It’s been a strange couple of weeks. One of my best friends died somewhat unexpectedly. Although he’d been terminally diagnosed things went a lot faster than expected and he zipped out of existence. It’s been said before, in more eloquent ways, but there’s no telling when death is coming. I’ve been dealing with that (helping with the funeral, being there for the family, etc.), however, eventually the living got to get back to life. Granted, with thoughts of mortality looming a lot of things seem trivial, yet we all need a distraction from such thoughts. Art may be in its most noble sense a look at society, dissecting what it is, what it values, and presenting either the ugly or ignored beauties of humanity’s inner being. But it’s also a way of not thinking about the end, especially as creativity creates a sense of leaving something behind.
May kicked off with an absolutely phenomenal film. The Last Stop in Yuma County is the kind of movie that isn’t made on mass. That’s partly because it’s a product of several similar features, but navigating an established formula, writer-director Francis Galluppi crafts a tense thriller with a lightning pace. Clocking in at a smooth hour and a half, The Last Stop in Yuma County doesn’t waste a second delivering its clever take on a familiar premise. Events unfold so quickly even those sure they can predict the outcome will be shocked by the speed and violent outcomes which ensue. For more reasons why you should check out this flick, read the review linked below.
The Last Stop in Yuma County Is a Must See | Film Obsessive
The Last Stop in Yuma County Is a Must See | Film Obsessive
Right before April ended, I got to review a supernatural flick called Winter Island. It told the story of a family disintegrating after the disappearance of the youngest daughter. In many ways it’s more drama than horror story, but there is a chilling gothic quality to the mental unraveling of the main characters.
In addition to reviewing the film, I was also privileged enough to get a chance to speak with the filmmakers behind the picture. Director Tony Doupé and writer-cinematographer Chris Taylor joined me for a Zoom chat. They were very generous with their time, allowing me the opportunity to ask them about making, not only this movie but feature films in general. Delve into that Q&A by following the link below.
I think it’s very informative, especially for anyone making a move into indie filmmaking. Tony and Chris were quite candid about some of the decisions they made. For instance, they made it plain that they steered towards a horror flick because netting cash for such productions is easier than a straightforward drama. Similar candor can be heard throughout, so soak up what pearls of wisdom you can.
Chris Taylor and Tony Doupé Talk Winter Island | Film Obsessive
In addition to reviewing the film, I was also privileged enough to get a chance to speak with the filmmakers behind the picture. Director Tony Doupé and writer-cinematographer Chris Taylor joined me for a Zoom chat. They were very generous with their time, allowing me the opportunity to ask them about making, not only this movie but feature films in general. Delve into that Q&A by following the link below.
I think it’s very informative, especially for anyone making a move into indie filmmaking. Tony and Chris were quite candid about some of the decisions they made. For instance, they made it plain that they steered towards a horror flick because netting cash for such productions is easier than a straightforward drama. Similar candor can be heard throughout, so soak up what pearls of wisdom you can.
Chris Taylor and Tony Doupé Talk Winter Island | Film Obsessive
I was initially overjoyed to get to see a few premieres at the Chicago Critics Film Festival hosted by the Music Box Theater. First off, that’s one of my favorite venues in the city. So much so I gushed about it during my interview with the Winter Island filmmakers. (I thought that was where their film was premiering in Chicago, but later I discovered they were showing at Facets. Another fine facility, but I imagine it may’ve felt a step down after my ringing endorsement of the Music Box). Regardless, I have to say it was another instance of me feeling out of place among my fellow critics.
The first film I saw was a comedy dud called Babes. Directed by Pamela Adlon, it was an attempt at an irreverent comedy about pregnancy. However, the film fails on so many levels it feels like a shameless waste of a great opportunity. One of the problems is that, in an effort to be positive about pregnancy, they never highlight any of the pitfalls. Everything is so idealized the film ignores every opportunity for insightful comedy as well as drama. It shoehorns in moments that are resolved by monologues and blatantly ignores consequences that would result from certain decisions.
Yet, despite being a mediocre, infrequent smirk inducing waste of time, the theater full of wine drunk critics guffawed with the theatricality of classically trained performers. It was as if the audience felt if they forced themselves to laugh hard enough Pamela Adlon, who was there for a Q&A, would thank them personally. It was a room full of employees laughing at the boss’s bad jokes, and I know this for a fact because seated at the rear of the theater—the farther people were from Adlon, the less laughter I heard. In fact, people around me were whispering, “What are they laughing at? Was that supposed to funny?”
For more on why this film doesn’t work, follow the link.
