now awestruck at this secret. It is a softer side of George absent from the instant attractiveness we see at the film's beginning. At the baby shower, the feelings of disdain Johnny has been building up surface which itself leads to Ashley's premature pregnancy.
The film does not overreach for sentimentality and does not portray the South in stereotypical terms which is a credit to Morrison and this fine group of actors he has employed. Nivola has never gone to these lengths before and it suits him, he broods at time and has a real presence. Davidtz plays the cultural outsider very well and rather than making her the intellectual, at times her intelligence can be rude in comparison to the simpler south (which itself might sound racist).
However, the film belongs to Amy Adams, who was rightly Oscar nominated for her role. Her bright-eyed and talkative role in another film might have been annoying, but in fact is endearing as she plays Ashley as the heartbroken sole who is forced to be with her childhood sweetheart, but like all the other characters yearns to escape at times but is forced to stay. In other years, Adams might have won the Oscar (like Marcia Gay Harden or Mercedes Rheul) but instead let us be grateful that such a performance was captured by such an unknown with a great future.
At the end for the first time we are left with ambiguity which is odd for the films conclusion, but appropriately it leaves a couple in silence with one having asked a question still awaiting a response, as they 'escape' but do they really want to. A well written screenplay that is a joy when you think of it in hindsight and is recommended to all.
Throughout the film we have all types of communication and the effect it has on relationships and community; communication through faith, prayer, food – especially food as it governs when family spend time together (‘What time is dinner?’).
In terms of communication, Ashley is the most appealing character which is odd considering if she was in another film she would be laughed at and not with, but because she is the only character who speaks openly to all we find her endearing as well as innocence. When she is in hospital after surgery, George comforts her and usually the person who has suffered would remain quiet while George would console her with positive thoughts. But Ashley remains the constant talker while George listens and just being the receiver and someone to listen is what Ashley wants, unlike Johnny who married Ashley because she got pregnant (it appears, but then we are not told that). Nivola in this scene is brilliant he just listens and broods on the screen, giving great strength to a scene that easily could have subsided into hysterics but it helps if only one person asks and answers. Nivola hugs her, kisses her on the forehead and leaves Ashley happy. As he returns home he confronts Johnny, again he does not speak and Johnny’s violent jealousy of George erupts in the wrench being thrown, it is the only violent act of the film but speaks loudest.
It uses a melodic soundtrack that does not have non-diegetic music to fill out scenes and this renders the film a sort of natural space unlike other American independent films, but then again most American films do not have the type of outstanding performance we receive from Amy Adams.
Junebug is out now on DVD and Blu-Ray (£13.27RRP) by Eureka! Films, the special features contain a full length audio commentary from the stars Amy Adams and Embeth Davidtz; Amy Adams interview and Q&A session in London from March 2006; ten deleted scenes; behind the scenes documentaries.
Saturday, 14 May 2011
That's What I Am
Starring the Oscar-nominated Ed Harris, with support from Chase Ellison (Tooth Fairy), Amy Madigan (Field of Dreams) and WWE superstar Randy Orton, in a film produced by Samuel Goldwyn Films and WWE Studios. That's What I Am is the first time director Michael Pavone, has also writen the screenplay inspired by true events.
Pavone's background is mostly in television, directing episodes of Blood Brothers and Everwood, and it is this restrictive film-making with its weak set-ups that gives the film its character and a style reminiscent of The Wonder Years, and with the customary voiceover of a now mature adult looking back on his high school years, the sense of nostalgia for halycon days of the late 1960s is ever apparent.
The period detail is winning; the costumes of children dressed in brightly coloured trousers or dresses, the period piece cars and the lighting makes the 1960s look like a warmer more tranquil period - in spite of the major political issues going on in the background, as alluded to in a credit sequence referring to Vietnam and the Civil Rights Movement.
But in spite of this fancy dressing up on the exterior and in the accomplished production design, there is some serious subject issues going on underneath the surface. Themes of bullying and prejudice are the key to this film being an above average middle of the road depiction of a young teenager's growing pains.
Mr. Simon (Harris) pairs up students for a report in his English class; he chooses everyman Andy Nichol (Ellison) to pair up with Big G, a young man who although intelligent is a foot taller than anyone else, has ears too big for his head and a full head of head of red hair, the G stands for ginger.
After initial mocking of the pairing, Andy decides to make a fist of it and make a good report; he also learns about prejudice and friendship, whilst also falling for the cutest girl in school Mary Clear (fittingly, clear a name for a girl pure of skin).
Andy eventually stands up to the bully, and in spite of some cruel name calling against Mr. Simon's private life, he does not ignore the fact that the teacher is an influential role model and such issues in regard to someone's private life should not put into question his ability as a teacher.
Featuring hit songs of the era, the film will leave you with a contented smile on your face, as it is elevated above mediocrity thanks to the performance of the ever reliable Harris. Above average, That's What I Am, that's what it is.
Pavone's background is mostly in television, directing episodes of Blood Brothers and Everwood, and it is this restrictive film-making with its weak set-ups that gives the film its character and a style reminiscent of The Wonder Years, and with the customary voiceover of a now mature adult looking back on his high school years, the sense of nostalgia for halycon days of the late 1960s is ever apparent.
The period detail is winning; the costumes of children dressed in brightly coloured trousers or dresses, the period piece cars and the lighting makes the 1960s look like a warmer more tranquil period - in spite of the major political issues going on in the background, as alluded to in a credit sequence referring to Vietnam and the Civil Rights Movement.
But in spite of this fancy dressing up on the exterior and in the accomplished production design, there is some serious subject issues going on underneath the surface. Themes of bullying and prejudice are the key to this film being an above average middle of the road depiction of a young teenager's growing pains.
Mr. Simon (Harris) pairs up students for a report in his English class; he chooses everyman Andy Nichol (Ellison) to pair up with Big G, a young man who although intelligent is a foot taller than anyone else, has ears too big for his head and a full head of head of red hair, the G stands for ginger.
After initial mocking of the pairing, Andy decides to make a fist of it and make a good report; he also learns about prejudice and friendship, whilst also falling for the cutest girl in school Mary Clear (fittingly, clear a name for a girl pure of skin).
Andy eventually stands up to the bully, and in spite of some cruel name calling against Mr. Simon's private life, he does not ignore the fact that the teacher is an influential role model and such issues in regard to someone's private life should not put into question his ability as a teacher.
Featuring hit songs of the era, the film will leave you with a contented smile on your face, as it is elevated above mediocrity thanks to the performance of the ever reliable Harris. Above average, That's What I Am, that's what it is.
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