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where to find Richard Linklater and Xavier Dolan films

Ordinarily, a week that includes new releases from directors Xavier Dolan and Richard Linklater woul..

Ordinarily, a week that includes new releases from directors Xavier Dolan and Richard Linklater would count as a major one in most cinephiles books. Two film-makers – one a prodigious enfant terrible who made seven films before turning 30, one a long-established godfather of American indie cinema – with little in common otherwise, they can both boast a prolific output, a distinctive stylistic signature, and a devoted club of admirers that all but deserted them on the two new films in question.

For the coronavirus shutdown isnt the reason youre not seeing Dolans The Death and Life of John F Donovan or Linklaters Whered You Go, Bernadetteon the big screen in the UK. After underwhelming in festivals and/or cinemas abroad, they were already slated to shuffle with little fanfare on to the usual VOD platforms this spring – a pretty sorry outcome for films that boast not only major auteurs, but glitzy all-star casts and, in the case of Linklaters film, a bestselling source novel. In this market, name power only goes so far.

Id love to tell you that these films deserved better; sadly, neither can be called underrated. Of the two, The Death and Life of John F Donovan is at least the more fascinating folly. The first English-language film by the distinctively Quebecois Dolan, it falls right into the tin-eared trap that has snared many a gifted world-cinema luminary switching to English, but you cant say it does so without ambition and bravado. Thrashing about in various narrative directions across multiple timelines, it vaguely follows the open-hearted correspondence between a lonely child actor (Jacob Tremblay) and his idol, a tortured, closeted movie star (Kit Harington). Said to have run four hours in its initial cut, it bears all the scars of a troubled edit: a subplot starring Jessica Chastain was excised in its entirety. What has survived, despite Dolans typically lush craftsmanship, is antic and scarcely coherent.

Trim and digestible by comparison, Whered You Go, Bernadette isnt an unpleasant watch. Its just disappointingly beige given the seemingly winning combination of Linklater, star Cate Blanchett and Maria Semples sly, nimble comic novel. Tracing the mystery of a well-heeled but agoraphobic Seattle housewife who disappears on the eve of a family trip, it follows the thrust of the novel but never quite nails its tone: the jangly satirical elements clash with the more mournful character study at its heart, leaving much of the film in a bland limbo. Blanchetts amusingly mannered turn is the tangiest thing here, though its hard to defend the surprise Golden Globe nomination she won for this.

The good news is that both directors better days are easily available via streaming. My own favourite Dolan film, the anxiously atmospheric, Highsmith-infused queer thriller Tom at the Farm, can be found on iTunes, as can is his still-electrifying 2009 debut I Killed My Mother, a troubled mother-son battlefield made when he was just 19, and bristling with raw, ragged adolescent energy. I prefer it to Mommy, a more ornately styled development of similar themes, though its perhaps his most celebrated film; iTunes, again, has it for a mere 99p.

Linklaters filmography, meanwhile, gives you a surfeit of choice, whether you prefer the woozy, seductive chatter of the Before Sunrise/Sunset/Midnight trilogy (all available on Amazon), or the spiky, frayed Gen X energy of his breakthrough film, Slacker (Amazon again). The confident, unforced effervescence of more commercial efforts like School of Rock (free to stream on Prime or Now TV) is what his latest lacks. Meanwhile, were probably enough years away from the overworked critical discourse around Boyhood (on Netflix) to reappreciate his 12-year coming-of-age portrait for the beguiling experiment it was.

Linklater is reattempting that trick next, embarking on a two-decade schedule to film Sondheims Merrily We Roll Along. Dolan has since emerged from the wreckage of John F Donovan to make the far leaner, better Matthias & Maxime, which will be in cinemas later this year. Few will remember these straight-to-VOD blips, but for curious completists theyre quietly there.

READ MORE FROM SOURCE: https://www.theguardian.com/film/2020/apr/18/streaming-richard-linklater-and-xavier-dolan-death-life-john-f-donovan-whered-you-go-bernadette-cate-blanchett

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‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..

“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.


Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.


More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”


If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.

The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.

Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)



The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.


Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”


“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.

In a theater, the tendency with a movie so dependent on a central mystery might be to become antsy. At home, “Antebellum” is worth seeing, not only because of what it has to say about America’s past and present, but as a reminder of the often yawning gap between an intriguing idea and a fully realized film.



Read from source: https://edition.cnn.com/2020/09/17/entertainment/antebellum-review/index.html

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‘Chemical Hearts’ director Richard Tanne on the film’s ‘bittersweet’ ending and what he hopes fans take away from the movie

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and ..

“Chemical Hearts” director Richard Tanne spoke to Insider about the film’s “bittersweet” ending and what he hopes fans take away from it.

“I think it’s gonna disappoint some people, and maybe all people on a certain level, ” the 35-year-old filmmaker told us. “It’s bittersweet. But that’s OK.”