Babes Is a Bouncing Baby Bust | Film Obsessive
The first film I saw was a comedy dud called Babes. Directed by Pamela Adlon, it was an attempt at an irreverent comedy about pregnancy. However, the film fails on so many levels it feels like a shameless waste of a great opportunity. One of the problems is that, in an effort to be positive about pregnancy, they never highlight any of the pitfalls. Everything is so idealized the film ignores every opportunity for insightful comedy as well as drama. It shoehorns in moments that are resolved by monologues and blatantly ignores consequences that would result from certain decisions.
Yet, despite being a mediocre, infrequent smirk inducing waste of time, the theater full of wine drunk critics guffawed with the theatricality of classically trained performers. It was as if the audience felt if they forced themselves to laugh hard enough Pamela Adlon, who was there for a Q&A, would thank them personally. It was a room full of employees laughing at the boss’s bad jokes, and I know this for a fact because seated at the rear of the theater—the farther people were from Adlon, the less laughter I heard. In fact, people around me were whispering, “What are they laughing at? Was that supposed to funny?”
For more on why this film doesn’t work, follow the link.
Babes Is a Bouncing Baby Bust | Film Obsessive
Something similar happened with the second film I went to I Saw the TV Glow. Although Film Obsessive passed on my review, I still posted it on this site. First off, I think the movie is good. However, everyone else who attended seems to believe this is an unparalleled piece of cinema.
Let me be clear. I Saw the TV Glow manages to capture something David Lynch does that few other filmmakers come close to. The cinematic expression of a dreamlike world ruled by its own logic and emotion is there, and the film, thanks to its stellar cast, is quite adept at evoking the feelings it depicts on screen. However, I’ve seen so many reviews which bend over backward to pretend as if writer-director Jane Schoenbrun isn’t following the formula of filmmakers such as David Lynch and Terence Malik like a roadmap. And there’s nothing wrong with them (Jane) doing that. Tarantino does it all the time. But pretending this movie’s influences aren’t obviously on screen acts like the filmmaker has made something completely unique. I Saw the TV Glow is preciously rare, too few films have this ethereal, effecting potence, yet acting like it isn’t absolutely following the path of its predecessors gives it an odd praise. It’s like saying a building was designed using geometry while insinuating the architect made up all the geometry that they followed instead of pointing out which preexisting rules they obviously used, employing them better than others.
Again, I Saw the TV Glow is a good movie. And I detailed exactly why I think so in my review. However, my experience at the Chicago Critics Film Festival gave me the impression of people so desperate to be at the forefront of discovering the next new thing they’ll distort the view to fit the narrative rather than print the facts.
I also take umbrage with how one of the organizers Steven Prokopy introduced the film by talking about how much Paul Schrader, writer of Taxi Driver (1976), loved the film. He did a similar gushing over Babes before it screened as well. It just doesn’t sit right with me that he essentially opened the film by basically saying, “This movie is genius, so says an Academy award-winning Hollywood legend.” Well, if Paul Schrader liked it, I guess us peons ought to as well. But even if someone didn’t succumb to such sidewise influencing, the other shift could be as bad for I Saw the TV Glow. Imagine someone who hated Schrader hearing he loved the film then souring on this flick before it ever screened.
Now, I’m not saying Steven Prokopy did this on purpose. He struck me the same as any overly enthusiastic film nerd, so delighted to be there, sharing the stage with moviemakers, he may have lost a touch of objectivity; he simply wanted to emphasize how much he hoped all would have a good time. But you could hear the room murmuring in drunk excitement the second he mentioned Schrader’s praise—hipsters hopped up on IPAs anxious to see the latest avant-garde evolution and be among the first to declare, “I have seen what he saw!”
Anyway… there’s a lot of good reasons to see I Saw the TV Glow, and if you’re curious, check out the link.
REVIEW: I Saw the TV Glow Lights Up a Nightmare - Honesty Is Not Contagious
Let me be clear. I Saw the TV Glow manages to capture something David Lynch does that few other filmmakers come close to. The cinematic expression of a dreamlike world ruled by its own logic and emotion is there, and the film, thanks to its stellar cast, is quite adept at evoking the feelings it depicts on screen. However, I’ve seen so many reviews which bend over backward to pretend as if writer-director Jane Schoenbrun isn’t following the formula of filmmakers such as David Lynch and Terence Malik like a roadmap. And there’s nothing wrong with them (Jane) doing that. Tarantino does it all the time. But pretending this movie’s influences aren’t obviously on screen acts like the filmmaker has made something completely unique. I Saw the TV Glow is preciously rare, too few films have this ethereal, effecting potence, yet acting like it isn’t absolutely following the path of its predecessors gives it an odd praise. It’s like saying a building was designed using geometry while insinuating the architect made up all the geometry that they followed instead of pointing out which preexisting rules they obviously used, employing them better than others.
Again, I Saw the TV Glow is a good movie. And I detailed exactly why I think so in my review. However, my experience at the Chicago Critics Film Festival gave me the impression of people so desperate to be at the forefront of discovering the next new thing they’ll distort the view to fit the narrative rather than print the facts.