The film, based on Krystal Sutherland’s 2016 book “Our Chemical Hearts” and now available to stream on Amazon Prime Video, centers on 17-year-old high school senior Henry Page (Austin Abrams), who finds himself drawn to a mysterious and secretive new transfer student named Grace Town (Lili Reinhart).

“Chemical Hearts” is told from Henry’s perspective, chronicling his first heartbreak after he falls in love with the person he thinks Grace is.

Tanne, who wrote the screenplay, said that he was impressed by how the story goes ‘a little bit deeper than your average teen romance’


“I loved how it embraced the dark side of being young, the pain and the grief and the loss, the idea of crossing the threshold from being an adolescent to an adult for the first time,” he told us.

By the end of the movie, Henry learns about Grace’s tragic past. On their last day of senior year, the characters don’t end up together. Instead, they prepare to explore different futures, with Henry heading off to a school for writing and Grace taking a year off to continue therapy.

Even though fans might be disappointed by the love interests splitting, Tanne said that ‘not everything has to be escapist’


“Sometimes, younger people watching movies don’t know that it’s OK to have unhappy endings because they’re fed a steady stream, a steady diet of escapist happily ever after movies,” he told us. “And that’s OK.”

He added: “There’s a place for those, I’m not knocking them. But I just wanted to make something that didn’t talk down to the younger audience. I wanted to make something that either meets them at their level or asks them to reach a little bit higher or dig a little bit deeper.”

Tanne said that having to confront that ‘bittersweet ending’ could also be useful to viewers


The director described the conclusion as bittersweet because “there’s hope at the end, maybe not for their relationship, but for other aspects of their lives.”

“Maybe it will be helpful for young people to see that and walk away with the same sting that Henry has, but to know that it’s going to be OK, to know that Henry will be OK,” he said.

Abrams, who was 22 when he filmed the movie, told Insider that hopefully, audiences will empathize with Henry.

“I think in terms of I supposed how he’s navigating relationships, I feel like hopefully at least anyone can relate to that,” he said.

Abrams told Insider that Henry and Grace’s relationship status at the end speaks to the film’s realistic nature


Abrams shared similar sentiments as Tanne, telling us that they tried to “portray the characters as honestly as possible,” which ties in to the conclusion.

“I think there are some people that meet one person and that’s who they’re with for the rest of their lives, who actually are Henry’s parents in the movie,” the 23-year-old actor told us.

“But then there are other people, and I think it’s probably a larger number, that are going to be in multiple relationships and some of them, a lot of them aren’t going to go well. I hope that that’s an aspect of the movie that people are able to relate to.”

Abrams added that he’s “perfectly fine” letting fans decide for themselves what their main takeaways are from “Chemical Hearts.”

“I hope that maybe they take away things that I didn’t even think of, because everyone’s different and at a different point in their life and hopefully will be able to relate to it in different ways.”

Read from source: https://www.insider.com/chemical-hearts-director-richard-tanne-bittersweet-ending-interview-2020-8


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Julia Sawalha furious after being told she is ‘too old’

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would n..

Julia Sawalha has said she has been “plucked, stuffed and roasted” after being told that she would not be cast in the forthcoming sequel to the hit Aardman Animation film Chicken Run as her voice sounded “too old”.

In the original film, released in 2000, Sawalha voiced the lead role of Ginger, the plucky hen who inspires her fellow egg-layers to escape from a farm when they are threatened with being turned into pies. News of the development of a sequel first emerged in 2018, and Netflixs involvement was announced in June. It is due to be directed by Sam Fell (ParaNorman) and start production in 2021.

Sawalha posted a statement on social media saying she was told a week ago that she was not wanted for the sequel. “The reason they gave is that my voice now sounds too old and they want a younger actress to reprise the role.”

She added: “Usually in these circumstances, an actress would be given the chance to do a voice test in order to determine the suitability of their pitch and tone, I however was not given this opportunity. I am passionate about my work and I dont go down without a fight, so I did my own voice test at home and sent it to the producers … However, they stated, We will be going ahead to recast the voice of Ginger.”

Sawalhas protest follows reports that Mel Gibson, who voiced the character of daredevil rooster Rocky, would not be involved in the sequel. While Rocky is named as a character in the official plot synopsis for Chicken Run 2, the role is due to be recast. Variety magazine reported that Gibson was told that as “the sequel will revolve around younger chickens, therefore casting younger voice actors” was necessary. The report also claimed that Gibsons history of controversial behaviour, including an accusation of antisemitic comments by actor Winona Ryder, which Gibson denies, played no part in the recasting.

Sawalha added: “I feel I have been fobbed off with the same excuse … To say I am devastated and furious would be an understatement. I feel totally powerless.”

No official announcements have been made for the Chicken Run 2 cast, but original film cast members Jane Horrocks and Lynn Ferguson have been added to the films IMDb page.

Aardman has been contacted for a response.

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