I also take umbrage with how one of the organizers Steven Prokopy introduced the film by talking about how much Paul Schrader, writer of Taxi Driver (1976), loved the film. He did a similar gushing over Babes before it screened as well. It just doesn’t sit right with me that he essentially opened the film by basically saying, “This movie is genius, so says an Academy award-winning Hollywood legend.” Well, if Paul Schrader liked it, I guess us peons ought to as well. But even if someone didn’t succumb to such sidewise influencing, the other shift could be as bad for I Saw the TV Glow. Imagine someone who hated Schrader hearing he loved the film then souring on this flick before it ever screened.
Now, I’m not saying Steven Prokopy did this on purpose. He struck me the same as any overly enthusiastic film nerd, so delighted to be there, sharing the stage with moviemakers, he may have lost a touch of objectivity; he simply wanted to emphasize how much he hoped all would have a good time. But you could hear the room murmuring in drunk excitement the second he mentioned Schrader’s praise—hipsters hopped up on IPAs anxious to see the latest avant-garde evolution and be among the first to declare, “I have seen what he saw!”
Anyway… there’s a lot of good reasons to see I Saw the TV Glow, and if you’re curious, check out the link.
REVIEW: I Saw the TV Glow Lights Up a Nightmare - Honesty Is Not Contagious
After that I spent some time composing an article on the history of cinéma verité and how it connects to mockumentary films. I did this specifically by focusing on the short film Trailer Park Boys (1999). This film would eventually serve as the pilot that spawned the wildly popular tv series of the same name. Tracking down a version of the original film proved a powerful pain in the ass. The first one I came across was subtitled in some Eastern European language – good comedy knows no borders – but fortunately, I found a better copy online to grab some pics. And by better, I mean clearer images.
In many ways, this retrospective also explored Trailer Park Boys as a fantastic piece of indie cinema. It was made on pennies lining a shoestring and proved that quality storytelling alongside intriguing characters will make up for low budget limitations.
With that in mind, to learn more about cinéma verité as well as how to use it to get around cash restrictions, check out the link below.
The Cinéma Vérité of Trailer Park Boys | Film Obsessive
In many ways, this retrospective also explored Trailer Park Boys as a fantastic piece of indie cinema. It was made on pennies lining a shoestring and proved that quality storytelling alongside intriguing characters will make up for low budget limitations.
With that in mind, to learn more about cinéma verité as well as how to use it to get around cash restrictions, check out the link below.
The Cinéma Vérité of Trailer Park Boys | Film Obsessive
Coming in on the close of the month, I checked out a Disney documentary about the Beach Boys. This was an interesting look at their music more then the members of the band. A lot of similar docs tend to get sidetracked focusing on Brian Wilson. His drug addiction, mental health issues, and him being the creative force behind the band, often pushing them to innovate when the other musicians wanted to stay in the riskless familiar makes for easy narrative drama. However, this exploration of the iconic group almost goes out of its way to avoid discussing anything unpleasant.
On the one hand that leaves an incomplete portrait of these pioneers of surf rock. On the other, it makes the documentary more of a primer on their music than a look at the legends. For those unfamiliar with the Beach Boys that may be a good thing since other docs do a better job of delving into the grime. For more on what worked and what didn’t, click the link below.
The Beach Boys Shines by Avoiding Grime | Film Obsessive
On the one hand that leaves an incomplete portrait of these pioneers of surf rock. On the other, it makes the documentary more of a primer on their music than a look at the legends. For those unfamiliar with the Beach Boys that may be a good thing since other docs do a better job of delving into the grime. For more on what worked and what didn’t, click the link below.
The Beach Boys Shines by Avoiding Grime | Film Obsessive
Finally, May ended with In a Violent Nature. Filmmakers were kind enough to send me a screener link for this experimental horror flick. At first glance, it seems like any other slasher film with heavy influences from films like Hatchet and Friday the 13th. Yet, the innovative way its shot sets In a Violent Nature apart. Though the feature isn’t as excellent as it could have been, the minor flaws seem more like an invitation for someone to take this stylization and do something better with it. In other words, I sincerely hope In a Violent Nature inspires future horror films. Cinematic experimentation is the key to making old ideas feel fresh.
REVIEW: In a Violent Nature is a Bloody Meditation - Honesty Is Not Contagious
REVIEW: In a Violent Nature is a Bloody Meditation - Honesty Is Not Contagious
That’ll do it for this round up. Obviously, the other big news is that May saw the release of LESSENS the fifth album by my BEERFINGER music project. However, I really want to sit down to write a full article about that on its own. There’s a lot I want to say about this album as well as what it means for future music projects going forward. Until then, stay safe, keep weird, and if you’re accused of murder don’t rat out the crows. Cheers!
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